A lesson in Russian literature on the theme "I. S. Turgenev. The story" Spring waters ". Genre originality of the story" Spring waters

Writings about love are always relevant. Especially those created by outstanding masters of the word. These certainly include " Spring waters", summary and the analysis of which you will find in the article, is a story that to this day excites readers.

For Dmitry Sanin, a 52-year-old man, the little pomegranate cross meant a lot. He served as a vivid reminder of the past, as well as of what he never had.

About 30 years ago, when Dmitry was a young man, he traveled around Europe, spending an inheritance that he suddenly inherited. Frankfurt, a German city, was the last place he visited before returning home. Walking along the streets of this city, Sanin wandered into a pastry shop. He wanted to drink lemonade here. However, Dmitry suddenly became a savior for a child who suddenly fainted. The main character at first sight fell in love with a girl who was this boy's sister. It was for her sake that he decided to stay in the city. Sanin met the boy's family, whose members were very grateful to him.

It soon became clear that this girl had a fiancé, and Dmitry, as a family friend and savior, was introduced to him. It turned out that this is a merchant whose marriage should save Jenna (that was the name of Sanin's beloved) and her family from financial ruin.

Quarrel with an officer

The main character went for a walk with Jenna, her brother and fiancé. After her, they went to some institution to have a snack. The officers were here, they drank. One of them took the rose from Jenna, thereby insulting her. The girl's fiance took her away from the unpleasant neighborhood, while Dmitry approached Jenna's offender and accused him of rudeness. After listening to him, the officer asked Sanin about who he was to this girl. The main character replied that he was no one, after which he left his business card to the offender.

Failed duel

The next morning, the officer's second came to Sanin's hotel. Dmitry agreed with him about a duel. Sanin, deciding to shoot himself, pondered how his life had suddenly spun. More recently, he traveled carefree across Europe, and now he can die in an instant. Not really the main character afraid of death, rather, he did not want to lose his life like this, falling in love. On the night preceding the duel, Dmitry saw Jenna again, and feelings for her flared up in him even more.

Now it's time for a duel. During it, the rivals decided that today no one should lose their lives. They dispersed peacefully, shaking hands with each other. Sanin, returning to the hotel, met with the mother of his beloved. She told him that Jenna changed her mind about marrying a merchant. The mother asked Dmitry to talk to her daughter and convince her to change her mind. The main character promised to do it.

Declaration of love

Talking with his beloved, Dmitry told her that her mother was very worried, but he asked the girl not to change her mind for some time. After this meeting, Dmitry Sanin decided to confess his feelings to his beloved. He sat down at the table to write a letter to her. In the letter, Dmitry Sanin declared his love to the girl. He passed it on through Jenna's brother, who soon brought the answer: she asks Sanin not to come to her tomorrow. After a while, the girl decided to set the main character on a date in the garden early in the morning.

Sanin arrived at the appointed time. He really wanted to know how Jenna reacted to his confession. The girl said that she decided to refuse her fiance. Dmitry was very happy. He wanted to marry Jenna, but this required returning to Russia in order to sell the estate. This is not a quick and not a simple matter, and Dmitry Sanin really did not want to part with his beloved. And the girl did not want to be alone for a long time.

The question of the sale of the estate

Circumstances were favorable for the lovers. Dmitry met an old friend in Frankfurt with whom he studied together. It turned out that he was profitably married to a beautiful and wealthy woman. Dmitry invited him to buy out his estate. His companion replied that it would be best to address this question to his wife, to whom they went together.

Meeting a friend's wife

Acquaintance with the wife of a friend describes in detail in parts and presupposes a story about this woman. After all, she plays an important role in the work.

A friend's wife was not easy beautiful woman but also very smart. Sanin's proposal interested her, as did the main character himself. In order to think things over, she appointed a deadline of 2 days. Dmitry was very happy that there was an opportunity to solve everything so quickly. At the same time, the main character was somewhat surprised by the increased attention to his personality on the part of the hostess. In addition, he feared that his lack of courtesy might cause the deal to fall through.

The main character spends the entire first day in the company of his friend's wife. In the evening, the woman invites Dmitry to the theater. They talk a lot during the performance, and she tells the main character that marriage with his friend is just a cover. A woman considers herself completely free and can afford whatever she wants. Her wife is quite satisfied with this situation, since he is pleased with his rich and well-fed life.

Fatal connection (summary)

Turgenev ("Spring Waters"), of course, wondered if the main character could resist temptation. Unfortunately, he did not pass the test.

The next day, the woman calls Sanin for a horse ride. Dmitry is tormented by doubts, somewhere deep inside he suspects that all this is not without reason, but he is unable to stop it all. On a walk, Dmitry is left alone with his friend's wife. It should be noted that the previous day, which they spent together, somewhat clouded the mind of the protagonist. He was already beginning to forget what he had come for. The insidious woman, meanwhile, tries to seduce him, which in the end she succeeds. Sanin forgets his beloved and leaves with his friend's wife for Paris.

And happiness was so close ...

However, this romance with the rich did not lead to anything good, and we will not describe its brief content. Turgenev ("Spring Waters") was not interested in the details of this connection, but in how it influenced the further fate of the protagonist. Dmitry Sanin was very embarrassed to return to Jenna. And now, having made a fortune and wise by experience, the main character again finds himself in Frankfurt. He notes that the city has changed over the years. The familiar pastry shop no longer ends up in its old place. Sanin decides to renew his old ties. To this end, he turns to the officer who was once assigned a duel for help.

