Lesson on Russian literature on the topic "I. S. Turgenev. The story" Spring waters ". Spring waters Turgenev

Analysis of the story by I.S. Turgenev " Spring waters»

The figurative system of a work directly depends on its ideological and thematic content: the author creates and develops characters in order to convey an idea to the reader, to make it “alive”, “real”, “close” to the reader. The more successfully the images of the heroes are created, the easier it is for the reader to perceive the thoughts of the author.
Therefore, before proceeding directly to the analysis of the images of the heroes, we need to briefly consider the content of the story, in particular, why the author chose these, and not other characters.
The ideological and artistic concept of this work determined the originality of the conflict underlying it and a special system, a special relationship of characters.
The conflict on which the story is built is the clash of a young man, not quite ordinary, intelligent, undoubtedly cultured, but indecisive, weak-willed, and a young girl, deep, strong in spirit, whole and strong-willed.
The central part of the plot is the origin, development and tragic ending of love. To this side of the story, the main attention of Turgenev, as a writer-psychologist, is directed, in the disclosure of these intimate experiences, and his artistic skill is mainly manifested.
In the story there is also a link to a specific historical passage of time. So, the meeting of Sanin with Gemma belongs to the author in 1840. In addition, Veshniye Vody contains a number of everyday details typical of the first half of the 19th century (Sanin is going to travel from Germany to Russia in a stagecoach, postal carriage, etc.).
If we turn to the figurative system, then it should be immediately noted that along with the main storyline - the love of Sanin and Gemma - additional storylines of the same personal order are given, but according to the principle of contrast with the main plot: the dramatic end of Gemma's love story with Sanin becomes clearer from comparisons with side episodes concerning the history of Sanin and Polozova.
The main story line in the story is revealed in the usual dramatic sense for such works by Turgenev: first, a short exposition is given, depicting the environment in which the heroes should act, then the plot follows (the reader learns about the love of the hero and the heroine), then the action develops, sometimes meeting obstacles on the way, finally comes the moment of the highest tension of action (explanation of the heroes), followed by a catastrophe, and then an epilogue.
The main narrative unfolds as the memories of a 52-year-old nobleman and landowner Sanin about the events of 30 years ago that happened in his life when he was traveling in Germany. Once, while passing through Frankfurt, Sanin went into a pastry shop, where he helped the mistress's young daughter with her younger brother who had fainted. The family was imbued with sympathy for Sanin and, unexpectedly for himself, he spent several days with them. When he was out for a walk with Gemma and her fiancé, one of the young German officers sitting at the next table in the tavern allowed himself to be rude and Sanin challenged him to a duel. The duel ended well for both participants. However, this incident greatly shook the girl's measured life. She refused to the groom, who could not protect her dignity. Sanin, on the other hand, suddenly realized that he fell in love with her. The love that gripped them, led Sanin to the idea of getting married. Even Gemma's mother, who was horrified at first because of Gemma's breakup with her fiancé, gradually calmed down and began to make plans for their future life. To sell your estate and get money for life together Sanin went to Weissbaden to visit the rich wife of his boarding comrade Polozov, whom he met by chance in Frankfurt. However, the rich and young Russian beauty Marya Nikolaevna, on her whim, lured Sanin and made him one of her lovers. Unable to resist Marya Nikolaevna's strong nature, Sanin follows her to Paris, but soon turns out to be unnecessary and returns to Russia with shame, where his life passes languidly in the bustle of the world. Only 30 years later, he accidentally finds a miracle ...

Summary of a lesson in Russian literature (grade 9)

Theme: Ivan Turgenev's story "Spring Waters": earthly love and heavenly love.

Target: revealing in the story the content of two different categories: earthly love and heavenly love.

Tasks:

Educational:

To see what significance such a feeling as love had in the life of I. S. Turgenev; learn to analyze and compare images, identify typical traits in the character of a Russian nobleman of the 19th century;

Developing:

- teach how to work with a literary text and comprehend its content, teach how to work on the characteristics of a literary hero.

Educational:

To educate such a moral concept as sympathy, empathy, the education of such value categories as love, happiness; to form communicative and speech competence.

Lesson type: lesson-conversation.

Equipment: textbooks, text of the story "Spring Waters" by I. S. Turgenev, table "Gemma" and "Marya Polozova".

During the classes:

1. Organizational moment.

3. Introductory and motivational stage.

5 ... Work on the topic of the lesson.

5 ... Lesson summary. Output.

6. Homework.

During the classes

1. Organizational moment.

2 ... Homework check.

3. Introductory-motivational stage.

The best time in a person's life is his youth, because then that “sacred flame is kindled and burned in him, at which only those laugh at, in whose hearts it either extinguished or never flashed”.

The personality of the writer was especially noticeable when he wrote about love. Why? I am addressing this question to you. What woman's name became for Turgenev a symbol of goodness, moral beauty, love?

I would like to start our lesson with this: tell me what in your understanding means the word "love".

This is how we, people of the 21st century, represent love. I wonder what it meant for the great writer I.S.Turgenev, who lived almost two centuries ago?

4. Updating previous knowledge.

Consider excerpts from the letters of Ivan Sergeevich.

A) "Love is one of those passions that undermines our I, makes us, as it were, forget about ourselves and our interests ..." Fanatics of the idea, often absurd and reckless, also do not regret their own. Love is like that. "

B) Later, in the well-known prose poem "Sparrow" Turgenev will say: "Love ... is stronger than death and fear of death. Only by her, only by love does life hold and move. "

My dear, good Madame Viardot, how are you? Have you already made your debut? Do you often think of me? There is not a day when the memory of you dear to me does not come to mind hundreds of times; there is no night when I do not think of you in a dream. Now, apart, I feel more than ever the strength of the bond that holds me to you and your family; I am happy that I enjoy your sympathy, and sad that I am so far from you!

I ask heaven to send me patience and not to distance too much of that thousand times blessed moment when I see you again.

Next Tuesday it will be seven years since I first visited you. And so we remained friends, and it seems to me good friends... And I am glad to tell you after seven years that I have not seen anything in the world better than you, that meeting you on my way was the greatest happiness of my life, that my devotion to you has no boundaries and will die only with me. God bless you a thousand times over this! I pray on my knees and folded my hands. You are everything that is the best, noblest and cutest in this world.

Your I.T. "

5. Work on the topic of the lesson.

Comprehension of the epigraph to the story.

Happy years
Happy Days -
Like spring waters
They rushed!
(From an old romance.)

What does "vernal" mean? Ozhegov's dictionary: Spring - spring (about time, weather, state of nature). How to understand the title of a work in whichit's not about nature? I. S. Turgenev has spring waters as applied to man. Loverushed over, captured, carried away, like a spring stream.Rivers in spring are fast, full-flowing. And happiness is fleeting, it overwhelms a person, every minute is precious, since happiness has no tomorrow.

List the heroes of the work. (Gemma, Dmitry Pavlovich Sanin, Maria Nikolaevna Polozova, Ippolit Polozov). How does Turgenev begin his story? Reading start.