Jenna's fate

The officer informs him that Jenna is married. The short story continues with a story about the fate of the heroine. Turgenev ("Spring Waters") was interested in the fate of not only Dmitry, but also Jenna. She left with her husband for America. The officer even helped the protagonist find the address of his former lover. And now, many years later, Dmitry writes a long letter to Jenna, not hoping to get her forgiveness. He just wants to find out how she lives. Waiting for an answer is very painful, since the main character does not know if Jenna will answer him at all. This psychological moment is especially noted by Turgenev ("Spring Waters").

The chapter summary continues with the fact that after a while Dmitry Sanin receives a letter from his former lover. She informs him that she is happy with her husband, that she has children. The woman attaches to the letter a photo of her daughter, reminiscent of young Jenna, the one whom Dmitry loved so much and whom he left so stupidly. These events are completed by Turgenev "Spring Waters". The summary of the story, of course, gives only a general idea of it. We also offer you to familiarize yourself with the analysis of the work. This will help to clarify some points, to better understand the story created by Turgenev ("Spring Waters").

Analysis of the work

The work of interest to us is distinguished by a specific manner of presentation. The author told the story in such a way that a memory story appears before the reader. It should be noted that in the later work of Ivan Sergeevich the following type of hero prevails: a mature man with complete loneliness life.

Dmitry Pavlovich Sanin, the protagonist of the work of interest to us, belongs to this type (above is its summary). Turgenev ("Spring Waters") has always been interested in the inner world of man. And this time the main goal of the author was to portray the drama of the protagonist. The work is characterized by an interest in character development, which is not only influenced by environment, but also as a result of the moral quest of the hero himself. Only after studying all this in aggregate, we can understand the ambiguity of the images created by the author.

Here is such an interesting work created by Turgenev - "Spring Waters". as you can imagine, it does not convey its artistic value. We only described the plot, conducted a superficial analysis. We hope that you would like to take a closer look at this story.

In this article we will consider the story "Spring Waters" (summary). Turgenev, the author of this work, is known for his excellent ability to describe the relationship between people. The fame of the writer is due precisely to the fact that Ivan Sergeevich noticed those feelings and emotions that are characteristic of all people, regardless of whether they lived in the 19th century or in the 21st.

About the book

"Spring Waters" is a story written in 1872. This period is characterized by the writing of works based on memories of the past. For example, "Unhappy", "Knocks", "Strange Story", etc. Of all these stories, the work "Spring Waters" is considered the most successful. And the main character became a wonderful addition to the gallery of Turgenev's limp characters.

"Spring waters": a summary

Turgenev describes his hero: he is 52 years old, he lived his life as if he were floating on an even, imperturbable surface of the sea, but grief, poverty and madness lurked in its depths. And all his life he was afraid that one of these underwater monsters would one day turn over his boat, disturb the peace. His life, though rich, was completely empty and lonely.

Wanting to distract himself from these gloomy thoughts, he begins to sort out old papers. Among the documents, Dmitry Pavlovich Sanin finds a small box with a small cross inside. This object vividly brings back memories of the past.

Sick child

Now the story "Spring Waters" takes the reader to the summer of 1840. Summary, according to the research, Turgenev agrees with this idea, describes a chance that Sanin once missed, a chance to change his life.

During these years, Sanin was 22 years old, and he traveled around Europe, letting go of a small inheritance inherited from a distant relative. On the way back to his homeland, he stopped in Frankfurt. In the evening he was going to take the stagecoach to Berlin. He decided to spend the remaining time for a walk.

On a small street, he noticed the Italian Patisserie Giovanni Roselli and entered it. As soon as he entered, a girl ran up to him and asked for help. It turned out that the girl's younger brother, fourteen-year-old Emil, fainted. And in the house, except for the old servant Pantaleone, there was no one.

Sanin managed to return the boy to consciousness. Dmitry noticed the amazing beauty of the girl. Then the doctor entered the room, accompanied by a lady who turned out to be the mother of Emil and the girl. The mother was so glad to save her child that she invited Sanin to dinner.

Evening at Roselli's

The work "Spring Waters" tells about the first love. The story describes Dmitry's evening trip to visit, where he is greeted like a hero. Sanin learns the name of the mother of the family - Leonora Roselli. She, along with her husband Giovanni, left Italy 20 years ago and moved to Frankfurt to open a pastry shop here. Her daughter's name was Gemma. And Pantaleone, their old servant, was once an opera singer. Also, the guest learns about Gemma's engagement to the head of a large store, Karl Kluber.

However, Sanin was too carried away by communication, stayed too long at a party and was late for his stagecoach. He had little money left, and he sent a letter to a Berlin friend asking for a loan. Waiting for an answer, Dmitry stayed in Frankfurt for several days. The next day, Emil and Karl Kluber came to Sanin. Gemma's fiance, a handsome and well-mannered young man, thanked Sanin for saving the boy and invited him to go with the Roselli family for a walk in Soden. At this Karl left, and Emil stayed, soon making friends with Dmitry.

Sanin spent another day with new acquaintances, not taking his eyes off the beautiful Gemma.

Sanin

Turgenev's tale tells about Sanin's youth. In those years he was a tall, stately and slender young man. His facial features were a little blurry, he was a descendant of a noble family, and inherited golden hair from his ancestors. He was full of health and youthful freshness. However, he was distinguished by a very gentle character.

Walk in Soden

The next day, the Roselli and Sanin went to the small town of Soden, which is half an hour from Frankfurt. The walk was organized by Herr Kluber with the pedantry inherent in all Germans. Turgenev's tale describes the life of middle-class Europeans. For dinner Roselli went to the best inn in Soden. But Gemma got bored with what was happening, and she wanted to dine on the common terrace, and not in a separate gazebo, which her fiance ordered.

A group of officers were dining on the terrace. They were all very drunk, and one of them approached Gemma. He raised his glass to her health and took the rose that lay next to the girl's plate.

It was an insult to Gemma. However, Kluber did not intercede for the bride, but quickly paid off and took the girl to the hotel. Dmitry boldly approached the officer, called him impudent, took the rose and challenged the offender to a duel. Kluber pretended not to notice what had happened, but Emil admired this act.

Duel

The next day, without thinking about love, Sanin talks to the officer's second, von Dongoff. Dmitry himself did not even have acquaintances in Frankfurt, so he took Pantaleone's servant as a second. We decided to shoot with pistols from twenty steps.

Dmitry spent the rest of the day with Gemma. Before leaving, the girl gave him the very rose that he took from the officer. At that moment, Sanin realized that he had fallen in love.

The duel took place at 10 o'clock. Dongof fired into the air, thereby admitting that he was guilty. As a result, the duelists dispersed, shaking hands.

Gemma

The story of the love between Sanin and Gemma begins. Dmitry pays a visit to Frau Leone. It turns out that Gemma is going to break off the engagement, but only this marriage will help save the financial situation of her entire family. The girl's mother asks Sanin to change her mind. But the persuasion did not work. On the contrary, he realized that Gemma loved him too. After mutual confessions, Dmitry proposes to the girl.

Frau Leona came to terms with the new fiancé, making sure that he had a fortune. Sanin had an estate in the Tula province, which should have been sold and the money invested in a pastry shop. Suddenly, on the street, Sanin meets an old friend of Ippolit Polozov, who could buy his estate. But to the request, the friend replies that all financial matters are in charge of his wife, attractive, but

Mrs. Polozova

The work "Spring Waters" tells how Dmitry, having said goodbye to his bride, leaves for Wiesbaden, where Marya Nikolaevna Polozova is treated with waters. She turns out to be a very beautiful woman with wonderful light brown hair and slightly vulgar features. Sanin interested her at first sight. It turned out that Polozov gave his wife complete freedom and did not meddle in her affairs. He was more worried about the prosperity and good food.

The Polozovs even made a bet on Sanin. Hippolytus was sure that his friend loved his bride too much, so he would not succumb to the spell of his wife. However, he lost, although it cost his wife a lot of work. Dmitry cheated on Gemma three days after his arrival at the Polozovs.

Confession

No ideal figures in the work "Spring Waters". Heroes appear ordinary people with their weaknesses and vices. Sanin was no exception, but upon his return he immediately confessed everything to Gemma. Immediately after that, he went on a journey with Polozova. He became a slave to this woman, and accompanied her until he got bored. And then she just threw him out of her life. The only thing that remains in memory of Gemma is the very cross that he found in the box. Over the years, he still did not understand why he left the girl, because he did not love anyone as much and tenderly as her.

Trying to bring back the past

The work "Spring Waters" (summary) is coming to an end. Turgenev again returns to the aged Sanin. His hero, succumbing to the surging memories, rushes to Frankfurt. Dmitry Pavlovich wanders the streets in search of a pastry shop, but he cannot even remember the street on which it was. In the address book, he finds the name of Major von Dongoff. He said that Gemma got married and left for New York. He himself Sanin received the address of his beloved.

He writes a letter to her. Gemma sends a reply and thanks Sanin for the termination of the engagement, as this allowed her to become happier. She has a wonderful family - a beloved husband and five children. She says that her mother and Pantaleone died, and her brother died in the war. In addition, to the letter she encloses a photograph of her daughter, who is very similar to Gemma in her youth.

Sanin sends a pomegranate cross as a gift to Gemma's daughter. And later he himself is going to America.

"Spring waters": analysis

It is best to start analyzing the work with the first lines of poetry taken by Turgenev from an old romance. It is in them that main topic the whole work: " Merry years, happy days - they rushed like spring waters. "

Turgenev tells about past dreams, lost opportunities and missed chances in his work. His hero, because of his softness, misses the only chance for happiness. And he is no longer able to correct his mistake, no matter how he strives.

INTRODUCTION

CHAPTER 1. THE THEMATIC CONTENT OF THE STORY I.S. TURGENEVA "VESHNIE WATER"

CHAPTER 2. IMAGES OF THE MAIN AND SECONDARY CHARACTERS IN THE STORY

2.2 Female characters in the story

2.3 Minor characters

CONCLUSION

LITERATURE

INTRODUCTION

At the end of the 1860s and the first half of the 1870s, Turgenev wrote a number of stories that belonged to the category of memories of the distant past ("Brigadier", "The Story of Lieutenant Ergunov", "Unhappy", "Strange Story", "King Lear of the Steppe", "Knock, knock, knock", "Spring Waters", "Punin and Baburin", "Knocks", etc.). Of these, the story "Spring Waters", the hero of which is another interesting addition to Turgenev's gallery of weak-willed people, has become the most significant work of this period.

The story appeared in the "Bulletin of Europe" in 1872 and was close in content to the stories "Asya" and "First love, written earlier: the same weak-willed, reflective hero, reminiscent of" superfluous people "(Sanin), the same Turgenev girl (Gemma ), experiencing the drama of unsuccessful love. Turgenev admitted that in his youth he "experienced and felt the content of the story personally." But unlike their tragic endings, Spring Waters ends in a less dramatic plot. A deep and moving lyricism permeates the story.

In this work, Turgenev created images of the outgoing noble culture and new heroes of the era - commoners and democrats, images of selfless Russian women. And although the characters in the story are typical Turgenev heroes, they still show interesting psychological traits, recreated by the author with incredible skill, allowing the reader to penetrate into the depths of various human feelings, experience them or remember them himself. Therefore, it is necessary to consider the figurative system of a small story with a small set of characters very carefully, relying on the text, without missing a single detail.