At two o'clock in the morning he returned to his office. He sent out a servant who lit candles, and, throwing himself into an armchair near the fireplace, covered his face with both hands. Never before had he felt such fatigue - physically and mentally. He spent the whole evening with pleasant ladies, with educated men; some of the ladies were beautiful, almost all the men were distinguished by intelligence and talents - he himself spoke very successfully and even brilliantly ... life "- with such an irresistible force it did not take possession of him, did not choke him. If he were a little younger, he would have cried from longing, from boredom, from irritation: bitterness, acrid and burning, like the bitterness of wormwood, filled his whole soul. Something obtrusively hateful, disgustingly heavy surrounded him on all sides, like an autumn languid night; and he did not know how to get rid of this darkness, this bitterness. There was nothing to count on sleep: he knew that he would not fall asleep.

He began to think ... slowly, listlessly and viciously.

He reflected on vanity, uselessness, on the vulgar falseness of everything human. All ages gradually passed before his mind's eye (he himself recently passed the 52nd year) - and not one found mercy in front of him. Everywhere, the same eternal pouring from empty to empty, the same pounding of water, the same half-conscientious, half-conscious self-delusion - no matter how the child amuses himself, just not to cry, and then suddenly, just like snow on his head, it will come old age - and along with it that constantly growing, all corroding and eroding fear of death ... and thump into the abyss! It’s good if life plays out like that! And then, perhaps, before the end, weakness, suffering will go like rust on iron ... dark bottom; he himself sits in a small, fallen boat - and there, on this dark, muddy bottom, like huge fish, ugly monsters can hardly be seen: all everyday ailments, illnesses, sorrows, madness, poverty, blindness ... He looks - and here one of the monsters stands out from the darkness, rises higher and higher, becomes more and more distinct, more and more disgustingly more distinct. Another minute - and the boat propped up by it will overturn! But here it again seems to grow dim, it recedes, sinks to the bottom - and it lies there, slightly stirring the reach ... But the right day will come - and it will turn the boat over.

He shook his head, jumped up from his chair, walked around the room twice, sat down at the writing-table and, pulling out one drawer after another, began rummaging through his papers, in old, mostly female, letters. He himself did not know why he was doing this, he was not looking for anything - he just wanted to get rid of the thoughts that tormented him by some external occupation. Having opened several letters at random (one of them turned out to be a dried flower tied with a faded ribbon), he just shrugged his shoulders and, glancing at the fireplace, threw them aside, probably intending to burn all this unnecessary trash. Hastily thrusting his hands into one or the other box, he suddenly opened his eyes wide and, slowly pulling out a small octagonal box of an old cut, slowly lifted its lid. In the box, under a double layer of yellowed cotton paper, was a small pomegranate cross.

For several moments he looked at this cross in bewilderment - and suddenly he cried out weakly ... His features portrayed either regret or joy. A similar expression reveals the face of a person when he suddenly has to meet another person whom he has long lost sight of, whom he once loved tenderly and who suddenly appears now before his gaze, the same - and all changed over the years. He got up and, returning to the fireplace, sat down again in a chair - and again covered his face with his hands ... "Why today? Today?" - he thought, and he remembered a lot, long past ...

This is what he remembered ...

But you must first say his name, patronymic and surname. His name was Sanin, Dmitry Pavlovich.

What did the little pomegranate cross he found under a layer of yellowed paper reminded Sanin?

The writer created a gallery of charming female images- "Turgenev girls". They are distinguished by a fine mental organization, nobility of ideals and aspirations. Today we will meet Gemma from the novel "Spring Waters".

(Ch. 30. In this chapter we will find the meaning of the name of the heroine. “- After all, she is beautiful to me, like a queen, - she said with maternal pride, - and there are no such queens in the world!

There is no other Gemma in the world! - picked up Sanin.

Yes; that's why she is - Gemma! (it is known that on italian Gemma means: precious stone ").

Gemma's portrait (ch. 2, beginning and end of the chapter; ch. 3, beginning). "A girl of about nineteen rushed into the pastry shop, with dark curls scattered over her bare shoulders, with her bare arms outstretched forward ..."

“Her nose was somewhat large, but beautiful, eagle-like tune, upper lip slightly shaded the fluff; but the complexion, even and matte, be it ivory or milky amber, wavy hair ... and especially the eyes, dark gray, with a black border around the pupils, magnificent, triumphant eyes ... "

We mark the eyes - dark gray, gorgeous, triumphant, big, wide open, alarming. They live on Djema's face, they reflect all the inner feelings and experiences of the heroine.

Portrait of Sanin (ch. 14.) Slightly vague features, blue eyes. “Firstly, he was very, very good at himself. Stately; pleasant, slightly vague features, affectionate bluish eyes, golden hair, whiteness and blush of the skin - and most importantly: that simple-hearted, cheerful, trusting, frank, at first somewhat silly expression, by which in former times it was immediately possible to recognize the children of staid noble families , good barichi ... finally, freshness, health - and softness, softness - here's all of Sanin for you. "

What worries you about his appearance?

The vagueness of the features suggests the hero's uncertainty, his inability to show strength of character, to make the right choice. Such people often fall under the influence of another strong personality. It is good if this influence is positive, but what if not? "Blue eyes" are typical for a child, not for an adult man.

Guys, pay attention to the title of the lesson topic. After all, it is not without reason that such an opposition was made: earthly love and heavenly love. On the life path of the protagonist, two women meet, each in its own way attracting Sanin. We must determine which of them influenced the fate of the hero and what kind of love it was.

JEMMA ROSELLY

MARIA POLOZOVA

External features

Comparison (with someone, with something)

Name characteristic

Upbringing

Education

Classes

Attitude to life

Students' speeches.

Possible answers:

Let's turn to the table. What conclusions can be drawn? Is it possible to immediately give an unambiguous assessment of the heroines?

Possible answers: It is impossible to evaluate images unambiguously. Each is attractive in its own way: Gemma - by tenderness, Polozova - by strength. Still, the first is more of romance, and the second is everyday life; the first is heavenly love, the second is earthly love.

1 group. Think about what attracted Gemma Sanina.

Group 2. Think about what attracted Sanina to Marya Polozova.

Students' speeches.

Possible answers:

1. Gemma attracted Sanin with her purely external features, curly dark hair, regular features, a crooked nose, long fingers, as if chiseled. Having got to know her better, he sees that not only her appearance is beautiful in her, she is just a wonderful girl.

Also important is the fact that Gemma is a piece of Italy that the hero misses very much. He perceives her as something special, he has never met anything like it.

2. Gemma is calm, calm, and Polozova is a storm, an onslaught. Polozova is strength, rebellion, striving for personal freedom, fearlessness; she is cheeky, even somewhat vulgar. Sanin is drawn to her, because it is precisely these qualities that he lacks.

5 ... Lesson summary. Output.

What happened to Dmitry Sanin in the finale of the story? Has he found his happiness? Where does the hero go to "... remember the faces long forgotten ..."?

The hero in the ending of the story is deeply lonely, despite the fact that he lives surrounded by people who treat him with respect. Sanin is empty spiritually. Life appeared before him a senseless road to nowhere. A pomegranate cross, a gift from Gemma, the only memory of her. The hero dreams of a meeting and does everything to make this meeting take place. Will she bring Sanin peace of mind? Who knows, maybe something will change in the hero's life. The story ends with an elegiac chord. But, in the words of Pushkin, the hero's sadness is light, it ennobles a person.

A friend of I. S. Turgenev, P. V. Anenkov, gave the following assessment to the story: "The work is brilliant in color, in the energy of the brush, in the enticing fit of all the details to the plot and in the expression of faces."

The English writer Thomas Perry, having read Spring Waters, wrote: “Anyone who reads Turgenev knows with what wonderful power he speaks of love. Maybe nowhere else he does it better than in the story "Spring Waters".