Therefore, the purpose of our course work is to study in detail the text of the story to characterize its figurative system.

The object of study is, therefore, the main and secondary characters of "Vernal waters".

Purpose, object and subject define the following tasks research in our term paper:

Consider the ideological and thematic content of the story;

Reveal the main plot lines;

Consider the images of the main and secondary characters of the story, based on textual characteristics;

Make a conclusion about the artistic skill of Turgenev in the depiction of the heroes of "Spring Waters".

The theoretical significance of this work is determined by the fact that the criticism of the story "Outer Waters" is mainly considered from the standpoint of problem-thematic analysis, and from the entire figurative system, the Sanin-Gemma-Polozov line is analyzed, in our work we have undertaken an attempt at a holistic figurative analysis of the work.

The practical significance of our work lies in the fact that the material presented in it can be used in the study of Turgenev's work as a whole, as well as for the preparation of special courses and optional courses, for example, “The Stories of I.S. Turgenev about love ("Spring Waters", "Asya", "First Love", etc.) or "Tale of Russian Writers of the Second Half of the 19th Century" Literature XIX century ".

CHAPTER 1. IDEA-THEMED CONTENT OF THE STORY

I.S. TURGENEVA "VESHNIE WATER"

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 entirely ordinary, intelligent, undoubtedly cultured, but indecisive, weak-willed, and a young girl, deep, strong-willed, whole-hearted and strong-willed.

The central part of the plot is the origin, development and tragic ending of love. It is to this side of the story that Turgenev's main attention, 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, in "Veshniye Vody" there are a number of everyday details characteristic 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, we should immediately note 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 comparison with side episodes concerning the history of Sanin and Polozova.

The main plot line in the story is revealed in the usual dramatic plan for such works of 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 on the way obstacles, finally there comes a moment of the highest tension of action (explanation of the heroes), followed by a catastrophe, and then an epilogue.

The main story 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 break 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 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, attracted 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.

As we can see, the number of characters in the story is relatively small, so we can list them (as they appear in the text)

Dmitry Pavlovich Sanin - Russian landowner

Gemma - daughter of the owner of the pastry shop

Emil is the son of the owner of the pastry shop

Pantaleone - the old servant

Louise the maid

Leonora Roselli - the owner of the pastry shop

Karl Kluber - Gemma's fiancé

Baron Döngoff - German officer, later - General

Von Richter - second to Baron Döngoff

Ippolit Sidorovich Polozov - Sanin's friend in the boarding house

Marya Nikolaevna Polozova - Polozov's wife

Naturally, the heroes can be divided into major and minor. Images of both will be considered by us in the second chapter of our work.

CHAPTER 2. IMAGES OF MAIN AND SECONDARY

CHARACTERS IN THE STORY

2.1 Sanin is the main character of "Spring Water"

First, we note once again that the conflict in the story, and the selection of characteristic episodes, and the ratio of characters - everything is subject to one main task of Turgenev: an analysis of the psychology of the noble intelligentsia in the field of personal, intimate life. The reader sees how the main characters get to know each other, love each other, and then the main characters disperse, how other characters take part in their love story.

The protagonist of the story is Dmitry Pavlovich Sanin, at the beginning of the story we see him already 52 years old, remembering his youth, his love for the girl Dzhema and his uncompleted happiness.

We immediately learn a lot about him, the author tells us everything without concealment: “Sanin was 22 years old, and he was in Frankfurt, on his way back from Italy to Russia. He was a man with a small fortune, but independent, almost familyless. After the death of a distant relative, he had several thousand rubles - and he decided to live them abroad, before entering the service, before the final imposition of that official clamp, without which a secure existence became unthinkable for him. " In the first part of the story, Turgenev shows the best that was in Sanin's character and that captivated Gemma in him. In two episodes (Sanin helps Gemma's brother, Emil, who has fallen into a deep swoon, and then, defending Gemma's honor, fights a duel with the German officer Döngoff), Sanin's traits such as nobility, straightforwardness, and courage are revealed. The author describes the appearance of the protagonist: “Firstly, he was very, very good at himself. A stately, slender growth, pleasant, slightly vague features, gentle bluish eyes, golden hair, whiteness and blush of the skin - and most importantly: that innocently cheerful, trusting, frank, at first somewhat silly expression, by which in the old days it was immediately possible to recognize children of staid noble families, "fatherly" sons, good barichi, born and fattened in our free semi-steppe lands; gait with a stammer, a voice with a whisper, a smile like a child's, as soon as you look at him ... finally, freshness, health - and softness, softness, softness - that's all Sanin is for you. And secondly, he was not stupid and had picked up something. He remained fresh, despite the trip abroad: the disturbing feelings that seized the best part of the young people of that time were little known to him. " Special attention deserve a kind of artistic means, which Turgenev uses to convey intimate emotional experiences. Usually this is not a characteristic of the author, not statements of the heroes about themselves - for the most part these are external manifestations of their thoughts and feelings: facial expression, voice, posture, movements, manner of singing, performance of loved ones musical works reading your favorite poems. For example, the scene before Sanin's duel with the officer: “Once a thought struck him: he stumbled upon a young linden tree, broken, in all likelihood, by yesterday's squall. She was positively dying ... all the leaves on her were dying. "What is it? omen?" - flashed through his head; but he immediately began to whistle, jumped over that very linden, walked along the path. " Here the state of mind of the hero is conveyed through the landscape.

Naturally, the hero of the story is not unique among other Turgenev characters of this type. You can compare "Spring Waters", for example, with the novel "Smoke", where researchers note the proximity plot lines and images: Irina - Litvinov - Tatiana and Polozova - Sanin - Gemma. Indeed, in the story, Turgenev seemed to have changed the novel's ending: Sanin could not find the strength to abandon the role of a slave, as was the case with Litvinov, and followed Maria Nikolaevna everywhere. This change in the finale was not accidental and arbitrary, but was precisely determined by the logic of the genre. Also, the genre actualized the prevailing dominants in the development of the characters of the heroes. Sanin, in fact, like Litvinov, is given the opportunity to "build" himself: and he, outwardly weak-willed and spineless, wondering at himself, suddenly begins to act, sacrifices himself for the sake of another - when he meets Gemma. But the story does not satisfy this quixotic trait, in the novel it dominates, as in the case of Litvinov. In the "characterless" Litvinov, it is precisely the character and inner strength that is actualized, which is realized, among other things, in the idea of social service. And Sanin turns out to be full of doubts and contempt for himself, he, like Hamlet, "a sensual and voluptuous person" - it is Hamlet's passion that wins in him. He is also crushed by the general course of life, unable to resist it. Sanin's life revelation is consonant with the reflections of the heroes of many of the writer's stories. Its essence lies in the fact that the happiness of love is just as tragically instantaneous as human life, but it is the only meaning and content of this life. Thus, the heroes of the novel and the story, initially revealing the same properties of character, in different genres realize different dominant principles - either quixotic or Hamlet. The ambivalence of qualities is complemented by the dominance of one of them.

Sanin can also be correlated with Aeneas (with whom he is compared) - the main character of the work "Aeneid", which tells about the journey and the return of the wanderer to his homeland. Turgenev has persistent and repeated references to the text of the Aeneid (the thunderstorm and the cave in which Dido and Aeneas took refuge), that is, to the “Roman” plot. "Aeneas?" - Marya Nikolaevna whispers at the entrance to the guardhouse (that is, the cave). A long forest path leads to it: “<…>the shadow of the forest covered them broadly and softly, and from all sides<…>track<…>suddenly turned aside and plunged into a rather narrow gorge. The smell of heather, pine resin, dank, last year's foliage lurked in it - thick and drowsy. Freshness gushed from the crevices of large brown stones. On both sides of the path were round hillocks overgrown with green moss.<…>A dull tremor swept through the tops of the trees, through the forest air<…>this path went all the way into the depths of the forest<…>Finally, through the dark green of spruce bushes, from under a canopy of gray rock, a wretched guard house with a low door in a wicker wall looked at him ... ".

In addition, one more thing brings Sanin closer to Aeneas: Aeneas, in search of the way home, falls into the arms of Queen Dido, forgets about his wife and is given love in the arms of a seductress, the same thing happens with Sanin: he forgets about his love for Gemma and succumbs to a fatal passion women Marya Nikolaevna, which ends in nothing.

2.2 Female characters in the story

There are two main female characters in the story, these are two women who took a direct part in the fate of Sanin: his bride Gemma and the "fatal" beauty Marya Nikolaevna Polozova.

We first learn about Gemma in one of the first scenes of the story, when she asks Sanin to help her brother: “A girl of about nineteen rushed in impetuously into the pastry shop, with dark curls scattered over her bare shoulders, with outstretched arms outstretched, and, seeing Sanin, she immediately rushed to him, grabbed his hand and drew him along, saying in a breathless voice: "Hurry, hurry, here, save!" Not out of unwillingness to obey, but simply out of an excess of amazement, Sanin did not immediately follow the girl - and, as it were, rested on the spot: he had never seen such a beauty in his life. " And further, the impression that the girl made on the protagonist only intensifies: “Sanin himself was terrified, and he himself glanced at her sideways. My God! what a beauty it was! Her nose was somewhat large, but beautiful, eagle-like tune, upper lip slightly shaded the fluff; but the complexion, even and matte, neither give nor take Ivory or milky amber, a wavy gloss of hair, like Allorieva Judith's in the Palazzo Pitti - and especially eyes, dark gray, with a black border around the pupils, magnificent, triumphant eyes - even now, when fear and grief darkened their brilliance ... I involuntarily recalled the wonderful land from which he was returning ... But he had never seen anything like it in Italy! " Turgenev's heroine is Italian, and the Italian flavor par excellence at all levels, from linguistic to descriptions 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 Sanina's “Italian raptures” that Marya Nikolaevna opposes and, perhaps, in this she is not completely unfair.

But in Turgenev, too, the 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 ...

Even the surname Polozova itself speaks of the nature of this woman: the snake is a huge snake, hence the association with the biblical snake-tempter, therefore Polozova is a temptress.

Turgenev almost caricatures the rapacity and depravity of Marya Nikolaevna: “<…>triumph snaked on his lips - and his 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. 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 it all mean?<…>Not in front of the “shrine to beauty,” in the words of Pushkin, anyone who would have met her would have stopped, but before the charm of a powerful, either Russian or gypsy, blooming female body ... and he would not have stopped involuntarily!<…>“This woman, when she comes to you, as if she brings all the happiness of your life towards you” ”, etc. Maria Nikolaevna's charm is dynamic: she is constantly in motion, constantly changing her“ images ”. 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 of 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.

No less admiration for the hero (author) is caused by her giftedness, intelligence, education, and 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 well-aimed word. Most of all, Marya Nikolaevna did not tolerate hypocrisy, falsehood and lies ... "and so on. 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.