6. Homework. I. S. Turgenev, "Fathers and Sons".

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BREST STATE UNIVERSITY

THEM. A.S. PUSHKIN

Faculty of Philology

Department of Theory and History of Russian Literature

COURSE WORK

"Spring waters" I.S. Turgenev.Problems, artistic originality

Completed:

3rd year student,

philological faculty

correspondence department

Vasily Shubich

Supervisor:

Candidate of Philology, Associate Professor

Senkevich Tatiana Vasilievna

WITHobsession

Introduction

Chapter 1. Interpretation of the theme of love in the story of I.S. Turgenev

Chapter 2. Artistic skill of Turgenev

Conclusion

Bibliography

Vconducting

Turgenev's life took place in one of the most significant epochs in Russian and world history. When he was seven years old, there was a Decembrist uprising. The beginning of his literary activity falls on the time of Belinsky and Gogol, and his heyday - in the 60s - 70s, the time of Chernyshevsky and revolutionary populism.

Turgenev was an astute and perspicacious artist. From the beginning to the end of his creative life, he was sensitive to everything new in Russian reality. He was able to notice and respond to all living and acute phenomena of our time, to raise in his works precisely those questions of Russian life that worried public thought. Turgenev's books have always evoked acute literary and social controversy, were an example of acting art.

Turgenev has always considered himself a realist writer. “I am primarily a realist - and most of all I am interested in the living nature of the human physiognomy; I am indifferent to everything supernatural, I do not believe in any absolutes and systems, I love freedom most of all - and, as far as I can judge, is available to poetry. Everything human is dear to me ... ”- he wrote to MA. Milyutina in February 1875, Turgenev I.S. Spring Waters: Tale. Poems in Prose: For Art. shk. Age / Foreword S. Petrova. - Mn .: Mast. lit., 1996.

No one in Russian literature before Turgenev depicted with such thoroughness and penetration the spiritual life of a person, the movement and clash of ideas. Turgenev is one of the creators of the Russian story, the truthfulness, depth and artistic merits of which are striking. One of them is the lyrical and largely autobiographical story "Spring Waters", which he completed in 1871 in Baden-Baden.

This work was appraised by Annenkov in a letter to the author: “After last leaf I am writing to you the proofs of the marvelous story "Spring Waters", my esteemed friend. A thing came out that is brilliant in color, in the energy of the brush, in the enticing fit of all the details to the plot and in the expression of faces, although all its main motives are not very new, and the thought-mother has already been encountered before in your novels ... I prophesy to you shouts of delight from the public : she has not received such an intensity of poetic power, selectivity and stylistic miracles from you for a long time. " After this flattering assessment, Annenkov expounded his critical remarks about Sanin and his relationship with Polozova: “For example, I can understand that Sanin could make disgusting leaps under Polozova's whip, but I cannot understand how he became her lackey after the experience of pure love. ... It comes out terribly impressive in the story - it's true! But it is also terribly shameful for the Russian nature of man ... It would be better if you drove Sanin home from Wiesbaden, from both mistresses, with horror from himself, suffering, disgusting and not understanding himself, otherwise it turns out now that this man is capable of equally smacking the taste of the divine ragweed and Kalmyk eat raw meat ... brr! But what do you care about these subtleties, when tremendous success awaits you and when I myself, under the influence of an amazing story, could hardly find the reason for the sediment on my soul that it leaves behind, in the most satisfactory mood of it "Turgenev I.S., Rudin ; Spring waters. - M .: AO publishing house "New time", 1992. S. 269..

Turgenev's answer to this letter clarifies somewhat. creative story a story that has long remained unexplored. He wrote to Annenkov: “Oh, my dear GV, - and you made me happy and stabbed me to death with your letter. We were gladdened with the praises that you wasted, and slaughtered with the irresistible fidelity of your reproach about the denouement! Imagine that in the first edition it was exactly as you said - as if you had read it ... This misfortune can no longer be helped ... ”.

It is also possible that Turgenev did not want to change the story, cherishing those autobiographical memories that were reflected in it. The presence of an autobiographical element in the story is attested by Turgenev himself in a letter to Flaubert's niece, Madame Commanville. German professor-philologist Flindlender tells about the same in his memoirs about Turgenev. Bearing in mind the beginning of the story, he writes: “As there is Sanin, so Turgenev, still a young man returning home from Italy, in Frankfurt am Main, in a pastry shop, frightened beautiful girl asked to help her brother, who had fainted deeply. Only it was not an Italian, but a Jewish family, and the sick man had two sisters, not one. Turgenev then overcame his inflamed passion for the girl with an imminent departure. He met old Pantaleone later, in the house of a Russian prince. "

Even more detailed story Turgenev about the autobiographical basis of the story is conveyed in the memoirs of I. Pavlovsky: “This whole novel is true. I experienced and felt this incarnation of Princess Trubetskoy, whom I knew well. At one time she made a lot of noise in Paris; there she is still remembered. Pantaleone lived with her. He occupied a middle position in the house between the role of friend and servant. The Italian family is also taken from life. I only changed the details and moved them because I cannot blindly photograph. For example, the princess was a gypsy by birth; I made of her a type of secular Russian lady of plebeian origin. I transferred Pantaleone to an Italian family ... I wrote this novel with true pleasure, and I love it as I love all my works written in this way ”Turgenev IS, Rudin; Spring waters. - M .: AO publishing house "New time", 1992. S. 270..

Shortly before the publication of "Veshniye Vody", Turgenev wrote to Ya.P. Polonsky about his fears for the fate of the story: "My story (speaking between us) is unlikely to please: it is a spatially told story of love, in which there is no social, political or modern hint."

Indeed, in most of the critical reviews, the story was biased and unfairly assessed as a major failure of the writer. The reactionary "Moskovskiye Vedomosti" published an article by a certain L. Antropov, "Turgenev's New Story," the author of which rudely accused Turgenev of portraying all foreigners as simple, empathetic, smart people, and showed the Russians in a bad light (rag, rubbish-man Sanin, dissolute Polozova, obese cattle Polozov).

Contrary to the opinions of such critics, readers highly appreciated Veshnie Vody: the Vestnik Evropy book, in which this story was published, had to be reissued soon - a very rare case in journalistic practice. Even today, this wonderfully told story will rarely leave anyone indifferent.

The purpose of the course work: determination of the problem field of Turgenev's work, its genre and style originality.

Objectives arising from the goal:

1) systematically consider and analyze the main problems of the story;

2) identify artistic means and the techniques used by Turgenev in the story to create an artistic picture of the world.

Chapter 1. Interpretation of the theme of love in the story of I.S. Turgenev

turgenev story water artistic

In the stories and stories of the seventies, Turgenev developed mainly themes gleaned from memories of the past. But even on historical material that was more or less significantly distant from the present, Turgenev sometimes turned to themes and images associated with the history of the Russian revolutionary movement. This applies mainly to the story "Punin and Baburin", in which the stern and unyielding figure of a republican petty bourgeois, a participant in the Petrashevtsy case, who was sentenced to exile to Siberia in 1849, occupies the central place. Otherwise, not in the historical aspect, but emotionally and lyrically, the motive of the revolutionary struggle sounds on one of the pages of the novel "Spring Waters": , her bright banner hovers high, and whatever lies ahead of her - death or new life, - she sends her enthusiastic greetings to everything. "

On the basis of autobiographical material in the story "Spring Waters", Turgenev created a new version of the "superfluous person", a noble intellectual who fruitlessly squandered the young forces. And in most of his stories of the seventies, he strove primarily to create types, sought to ensure that in each of them the spiritual qualities of a person, the features of his life behavior, were revealed in their connections with social conditions, with a certain stage in the history of the development of Russian society. This, in particular, is the image of Sanin. In "Spring Waters" Turgenev focused on solving not socio-historical, but purely psychological problems. These tasks determine the creative position of the author in this story. Here, with equal depth of penetration into the world of human feelings, both main themes of the story are developed: the theme of the pure, inspired love of Sanin and Gemma and the theme of blind, humiliating passion, to which Sanin fell victim after his meeting with Polozova.

The problems of the story are questions of truth and lies, joy and suffering, freedom and necessity, happiness and unhappiness; moral and aesthetic issues are harmoniously combined. One of the key problems in the story is the problem of love and relationships between a girl and a young man. "Veshnie Vody" is a story of love and betrayal of a "Russian abroad": the main character, Sanin, suddenly falls in love with the beautiful Italian woman Gemma, who lived with her family in Frankfurt, and just as suddenly cheats on her with a very bad lady Marya Nikolaevna Polozova. It turns out that love for Gemma was the main event of his life, and his connection with Polozova was a turn towards a "joyless existence."

Many authors agree that in this autobiographical work there is a stream of life that picks up young Sanin, not allowing him to come to his senses, to seriously think about what is happening. He cannot even calmly remain in one position, everything is in him - movement, readiness to pick up any game, romance, remark. He dissolves into this stream of life. The first touching love for Gemma gives way in the hero's soul to a vital all-consuming passion for Maria Polozova and carries, carries him nonstop to the tragic end with the promise of hopeless loneliness and doom for mental anguish.

In 1840, Turgenev, like his hero Sanin, passed the 22nd year. When, in 1870, Sanin recalls the events of thirty years ago, he returns to the days of his first youth, as the current fifties remember the sixties. This is his nostalgia. Everything was different in 1840: Russian barbarians traded in people, no one had even heard of photographs, the postal coach from Frankfurt to Wiesbaden took three hours (and now, in 1870, it took less than an hour by rail). But the main thing is youth, youth, youth ...

The events described in the story took place a century and a half ago. But even in our time, the questions and problems that the author poses in his work are relevant. It is strange to see both what has changed since then, and what has not changed at all. First of all, the feeling of age has changed: the main character, Sanin, is 22 years old, and one can believe it; But the same is true for the fatal Russian beauty Marya Nikolaevna, but it seems that she is certainly no less than thirty, and her husband, 25-year-old Polozov, is all fifty. The world of things around us has changed; the meanings of the words have changed ("commie" is not a Bolshevik, but a shop assistant); the concepts of good manners have changed (Sanina is shocked that the old servant, in essence, a member of the family, sits in the presence of the owners - "Italians are not at all strict about etiquette"). On the other hand, wealthy Russians also spent huge sums of money on foreign trinkets, smoked Havana cigars and were suspicious of all foreigners, especially the Germans. In how Turgenev describes Sanin's unlucky rival, Kluber: "There could be not the slightest doubt about his supernatural honesty: one had only to look at his starched collars!" Alyabyeva N.N. The Theory of Russian Literature - SPb .: Peter, 2004.S. 56.

In "Veshniye Vody" Turgenev does not face, as the main task, to identify the features of the socio-psychological appearance of the "superfluous" or "weak" person, although Sanin is that "superfluous" person well-known to the reader, about whom history has already told its weighty word. Turgenev is interested in the psychological motives of the hero's behavior. In the "superfluous person", he saw a manifestation of the fundamental features of national psychology. In "Spring Waters" the quality of the "superfluous" person is not only a product of certain social and political circumstances, it is above all distinctive features character of the Russian person. The writer believed that readers, having guessed in Sanin the familiar traits of a "superfluous" person, would look for specific socio-political allusions in the story, and therefore emphasized that his works do not contain any social, political or modern allusion.

At the same time, there are quite a few social hints in "Veshniye Vody". Sanin appears as a hero of a very specific era and environment. This is a person with a small fortune, who decided to live several thousand inherited from him abroad. For this he goes to Italy. This is a young barich, of which there were many at that time, "stately" and "slender", with pleasant features, snow-white skin and a healthy blush; “He resembled a young, curly, recently grafted apple tree in our chernozem orchards - or, even better: a well-groomed, smooth, thick-legged, tender three-year-old of the former“ master's ”horse farms, which had just begun to be banged on the cord ...” (XI, 37). The author clearly strives to ensure that the reader has no doubts that Sanin belongs entirely to Russian life and that innocence, gullibility, frankness, gentleness of character, even health and freshness, which he retained, despite his trip abroad, are all from Russian lordship. Sanin is an ordinary person and does not have the degree of education that would suggest deep penetration into the "world of art" and which was organic for "the best part of the youth of that time."

The hero of Turgenev is an old hero, a very common and very typical phenomenon for Russia. He was born in a feudal era, but it is characteristic that this era revealed precisely such personality traits in him. Sanin is a hereditary nobleman and landowner, he has a small estate in the Tula province, which "with a well-organized economy ... must certainly give five or six thousand" income (XI, 94), but Sanin is forced to think about the service, because without it a secure existence became inconceivable to him. Turgenev repeatedly speaks of Sanin's inability to manage. This is also a trait that testifies to the good-natured nobility and egoism of the hero, his indifference to practical, everyday issues. As an honest man, he is not alien to the humane ideas of his time and, for example, sincerely wants to assure his new acquaintances that he will never sell his peasants for anything, since he considers it immoral. But he also sincerely forgets about the moment it comes to his happiness, and then goes on a date with Polozova and talks to her about how much one serf soul could cost. True, Sanin is ashamed, but this does not change the essence of the matter.

Turgenev called Sanin a "weak" man. In Frankfurt, Sanin looks like a hero: he saved Emil's life, fought a duel for the honor of the girl and did all this out of his inner moral conviction. Gemma's betrayal, therefore, cannot be motivated by Sanin's moral depravity. Its reasons are different: the hero of "Spring Waters" cannot determine his own life and floats with its flow.

Sanin is constantly amazed at what is happening to him. In Frankfurt, in a quiet, cozy pastry shop, he feels good, he was captivated by the idyll of life, similar to a fairy tale or a dream, and this girl. This love, which Sanin had not yet realized, but which he already vaguely felt and to meet which he unconsciously rushed. Therefore, he stopped asking himself unnecessary questions: "About Herr Kluber, about the reasons that prompted him to stay in Frankfurt - in a word, about everything that worried him the day before - he never thought" (XI, 36).

But because Sanin stopped worrying, the situation did not cease to be strange; on the contrary, it soon took on an even more unusual character. Sanin lives only in the present, and therefore chance plays a decisive role in his life; this incident also involves him in the most unexpected situations. And although participation in a duel demonstrates Sanin's nobility, the nobility is natural, not rational, but in a sense this duel is absurd. Sanin always thinks like a person who lives only by himself and acts in accordance with an instant inner urge. Although in essence he puts Gemma in a rather false position (XI, 48.64), Sanin's conscience remains clear as long as further events justify his actions: until he, finally realizing that he loves Gemma, completely surrenders to his first love. In his feelings, Sanin knows no limits to his magnanimity or determination.