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 writer Maltz, "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. " Obviously, Sanin and Marya Nikolaevna are watching a play of about the same level in the Wiesbaden theater - but with what murderous 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<…>presented the so-called tragic conflict and boredom.<…>Grimace and whimpering arose again on the stage. 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, and a kind of drama is latently felt (especially if you remember that the gypsy predicted her violent death). All the more this 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. " 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 the model of philistine happiness in an American manner, which, in fact, does not differ from what was once rejected German version(like the name Slokom, which replaced Roselli, is no better than Kluber). 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. "

2.3 Minor characters

writer turgenev story character

The main characters of Vashnye Vody are compared with minor characters, partly in similarity (Gemma - Emil is their mother), and even more in contrast: Sanin - and a practical, moderate, neat bourgeois, Gemma Kluber's fiancé, Sanin - and a perky, empty burner life of Dyungoff. This allows you to deeper reveal the character of the protagonist through his relationship with these people.

The reader's deep sympathy is aroused by Gema's brother Emilio, who later died in the ranks of Garibaldi's fighters. Here is how the author describes it: “In the room where he ran after the girl, on an old-fashioned horsehair sofa lay, all white - white with yellowish tints, like wax or like ancient marble, - a boy of about fourteen, strikingly similar to a girl, obviously her brother. His eyes were closed, the shadow of the black thick hair fell as a spot on her forehead, as if petrified, on her motionless thin eyebrows; gritted teeth could be seen from under blue lips. He didn't seem to be breathing; one hand dropped to the floor, the other he threw over his head. The boy was dressed and buttoned; a tight tie squeezed his neck. "

In a tone of good-natured irony, Turgenev draws in "Spring Waters" of the elderly retired singer Panteleone: “... a little old man in a lilac dress coat with black buttons, a high white tie, nanke short trousers and blue woolen stockings entered the room, hobbling on crooked legs. His tiny face completely disappeared under a whole bulk of gray, iron-colored hair. From all sides, rising abruptly upward and falling back in disheveled braids, they gave the old man's figure a resemblance to a crested chicken - the resemblance is all the more striking because under their dark gray mass it was only possible to make out that a pointed nose and round yellow eyes. " Then we get to know the circumstances of the old man's life: “Pantaleone was also introduced to Sanin. It turned out that he was once an opera singer, for baritone parts, but he had long ceased his theatrical studies and was in the Roselli family, something between a friend at home and a servant. "

On the one hand, this character is comic, designed to revive the Italian flavor of the story, to make it more vivid, naturalistic, on the other hand, it allows us to take a closer look at the Djema family, her relatives and friends.

Satirically depicts Turgenev " positive person"- Gemma's fiancé of the German Kluber:" One must suppose that at that time in the whole of Frankfurt there was no other shop in any store as polite, decent, important, amiable as Mr. Kluber. The impeccability of his dress was at the same height with the dignity of his posture, with elegance - a little, however, prim and restrained, in the English way (he spent two years in England) - but all the same with the captivating elegance of his manners! At first glance, it became clear that this handsome, somewhat strict, well-bred and excellently washed young man was accustomed to obeying the higher and commanding the lower, and that behind the counter of his store he inevitably had to inspire respect for the customers themselves! There was not the slightest doubt about his supernatural honesty: one had only to look at his tightly starched collars! And his voice turned out to be what one would expect: thick and self-confidently juicy, but not too loud, with some even tenderness in timbre ”. Kluber is good to everyone, but a coward! And what, not only did he stain himself with shame, he also put his beloved girl in an awkward position. Naturally, the author's attitude towards him is not too warm, and therefore he is depicted ironically, and this irony in hindsight turns into sarcasm when we learn that Kluber was stealing and died in prison.

CONCLUSION

Turgenev positioned the story "Spring Waters" as a work of love. But the general tone to incur is pessimistic. 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 remains forever with him, like a life-giving principle.

Love is a powerful feeling, before which a person is powerless, as well as before the elements of nature. 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 an act, in a rush. He does this through landscape sketches, events, characteristics of other characters. That is why, with a small set of heroes in the story, each image created by the author is unusually bright, artistically complete, and fits perfectly into the general ideological and thematic concept of the story.

There are no random people, here everyone is in their place, each character carries a certain ideological load: the main characters express the author's idea, lead and develop the plot, "talk" with the reader, the secondary characters add additional flavor, serve as a means of characterizing the main characters, add comic and satirical shades of the work.

In general, we can conclude that Turgenev is a great master in portraying the characters of characters, in penetrating into their inner world, in expressing the subtlest psychological elements of the narrative. To create his unique images in the story, he used artistic means that allowed him to portray the heroes "alive", "close" to the reader, which in turn allowed him to convey his ideas to people, to enter into dialogue with them on an artistic, figurative level.

LITERATURE

1. Batuto A.I. Turgenev is a novelist. - L., 1972.

2. Golubkov V.V. The artistic skill of I.S. Turgenev. - M., 1955.

3. Zenkovsky V.V. The world outlook of I.S. Turgeneva / Zenkovsky V.V. // Russian thinkers and Europe. - M., 1997.

4. Kurlyandskaya G.B. The aesthetic world of I.S. Turgenev. - Eagle, 1994.

5. Kurlyandskaya G.B. I.S. Turgenev. Worldview, method, traditions. - Tula, 2001.

6. Petrov S.M. I.S. Turgenev. Life and creation. - M., 1968.

7. Struve P.B. Turgenev / V. Alexandrov's publication // Literary study. - M., 2000.

8. Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Works: in 12 volumes - T. 12. - M., 1986.

V.V. Golubkov The artistic skill of I.S. Turgenev. - M., 1955 .-- P. 110.

Petrov S.M. I.S. Turgenev. Life and creation. - M., 1968 .-- S. 261.

Batuto A.I. Turgenev is a novelist. - L., 1972 .-- S. 270.

Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Works: in 12 volumes - T. 12 - M., 1986. - P. 96.

Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Works: in 12 volumes - T. 12 - M., 1986. - P. 114.

Ivan Sergeevich Turgenev is known to the reader as a master of words, who skillfully revealed any image, be it a natural landscape or a person's character. He could retell any story colorfully, truthfully, with a sufficient sense of tact and irony.

As a mature author, in the late 60s and early 70s of the 19th century, Ivan Sergeevich wrote a number of works from the category of memoirs. The story "Spring Waters", written in 1872, is recognized by the writers as the most significant during this period.

She tells about the love story of a weak-willed landowner who, due to his own irrepressibility and stupidity, was unable to build his own relationship on his own.

The plot is narrated by a man who has already turned 52 years old. This man is a nobleman and landowner by the name of Sanin. The surging memories carry him 30 years ago, in the years of his youth. The story itself took place while he was traveling in Germany.

The main character happened to be in the small city of Frankfurt, where he really liked it. Dmitry Sanin decided to visit the pastry shop and witnessed the scene where the master's son fainted. Around the boy his sister was busy, beautiful girl... Sanin could not help but help her in such a situation.

The family of the owner of the confectionery was so grateful for his help that they offered to stay with them for a few days. Unexpectedly for himself, the narrator agreed and spent some of the best and most delightful days of his life in the company of pleasant and amiable people.

Gemma had a fiancé, whom the girl herself saw often. Soon Sanin also met him. That evening they went for a walk and went into a small cafe, where German officers were sitting at a nearby table. Suddenly one of them allowed himself a rude joke in relation to their company and Sanin, who was not used to enduring such antics, immediately challenged him to a duel. The duel was successful, and none of the participants was hurt.

But only this influenced the adorable girl herself so strongly that Jamie suddenly decided to drastically change his life. First of all, she forever severed any relationship with her fiance, explaining that he could not protect her honor and dignity. And Sanin suddenly realized that he himself loved Gemma. This feeling, as it turned out, was not unrequited. The love of young people was so strong that one day they got the idea of getting married. Seeing their relationship, the girl's mother calmed down, although at first she was in great horror because her daughter broke up with her fiancé. But now the woman even began to think again about the future of her daughter and about Dmitry Sanin as a son-in-law.

Dmitry and Jemmy also thought about a joint future. The young man decided to sell his estate so that there would be money for their cohabitation. To do this, he had to go to Wiesbaden, where his friend at the boarding house lived at that time. Polozov was also in Frankfurt at that time, so he should have visited his rich wife.

But Marya Nikolaevna, the wife of a boarding friend, easily began to flirt with Sanin, since she was rich, young, beautifully herself and not burdened with moral principles. She was able to easily captivate the hero, and soon he became her lover. When Marya Nikolaevna leaves for Paris, he follows, but it turns out that she does not need him at all, that she has new and interesting lovers. He has no choice but to return back to Russia. The days seem to him now empty and boring. But soon life goes back to normal and Sanin forgets about everything.

One day, disassembling his box, he finds a small, but such a cute pomegranate cross, which dear Gemma once gave him. In a strange way, the gift was able to survive after all the events that happened to the hero. Recalling his former love, he, without delaying a minute, immediately leaves for Frankfurt, where he learns that Gemma got married two years later after his departure. She is happy with her husband and lives in New York. She gave birth to five wonderful children. Looking at the photographs, Sanin noticed that one of her grown daughters in the photograph looked as adorable as Jamie herself did many years ago.

Characters of the story

There are a few heroes in Turgenev's story. There are main and secondary characters that help to reveal this interesting twisted plot of the story "Spring Waters":

♦ Gemma.
♦ Emil.
♦ Dyungoff.
♦ Friend of Polozov.
♦ Gemma's mother.

♦ Kluber.

Ivan Turgenev depicts this psychological type a nobleman who will be able to reveal the plot in all its details, because we are talking about the personal life of the noble intelligentsia. The reader sees how people get to know each other, fall in love and disperse, but all the heroes take part in this boundless love. For example, Sanin, who is over fifty years old, recalls his happiness and how it did not work out for him. Dmitry Pavlovich understands perfectly well that he was to blame for this.

There are two main female characters in Turgenev's story. This is Gemma, whom Dmitry Pavlovich meets by chance, and soon makes her his bride. The girl is pretty and young, dark hair in large curls just flowed down her shoulders. At that time, she was barely nineteen years old, and she was tender and vulnerable. They attracted Sanin's eyes, which were dark and incredibly beautiful.

The very clear opposite is Marya Nikolaevna, with whom the main character meets later. The fatal beauty is the wife of Sanin's friend, Polozov. This woman is no different from the others in her external data, and she is even inferior in her beauty to Jemmy. But she had a great ability, like a snake, to bewitch and bewitch a man, so much so that a man can no longer forget about her. The author appreciates her for her intelligence and giftedness, education and originality of nature. Marya Nikolaevna skillfully used words, hitting the target with every word, and even knew how to tell beautifully. It was later revealed that she was just playing with men.

Analysis of the Turgenev story

The writer himself argued that his work is primarily about love. And although the storyline brings together, and then divorces the main characters, the first love leaves a pleasant memory in the memory.

The author is not trying to disguise love triangles. All events are described by Ivan Turgenev clearly and accurately. And the characteristics of the main characters and landscape sketches captivate the reader, plunging them into the depths of events spanning thirty years.

There are no random people in the story at all, and each character has its own specific place. The inner world of the main characters is revealed subtly and psychologically correctly. Secondary characters also perform their literary function, adding additional flavor.

Symbols in the Turgenev story

The symbols used by the author in his work are interesting. So, Gemma, on a walk with Sanin and with her fiancé, meets a German officer. He behaves rudely and for this Sanin challenges him to a duel. In gratitude for the noble deed, Jemmy gives him a rose, a flower that was a symbol of pure and sincere love.