The stream of life swept over Sanin. Only when he leaves Gemma can he ask himself questions again: “It’s already very strange,” Sanin says to Polozov. “Yesterday, I must admit, I also thought little of you as a Chinese emperor, and today I am going with you to sell my estate to your wife, about whom I also have no idea” (XI, 106). And now Polozova, who with her practical mind was able to recognize the character of Sanin, achieves the seemingly impossible. She does not allow Sanin to come to his senses, to think, although he understands well that “this lady is clearly fooling him, and she drives up to him this way and that.<…>He would feel contempt for himself if he could concentrate even for a moment; but he had no time to concentrate or despise himself. And she wasted no time (IX, 126, 137). This is the subordination of the will, in which there is nothing demonic and mysterious. Sanin is spontaneous even now. Only when he succumbs to the process of pure love does it look high and noble, but when passion subjugates him - disgusting and low. But in both parts of the story, Sanin is one and the same weak person, and he acts as the “superfluous people” behaved in Turgenev's early works. Sanin is outside the circle of lofty ideas, he is an ordinary person, but the writer believes his personality with the same yardstick - love. But in love, Sanin is a passive person.

Sanin behaves quite logically from the point of view of weak will, i.e. refuses to listen to any arguments of reason, and his intentions and assumptions are absurd and have no practical meaning.

The specificity of "Spring Waters" is in the combination of Turgenev's two stable motives. The fact that Sanin turned out to be a slave to passion after experiencing love for Gemma should indicate the ability of a Russian person to blindly submit to the spontaneous flow of life and its passionate whims. The second part of the story is constructed as proof of this.

Chapter 2.Artistic skill of Turgenev

The story is preceded by a quatrain from an old Russian romance:

Happy years

Happy Days -

Like spring waters

They rushed.

It is not difficult to guess that it will be about love, about youth. The story is written in the form of memoirs. The main character Sanin Dmitry Pavlovich, he is 52 years old, he remembers all ages and does not see a gap. “Everywhere there is the same eternal pouring from empty to empty, the same pounding of water, the same half conscientious, half conscious self-delusion ... - and then suddenly, as if it were snowing on your head, old age will come - and with it ... the fear of death ... and boo into the abyss!" Turgenev I.S. Spring Waters: Tale. Poems in Prose: For Art. shk. age / Foreword S. Petrova. - Mn .: Mast. lit., 1996.

To distract himself from unpleasant thoughts, he sat down at his desk, began rummaging through his papers, in old women's letters, intending to burn this unnecessary trash. Suddenly he cried out weakly: in one of the boxes there was a box containing a small pomegranate cross. He sat down again in an armchair by the fireplace - and again covered his face with his hands. "... And he remembered a lot, long past ... This is what he remembered ...".

This part of the story is an exposition where the protagonist, who is 52 years old, reflects and recalls the events of thirty years ago, his youth, which happened to him in Frankfurt when he was returning from Italy to Russia. The author describes all these events further. And already in the first chapters of the story, the plot of the work begins, where we also meet the main characters: the young girl Gemma, her brother Emil, as well as Gemma's fiancé, Mr. Kluber, Frau Lenore, the mother of the Roselli family, and a little old man named Pantaleone.

Once, while passing through Frankfurt, Sanin went into a pastry shop, where he helped his young daughter with her younger brother who had fainted. The family was imbued with sympathy for Sanin and, unexpectedly for himself, he spent several days with them. When he was out for a walk with Gemma and her fiancé, one of the young German officers sitting at the next table in the tavern allowed himself to be rude and Sanin challenged him to a duel. The duel ended well for both participants. However, this incident greatly shook the girl's measured life. She refused to the groom, who could not protect her dignity. Sanin suddenly realized that he fell in love with her. The love that gripped them led Sanin to the idea of getting married. Even Gemma's mother, who was horrified at first because of Gemma's breakup with her fiancé, gradually calmed down and began to make plans for their future life. To sell his estate and get money for a life together, Sanin went to Wiesbaden to the rich wife of his boarding comrade Polozov, whom he met by chance in Frankfurt. However, the rich and young Russian beauty Marya Nikolaevna, on her whim, lured Sanin and made him one of her lovers. Unable to resist Marya Nikolaevna's strong nature, Sanin follows her to Paris, but soon turns out to be unnecessary and returns to Russia with shame, where his life passes languidly in the bustle of the world. Only 30 years later, he accidentally finds a miraculously preserved dried flower that caused that duel and was presented to him by Gemma. He rushes to Frankfurt, where he finds out that Gemma two years after those events got married and lives happily in New York with her husband and five children. Her daughter in the photo looks like that young Italian girl, her mother, whom Sanin once offered her hand and heart.

Saying that the Italians are described in this story in “the most warm colors”, The author examines each of these images. With the greatest attention he dwells on the image of Gemma, whom he considers "the true heroine of the story."

In Gemma, Turgenev strove to embody the image of a sincere and spontaneous girl, but at the same time, apparently, he took care that this spontaneity did not turn into swagger. The drama she has experienced does not lead her to such actions as Russian women are capable of (for example, going to a monastery), which characterizes her as a true Italian.

In the image of Polozova, Turgenev strove to emphasize more cunning, cruelty and baseness of her nature. For example, he calls her eyes "greedy"; in his address to Sanin, the author uses the words: “she ordered almost rudely”; and in the characterization that Maria Nikolaevna gives to herself during the first conversation with Sanin, there is a ruthless expression: "I do not spare people"; In Sanin's reflections on the obsessive features of Polozova's image, it is said: “They grin insolently.

Sanin falls in love with the lovely Gemma, an Italian, but her sweet, noisy, extravagant family also has the same ideas about Russia as most foreigners nowadays: Italian ladies are surprised that the Russian surname can be so easily pronounced, and they carelessly share with Sanin his vision of his distant homeland: eternal snow, everyone walks in fur coats and all the military. By the way, there is a serious language barrier between Sanin and Gemma: he doesn't speak German well, she doesn't speak French well, and besides, both have to communicate in a foreign language. It is not surprising that the hero gets tired of such communication. Unsurprisingly, he felt nostalgic. The quencher of nostalgia appears to Sanin in the form of a femme fatale, whom the author frankly admires, whom he is afraid to shiver.

Portrait of Sanin (ch. 14.): Slightly vague features, blue eyes. “Firstly, he was very, very good at himself. A stately, slender growth, pleasant, slightly vague features, affectionate blue eyes, golden hair, whiteness and blush of the skin - and most importantly: that ingenuous, cheerful, trusting, frank, at first somewhat stupid expression, according to which in the old days that hour you can it was to recognize the children of staid noble families, good barichi ... finally, freshness, health - and softness, gentleness - here's all of Sanin for you. "

The vagueness of the features suggests the hero's uncertainty, his inability to show firmness of character, to make the right choice. Such people often fall under the influence of another strong personality. It is good if this influence is positive, but what if not? "Blue eyes" are typical for a child, not for an adult man.

Gemma's portrait (ch. 2, beginning and end of the chapter; ch. 3, beginning). “A girl of about nineteen rushed in impulsively into the pastry shop, with dark curls scattered over her bare shoulders, with outstretched bare arms ...”.