After a while, Savin is presented with another gift, which is completely opposed to what he received from a naive girl. Marya Nikolaevna also gives Dmitry a gift. Only this inanimate object is an iron ring. And after a while, the hero saw the same decoration on the finger of another young man, who, most likely, was also the lover of an immoral woman. This cruel and insensitive gift destroys the fate of the main character. So Sanin becomes a slave of love, weak-willed and soon forgotten. The fatal beauty, having played enough with him, loses all interest and simply abandons him. Love in the life of this person never comes.

But the hero lives on, gets richer, and suddenly remembers the betrayal he committed in his life. This pain from a bad and ignoble deed will always live in him. And he will always think of Jamie, who experienced pain through his fault. It is no coincidence that memories flooded the main character when he found a pomegranate cross - a gift from Gemma.

Critical review and assessment of the story

Critics have differently evaluated the new work of Ivan Turgenev. Some spoke of him disapprovingly, believing that the author showed in the plot the most unattractive sides of the characters of Russian origin. Foreigners are quite another matter. In his portrayal, they are honest and noble.

But some critics were nevertheless delighted with the plot of this Turgenev story. How the general flavor is reflected and accents are placed, what qualities are endowed with the heroes. When Annenkov read the Turgenev manuscript, he wrote his opinion about it:

"The thing came out, brilliant in color, in an enticing fit of all the details to the plot and in the expression of faces."

Ivan Sergeevich wanted to show that the first love, even if it is unhappy and deceived, remains in the memory for life. First love is a bright memory that does not fade over the years. The author succeeded in all this.

CHARACTERS IN THE STORY

Sanin is the main character of "Spring Waters"

First, we note once again that the conflict in the story, and the selection of characteristic episodes, and the ratio of characters - everything is subordinate to one main task of Turgenev: an analysis of the psychology of the noble intelligentsia in the field of the personal, intimate life of A.I. Batuto. Turgenev is a novelist. - L., 1972. - P. 270 .. The reader sees how the main characters get to know each other, love each other and then disperse, how other characters take part in their love story.

In the first part of the story, Turgenev shows the best that was in Sanin's character and that captivated Gemma in him. In two episodes (Sanin helps Gemma's brother, Emil, who has fallen into a deep swoon, and then, defending Gemma's honor, fights a duel with the German officer Döngoff), Sanin's traits such as nobility, straightforwardness, and courage are revealed. The author describes the appearance of the protagonist: “Firstly, he was very, very good at himself. A stately, slender growth, pleasant, slightly vague features, gentle bluish eyes, golden hair, whiteness and blush of the skin - and most importantly: that ingenuously cheerful, trusting, frank, at first somewhat silly expression, by which in former times it was immediately possible to recognize children of staid noble families, "fatherly" sons, good barichi, born and fattened in our free semi-steppe lands; gait with a stammer, a voice with a lash, a smile like a child's, as soon as you look at him ... finally, freshness, health - and softness, softness, softness - that's all Sanin is for you. And secondly, he was not stupid and had picked up something. He remained fresh, despite the trip abroad: the anxious feelings that seized the best part of the young people of that time were little known to him. ”Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Compositions: in 12 volumes - T. 12 - M., 1986. - P. 110 ..

Special attention should be paid to the peculiar artistic means that Turgenev uses to convey intimate emotional experiences. Usually this is not a characteristic of the author, not statements of the heroes about themselves - for the most part, these are external manifestations of their thoughts and feelings: facial expression, voice, posture, movements, manner of singing, performance of favorite pieces of music, reading of favorite poems. For example, the scene before Sanin's duel with the officer: “Once a thought struck him: he stumbled upon a young linden tree, broken, in all likelihood, by yesterday's squall. She was positively dying ... all the leaves on her were dying. "What is this? An omen?" - flashed through his head; but he immediately began to whistle, jumped over the very linden tree, walked along the path "Turgenev I.S. Spring waters. / Complete works and letters: In 30 volumes. Compositions: in 12 volumes - T. 12 - M., 1986. - P. 125 .. Here the state of mind of the hero is conveyed through the landscape.

Naturally, the hero of the story is not unique among other Turgenev characters of this type. One can compare “Spring Waters”, for example, with the novel “Smoke”, where researchers note the closeness of plot lines and images: Irina - Litvinov - Tatiana and Polozova - Sanin - Gemma. Indeed, in the story, Turgenev seemed to have changed the novel's ending: Sanin could not find the strength to abandon the role of a slave, as was the case with Litvinov, and followed Maria Nikolaevna everywhere. This change in the finale was not accidental and arbitrary, but was precisely determined by the logic of the genre. Also, the genre actualized the prevailing dominants in the development of the characters of the heroes. Sanin, in fact, like Litvinov, is given the opportunity to "build" himself: and he, outwardly weak-willed and spineless, wondering at himself, suddenly begins to act, sacrifices himself for the sake of another - when he meets Gemma. But the story does not satisfy this quixotic trait, in the novel it dominates, as in the case of Litvinov. In the "characterless" Litvinov, it is precisely the character and inner strength that is actualized, which is realized, among other things, in the idea of social service. And Sanin turns out to be full of doubts and contempt for himself, he, like Hamlet, "a sensual and voluptuous person" Batuto A.I. Turgenev is a novelist. - L., 1972. - S. 272. - it is Hamlet's passion that wins in him. He is also crushed by the general course of life, unable to resist it. Sanin's life revelation is consonant with the reflections of the heroes of many of the writer's stories. Its essence lies in the fact that the happiness of love is just as tragically instantaneous as human life, but it is the only meaning and content of this life. Thus, the heroes of the novel and the story, initially revealing the same properties of character, in different genres realize different dominant principles - either quixotic or Hamlet. The ambivalence of qualities is complemented by the dominance of one of them.