“Her nose was somewhat large, but her beautiful, aquiline fret, the upper lip was slightly set off by down; but the complexion, even and matte, be it ivory or milky amber, wavy hair ... and especially the eyes, dark gray, with a black border around the pupils, magnificent, triumphant eyes ... ".

We note the eyes - dark gray, magnificent, triumphant, large, wide open, alarming. They live on Gemma's face, they reflect all the inner feelings and experiences of the heroine.

Sanin takes the rose given by Gemma, and it seems to him that "from her half-withered petals a different, even more subtle scent emanated from her than the usual scent of roses." On a single date with her beloved, Gemma almost drops an umbrella twice, and this is said so that it becomes clear from what and how love arises.

The story is based on the more than well-known cliche of the love triangle, which consists of two heroines and one hero. The conflict lies in the fact that a naive, pure, young girl does not assume danger from an experienced and cynical rival who wins for the sake of "love of art." The hero is passive; strictly speaking, he does not make a choice, but obeys. In a sense, it is he who suffers the main defeat, losing true love and not gaining anything in return.

Turgenev's Gemma is Italian, and the Italian flavor at all levels, from linguistic to the description of Italian temperament, emotionality, etc., all the details that make up the canonical image of the Italian are given in the story with almost excessive detail. It is this Italian world, with its temperamental responsiveness, light flammability, quickly replacing each other with sorrows and joys, despair not only from injustice, but from the ignorance of form, that emphasizes the cruelty and baseness of Sanin's deed. But it is against the “Italian raptures” that Marya Nikolaevna speaks against and, perhaps, in this she is not completely unfair. Tsivyan T. Translucent motives, - M .: IVK MGU, 2003. S. 33..

At Turgenev's italian, in this case, corresponding to all possible virtues, in a certain sense, is also inferior to another (Russian) image. As often happens, the negative character “outplayes” the positive one, and Gemma seems somewhat insipid and boring (despite her artistic talent) in comparison with the bright charm and significance of Marya Nikolaevna, “a very wonderful person” who captivates not only Sanin, but also the author himself ... Turgenev almost caricatures the rapacity and depravity of Marya Nikolaevna: “… triumph snaked on her lips - and her eyes, wide and light to whiteness, expressed the one merciless stupidity and satiety of victory. A hawk that claws a caught bird has such eyes. ”Turgenev I.S. Selected works - M .: Olma-press, 2000.S. 377.

However, such passages give way to a much more pronounced admiration, first of all, in front of her feminine irresistibility: “And it is not that she was a notorious beauty<…>she could not boast of the thinness of her skin or the grace of her arms and legs - but what did all this mean?<…>Not in front of the "shrine to beauty", in the words of Pushkin, would have stopped anyone who would have met her, but before the charm of a powerful, either Russian or gypsy, blooming Russian body ... and he would have involuntarily stopped!<…>"This woman, when she comes to you, as if she brings all the happiness of your life towards you." Turgenev I.S. Selected works, - M .: Olma-press, 2000. S. 344. etc. “The charm of Marya Nikolaevna is dynamic: she is constantly on the move, constantly changing“ images ”T. Tsivyan. Translucent motives, - M .: IVK MGU, 2003. P. 35..

Against this background, the static nature of Gemma's perfect beauty, her statuary and picturesqueness in the "museum" sense of the word, is especially visible: she is compared with the marble Olympic goddesses, then with Allorieva Judith in the Palazzo Pitti, then with Raphael Fornarina (but it should be remembered that this does not contradict manifestations of Italian temperament, emotionality, artistry). Annensky spoke about the strange resemblance of pure, focused and lonely Turgenev girls (Gemma, however, is not among them) with statues, about their ability to turn into a statue, about their somewhat heavy statuary Annensky I. White ecstasy: A strange story told by Turgenev / / Annensky I. Books of reflections. M., 1979.S. 141.

No less admiration for the hero (author) is caused by her talent, intelligence, education, in general, the eccentricity of Marya Nikolaevna's nature: “She showed such commercial and administrative abilities that one could only be amazed! All the ins and outs of the household were well known to her;<…>her every word hit the mark ”; “Marya Nikolaevna knew how to tell ... a rare gift in a woman, and even in a Russian one!<…>Sanin had to burst out laughing more than once at another brisk and apt word. Most of all, Marya Nikolaevna did not tolerate hypocrisy, phrases and lies ... "Turgenev I.S. Selected works, - M .: Olma-press, 2000. p. 360, etc. Marya Nikolaevna is a person in the full sense of the word, domineering, strong-willed, and as a person leaves the pure, immaculate dove Gemma far behind. Annensky drew attention to this when he said that Turgenev's beauty is “the most genuine power” (cf. also “the insolence of imperious beauty”, “the intoxicating power of pleasure, for which Turgenev forgot everything in the world”). Among the male victims of this beauty (“lovers of fresh buns”) Annensky also names Sanin, adding that “Turgenev’s meek beauty somehow does not impress us” Annensky I. Symbols of beauty among Russian writers // Annensky I. Books of Reflections. P. 134.

Curious as an illustration, the theatrical theme in the characterization of both heroines. In the evenings in the Roselli family, a performance was played out: Gemma excellently, "quite like an actor" read the "comedy" of the average Frankfurt literary boy, "made the most hilarious grimaces, curled her eyes, wrinkled her nose, burst, squeaked"; Sanin “could not be quite amused at her; he was especially struck by how her perfectly beautiful face suddenly assumed such a comic, sometimes almost trivial expression. ”Turgenev I.S. Selected works, - M .: Olma-press, 2000. S. 268.

Obviously, Sanin and Marya Nikolaevna watch a play of about the same level in the Wiesbaden theater - but with what deadly sarcasm Marya Nikolaevna speaks of her: “Drama! she said indignantly, "a German drama." It's all the same: better than a German comedy. "<…>It was one of the many homegrown works in which well-read but mediocre actors<…>represented the so-called tragic conflict and boredom.<…>The antics and whimpering rose again on the stage. ”Turgenev I.S. Selected works, - M .: Olma-press, 2000.S. 354, 361, 365.. Sanin perceives the play with her sober and merciless eyes and does not experience any enthusiasm.

The opposition of scales at a deep level is also felt in what is reported about both in the conclusion of the story. "She died a long time ago" - says Sanin about Marya Nikolaevna, turning away and frowning Turgenev I.S. Selected works, - M .: Olma-press, 2000. S. 381., and this latently felt a certain drama (especially if you remember that the gypsy predicted her violent death).

All the more, this violent drama is felt against the background of Gemma, grateful to Sanin for the fact that meeting with him saved her from an unwanted groom and allowed her to find her destiny in America, married to a successful merchant, “with whom she has been living for the twenty-eighth year quite happily , in contentment and abundance "Turgenev I.S. Selected works, - M .: Olma-press, 2000. S. 383.

Having got rid of all the sentimental, emotional and romantic trappings of Italian (embodied in Frau Lenore, Pantaleone, Emilio and even the poodle Tartaglia), Gemma embodied a model of philistine happiness in an American manner, which, in fact, does not differ from what was once rejected German version... And Sanin's reaction to these news, which made him happy, is described in a manner for which one can assume the author's irony: “We will not undertake to describe the feelings that Sanin experienced while reading this letter. There is no satisfactory expression for such feelings: they are deeper and stronger - and more indefinite than any word. Music alone could convey them ”Turgenev I.S. Selected works, - M .: Olma-press, 2000. S. 383.

Be that as it may, one cannot part with the impression that Sanin's unhappy choice was more correct in another dimension and, having deprived him of quiet family happiness, allowed him to experience a higher spiritual experience T. Tsivyan. Translucent motives, - M .: IVK MGU, 2003 P. 37.

Thirty years will pass, and this cat, this tangle, this basket will cause in Sanin such an acute attack of nostalgia - this time not geographical, but temporary - that there will be only one way to get rid of it: by leaving this world and moving to another. “It is heard that he is selling all his estates and is going to America Sonkin V. Rendezvous with nostalgia // Russian Journal - № 13 - 2003..

However, just as “useless nature” in Turgenev turned out to be both tragically soulless and seductive, so love, in Turgenev's understanding, has its reverse, joyful and softening sense of tragedy side.

In First Love (1960), Turgenev reaffirms the understanding of love as inevitable submission and voluntary dependence, as a spontaneous force dominating a person. And at the same time main topic the story is the immediate charm of first love, not tarnished by the accusations that the author raises against this formidable force. In the same way, in "Spring Waters", separated from "First Love" by a whole decade, Turgenev develops the same philosophy of love as a force that subjugates a person, enslaves him, and at the same time admires the beauty of a love feeling, despite the fact that, according to thoughts of the author, this feeling does not bring happiness to a person and often leads him to death, if not physical, then moral. One of the chapters of the novel "Spring Waters" ends with such a lyrical exclamation of the author: "First love is the same revolution: the monotonous and correct structure of the established life is broken and destroyed in an instant, youth stands on the barricade, its bright banner hovers high - and so that there was nothing ahead of her — death or a new life — she sends her enthusiastic greetings to everything ”(VIII, 301).

In both cases - and tragically feeling his helplessness in the face of indifferent nature, and joyfully experiencing the beauty of such phenomena as nature and love - Turgenev's man equally remains a passive tool outside his underlying forces. He is not the creator of his own happiness and not the organizer of his own destiny. True, in order to understand this, he must, according to Turgenev, go through a long chain of striving for happiness, falls and disappointments. But then, when the sad truth is confirmed through life experience, a person will have no choice but to deliberately give up claims to personal happiness for the sake of impersonal goals, for the sake of what he considers his moral "duty." Only on this path will he find, if not happiness, then in any case satisfaction, albeit bitter, from the consciousness of the fulfilled duty and the completed labor entrusted to himself in exchange for the unrealizable striving for happiness.

An important role is played by Turgenev's so-called "language of flowers", very widespread in the 19th century, according to which each plant had a certain symbolic meaning, and the selection of flowers in a bouquet could "talk". "The language of flowers" helps to reveal the secret meaning of the work, allows you to better understand the characters of the characters, to understand their fate. Symbolic meaning have gifts from both heroines to Sanin: Gemma gives him a rose, and Polozova - an iron ring, a symbol of his power and triumph over him. From the female ring of feelings Polozova hero was not destined to escape. The author's sympathies are entirely on Gemma's side. And in the soft, elegiac tone of the narrative, and in the description of Gemma's beauty and charm, and in the poetic frame of the story (a small pomegranate cross presented by Gemma, who at the end and at the beginning of the work examines Sanin, reviving her image in his memory) - in all this one feels the glorification of pure, tender, ideal love. And the thought arises: the spring waters are a symbol not only of the transience of human sympathies, affections, feelings, but also of a happy youth, beauty, and nobility of human relations.

In many of Turgenev's works, a rose appears. In particular, in "Spring Waters" the rose personifies the beauty of the main character: "The line of the shadow stopped just above the lips: they glowed virgin and tender - like the petals of a capital rose ..." The name of the heroine, Roselli, is not accidental in this regard.

In the course of the narrative, the rose plays its intended role, according to its symbolism: it becomes a "sign" of love between Sanin and Gemma. This rose also served as a symbol of purity. But beauty and purity were almost tarnished. The drunken officer's outrageous trick of grabbing a flower from the table jeopardized everything that the rose represented. The writer notes that Dongof gave this flower to friends one by one to smell. An important detail that allows us to draw a conclusion about how the officers relate to love. Sanin intervened - by this he showed that Gemma was not indifferent to him, that he was going to fight for his love, to defend the purity of feelings. Sanin put the “returned rose” into Gemma's hand. This was followed by a challenge to a duel. But the duel ended in a peace treaty. Perhaps this meant that Sanin was not ready to fight for the rose and for the love of Gemma to the end.

The duel is preceded by an episode of a nighttime conversation between a young man and a girl, when the heroes suddenly find themselves engulfed in a "sultry whirlwind" of love. The climax is the moment when Gemma gives Sanin this rose, which he had won from the offender, as a symbol of his feelings. The writer emphasizes that the heroine took out the flower from behind the bodice, which speaks of the intimacy and depth of the girl's feelings. Gemma anxiously guards the flower from prying eyes. The period of rapid flowering of feelings passes under the "sign" of the rose: for three days Sanin carried it "in his pocket" and endlessly "feverishly pressed it to his lips."

In the scene of the meeting between Sanin and Gemma, “when instantly, like a whirlwind, love swooped down on him,” the girl, “taking an already withered rose from her bodice, threw it to Sanin. - "I wanted to give you this flower ..." He recognized the rose that he had won the day before ... "(VIII, 297-298). This red rose is a metaphorical image of Gemma and her life, which the girl gives to Dmitry Sanin.

Rose is one of external causes causing the actions of Sanin. After the duel, he realizes that he loves Gemma. “He remembered the rose, which he had been carrying in his pocket for the third day already: he snatched it out and pressed it to his lips with such feverish force that he involuntarily winced in pain” (VIII, 314).

Turgenev's story is filled with red roses. They bloom in Gemma's garden, vases decorate her house.

In adulthood, Dmitry Sanin, sorting out old letters, finds a dried flower tied with a faded ribbon. This wilted plant here, on the one hand, symbolizes love, which, after betrayal, turned from a luxurious rose into a withered flower; on the other hand, the ruined life of the hero.

In the story, Sanin is compared to a young, recently grafted apple tree. The apple tree is considered a symbol of life; many Russian fairy tales mention rejuvenating apples- apples that cure all diseases. This comparison by Turgenev is not accidental. Sanin was truly alive, unlike those characters who, according to the author, look like "Flensburg oysters." On the other hand, the apple is a symbol of the Fall. According to biblical tradition, the tempting serpent seduced Eve in paradise with the fruit of an apple tree. Even the icons depicted Eve under paradise tree with ruddy apples. In this work, Sanin, tempted by Marya Nikolaevna, plays the role of Eve. The analogy deepens the development of the plot: succumbing to temptation, Sanin was "expelled from paradise" - deprived of the chance to be with Gemma, which means - to taste real happiness, to find true love.

The lilac also helps to reveal the meaning of the story. Near the lilac bushes, Sanin confesses his love to Gemma. Lilac personifies the spring of the soul, the awakening of the first love feelings. But lilacs are also a symbol of separation. In England, for example, a lilac branch was sent to the groom, with whom the girl for some reason could not tie her fate. In the life of Sanin and Gemma, the lilac, regardless of the intentions of the lovers, exactly played the role of an omen of separation. Even the fact that the action takes place in the summer, when the lilac has already faded, is numerous: we understand that this love is initially doomed to defeat. "

One more detail is also interesting. When Sanin was waiting for Gemma, he smelled mignonette and white acacias. Reseda is a symbol of heartfelt affection, while acacia is a symbol of romanticism. Their color speaks of the purity and purity of the feeling that has begun.

In the story "Spring Waters" about Marya Nikolaevna Polozova it is said: “Polozova was constantly rushing about ... no! did not rush - stuck out ... before his eyes - and he could not get rid of her image<...>I could not help but feel that special smell, delicate, fresh and piercing, like the smell of yellow lilies, which breathed from her clothes ”.

Lily, according to scientific classification, belongs to the "nymphaean" family. This name is associated with an ancient Greek legend, according to which a nymph who died from unrequited love for Hercules turned into a beautiful water flower. Lilies have long been surrounded by a romantic halo: according to Western European legends, they served as a shelter for elves; the Slavs considered them to be Russian flowers, the properties of a love potion were attributed to their roots. Turgenev mentions not a white, but a yellow lily. The color yellow is associated not with purity and sublimity, but with the idea of infidelity, of bitter disappointment. The smell of yellow lilies, which haunts Sanin at the thought of Polozova, acts as an omen of his betrayal and subsequent regrets about the failed happiness with Gemma. In relation to Polozova, the smell of yellow lilies acts as a sign of deceit.

Polozova's husband in the story "Spring Waters" ate "orange meat" at dinner. Orange Blossom - Orange Blossom is a wedding flower, a symbol of purity, love and good intentions. The mention not of a flower, but of the “meat” of the fruit suggests that romantic feelings, lofty impulses are not inherent in the nature of the hero. His interests are purely gastronomic. And a person whose all thoughts are focused on food, in the eyes of the writer, is swine-like. Therefore, Turgenev notes that Polozov has “pig's eyes” and “bulging thighs”.

“Animal” comparisons also play an important role in Turgenev's stories. For example, Sanin is compared to a well-groomed, smooth, fat-legged, gentle three-year-old. Here we can see an analogy with the ancient legend, which tells that once the horses were free and did not recognize any power over themselves. They could even gallop to heaven. Only then the horses were captured by the gods and lost their abilities. So Sanin: having submitted to Marya Nikolaevna, he lost access to “heaven,” that is, to holy love and truly heavenly happiness that Gemma could give him.

In the episode describing the hero's love experiences, Sanin is likened by the author to a moth: “The hero's heart beat as easily as a moth that clung to a flower summer sun”. I think it was Gemma with her radiant love who was the sun for him. This comparison is implemented in further development plot. As you know, at night a bright light can serve as a bait for a moth. But the flame is dangerous to a moth and even often fatal. So Sanin, having fallen for the bait of Marya Nikolaevna, as they say, “burned his wings”.

But Herr Kluber resembles a trimmed poodle. Usually a dog is a symbol of devotion and fidelity, but a poodle is mentioned here - a decorative, indoor dog. This comparison clearly carries a negative assessment of the hero from the side of the author. Here you can see a hint of the character's spiritual limitations, the inability to take bold actions. As we remember, Kluber did not defend the honor of his bride, he chickened out in front of Dongoff.

In the story "Spring Waters" Marya Nikolaevna is accompanied by "predatory" comparisons. "These gray predatory eyes, these serpentine braids." The latter once again convinces the reader that Marya Nikolaevna will play the role of a tempting snake in the work. Her surname is also “speaking” - Polozova. (The snake is a snake of the snake family, rather large and strong.) In another episode, Polozova is compared to a hawk. The comparison reveals the predatory nature of the heroine: “She slowly fingered and twisted these unrequited hair, she straightened herself, triumph snaked on her lips, and her eyes, wide and light to whiteness, expressed the one merciless stupidity and satiety of victory. A hawk that claws a caught bird has such eyes. ” It becomes clear that she does not need Sanin himself, all that is important to her is the victory in the bet concluded between her and her husband.

Another climax comes in the story when Sanin, when asked Polozova: “Where are you going? To Paris - or to Frankfurt? "He answers with despair to his sovereign with these words:" I am going where you will be - and I will be with you until you chase me away. "

It should be noted that at this moment there comes a kind of denouement of the story. Everything has disappeared. Again before us is a lonely, middle-aged bachelor, sorting out old papers in drawers of a writing desk ...

Why did this happen with all the selfless heroism of his nature? Is Marya Nikolaevna to blame? Unlikely. It's just that at the decisive moment he could not fully understand the situation and obediently allowed himself to be manipulated and disposed of. Easily became a victim of circumstances, not trying to master them.

Just as complete happiness is not given to a private person in his personal life, Turgenev believed, so complete freedom is not destined for a public person in his historical life. And here and there, he assured, one had to be content with small, incomplete happiness and limit one's aspirations. Life cannot be changed, one can only adapt to it expediently; naively strive for sharp and sudden turns, one can count only on slow, gradual changes.

In "Spring Waters" the writer goes back to the old days, immerses himself in memories, as if defiantly separates himself from modernity, from topical issues, and even likes to emphasize this. When he was reproached for the lack of modernity of the story "Strange Story", he replied: "Of course! - yes, I, perhaps, will grab even further back. ”Letter to M. V. Avdeev dated January 25, 1870. "Russian antiquity", 1902. - book. 9-p. 497..

However, upon closer examination, it turns out that in his memoirs Turgenev "had enough back" not at all in order to move away from modernity. His "Literary and Everyday Memoirs" testifies to this with complete evidence. Both contemporaries and later critics drew attention to the fact that in these memories Turgenev, resurrecting images of the past, in particular great image Belinsky, was very far from dispassionate chronicle writing. In the past, he looks for the origins of modernity, at times he illuminates the figures of people of the 40s in such a way that they look like a reproach to the revolutionary democrats of the 60s. Arguing with them, Turgenev seeks to present Belinsky as a deeper and at the same time more cautious thinker than the historical successors of his cause - Chernyshevsky and Dobrolyubov. And the closeness of Turgenev himself to Belinsky serves as a kind of argument proving Turgenev's right to pronounce sentences with full authority over the phenomena of current literary and social life.

Conclusion

In a letter sent to New York from Frankfurt, Sanin wrote about his "lonely and bleak life." Why did this happen with all the selfless heroism of his nature? Is fate to blame? Or Marya Nikolaevna herself? Unlikely.

It's just that at the decisive moment he could not fully understand the situation and obediently allowed himself to be manipulated and disposed of. Easily became a victim of circumstances, not trying to master them. How often does this happen - with individuals; sometimes with groups of people; and sometimes even on a national scale. It is worth remembering the phrase: "Do not create an idol for yourself ...".

Everything is accidental and transient in life: chance brought Sanin and Gemma together, chance broke their happiness. However, whatever the end of the first love, it, like the sun, illuminates the life of a person, and the memory of it will remain forever with him as a life-giving principle.

"Spring Waters" is a story of love. Love is a powerful feeling, before which a person is powerless, as well as before the elements of nature. In his usual manner, Turgenev traces the emergence and development of love in Gemma, from the first vague and disturbing feelings of it, from the heroine's attempts to resist and overcome the growing feeling for an impulse of selfless passion, ready for everything. As always, Turgenev does not illuminate the entire psychological process for us, but dwells on separate, but crisis moments, when the feeling accumulating inside a person suddenly manifests itself outside - in a look, in actions, in a fit. A deep and moving lyricism permeates the story.

Lesson on Russian literature on the topic "I. S. Turgenev. The story" Spring waters ". Spring waters Turgenev

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