And literature MAOU Lyceum No. 8 of Tomsk
The Swiss philosopher Henri Aligel, not without reason, believed that landscape in art represents, first of all, the state of the artist’s soul. There are works, sometimes not even the most ambitious in the heritage of this or that classic, in which, however, many of the ideological and creative features of the writer are revealed, his favorite thoughts are heard, his perception of the circumstances and heroes in them.
I. S. Turgenev was convinced that man is connected with nature “by a thousand inextricable threads: he is her son.” He would later say this in a review of “Notes of a Gun Hunter” by S. T. Aksakov, but this conviction arises at the very beginning of his poetic activity - he associated familiarization with the life of nature with the desire for mental balance. The writer advocated for “real, warm and living descriptions”, in which the smallest shades of the landscape would be subordinate to the general tone of the image, therefore Turgenev is attracted by balanced, peaceful, meek nature, and not by its spontaneous, chaotic manifestations, but how much hidden drama his landscape sketches contain - a means of revealing the character's character. The story “Asya” has become a work in which “the story of the human soul,” a love story, is given through the prism of landscape. Being part of the plot structure, the landscape plays an important role here in describing the circumstances occurring in the story, in addition, as in poetry, it helps to understand the inner world of Asya and Mr. N.N., performs the function of psychological parallelism, and it is through the description of the landscape that Turgenev will convey the mental and emotional state of the main characters.
If for F. M. Dostoevsky the landscape is the background against which events unfold, an additional means for a more expressive depiction of the characters, then for Turgenev it is, along with Asya and Mr. N. N., one of the heroes of the story, another “I” the author, helping to understand and characterize the inner world, the development of the soul, the character of the character. The writer rightly noted: “... everywhere you see the author instead of nature; and a person is only strong when he relies on it.” This remark of Turgenev, an artist, is fundamental: do not replace nature with yourself, do not liken it to yourself, but rely on it in the search and acquisition of creative powers.
In “Ace,” a kind of view of nature is formed that would be “in accordance with its true meaning,” and for this it is necessary to “separate from oneself and think about the phenomena of nature.” Of course, “live observation of nature” is the most difficult way to comprehend its laws and the only possible way for an artist to speak.
At the beginning of the story, Mr. N.N. separates the world of nature from the world of people, for him the variety of faces is much clearer: “... living faces, human faces - people’s speech, their movements, laughter - that’s what I couldn’t do without,” but here is nature is incomprehensible to him, and he cannot respond to its beauty or mystery, cannot be harmonious with it. It is also noteworthy that the hero does not perceive the surrounding beauty of nature as a single whole, he does not see himself in it - this is an eloquent characteristic of the inner content of Mr. N.N., he is clearly not a romantic; rather, the pragmatic and rational are closer to him.
Despite the modesty and unpretentiousness of the Rhineland landscape, it is majestic and mysterious precisely in its simplicity, although in Turgenev’s interpretation of nature there are many echoes of the people’s understanding of its elemental forces, in which there is “nothing clever or sophisticated.” So far, only the moon alone illuminates both the city and Mr. N.N. It is its light in the night sky that is reflected in the calm waters of the Rhine. Not being part of the natural world, the main character, nevertheless, loves to look at the great river, and in the future, all the vicissitudes of his fate and love will be reflected in the water surface. It is no coincidence that the mention of a paper boat that local children launch on a long voyage is mentioned. This is a symbol of the love of Mr. N.N. and Asya, about which nothing has been said yet, but the premonition of something huge and real is already hovering very close.
The next morning of the young narrator, dominated by a sea of sunlight, noisy merchants in the garden and on the streets of the town, filled with the cheerful noise of people, “the innocent flirtation of youth” - all this prepares the appearance of the one whose name the story is named.
Anna - Asya - “blessed”, “gift of God”, “born again” - the meaning of the names is not accidental. In the future, the author will call the always pretty and graceful Anna Asya, perhaps her new birth will soon, but which one: happy or... The meaning of titles and names in Turgenev is always significant. Mr. N.N., who does not like Russians abroad, meets and becomes close with Russians: “We live outside the city,” Gagin continued, “in a vineyard, in a lonely house, high up. It’s great here, look.” The leitmotif of the vineyard, which first appears in this context, and then the narrow, steep path accompanying it is the personification of remoteness from everyone, loneliness, and the life trials of the main character, which will soon affect Mr. N.N. Subsequently, this leitmotif will become the main one and will run through the entire narrative.
The picturesque contrast of “scarlet thin light on a green vine” visibly highlights the still “cold” heart of the young narrator and the violent, lively, spontaneous in her wildness Asya, who received the external attributes of a noblewoman (a silk dress, living in a manor’s house, ostentatious respect from servants). However, if we talk about the psychology of the development of her soul, then the girl was not deprived here. The world of natural forces and her feelings and emotions will always be in close contact. Seeking, open to everything sincere, Asya will find a response in the entire world around her: “The Rhine lay before us all silver, between the green banks; in one place it glowed with the crimson gold of sunset. (...) It was good below, but even better above: I was especially struck by the purity and depth of the sky, the radiant transparency of the air. Fresh and light, it rolled in waves..." N. seems to be rediscovering everything around him, but "transparency", radiance, purity and depth are already in Asa, in her future feeling, and the rolling waves are the mobility and variability of the restless The heroines are those characteristic traits of nature that at first will be a mystery to the young storyteller, and the solution will be very simple.
Once again the light of the moon, illuminating both the Rhine and the young people, and the path of life, which will not be easy for both, a light that is prophetic in the fate of Asya: “I jumped into the boat and said goodbye to my new friends. Gagin promised to visit me the next day; I shook his hand and extended mine to Asya; but she just looked at me and shook her head. The boat set sail and rushed along the fast river. The carrier, a cheerful old man, tensely plunged his oars into the dark water.
You drove into the moon pillar, you broke it! – Asya shouted to me.”
This interesting and well-known metaphor, speaking of a future tragedy, of a broken life and love, is the beginning of that “golden bridge across the entire river”, which will open the soul and heart of Mr. N.N. to “fragrant air”, “freshness of dew”, “ songs of larks,” for everything that he had not noticed before. The hero's crossing of the river is a warning from the author, endowed with rich life experience; Mr. N.N. himself, due to his age, still does not understand everything. Nature, living in unison with Asya, will now smoothly invade the life of the young storyteller; moreover, their commonality will be realized at the author’s level, in that layer of narration that equally belongs to both the storyteller and the author.
Wild apple tree, nettle, acacia - this is the world surrounding Asya, understandable to her, of which she is a part; The symbol of love is also indicative - a branch of geranium thrown from the window, as if taking us back to knightly times; a bright, juicy power of feeling that will literally dry up over time, but will remain a bitter reminder of that love that occurs “once in a thousand years.” The author's view turns out to be much deeper; the hero-storyteller will come to understand the metaphorical side of events only towards the end of the story. It was this love that stirred the soul of Mr. N.N., and he suddenly felt the “steppe smell of his homeland”, saw a “hemp bed” - and immediately a storm of emotions and thoughts arose in this hitherto very balanced person: “Its steppe smell instantly reminded me of my homeland and aroused in my soul a passionate longing for her. I wanted to breathe Russian air, walk on Russian soil.” And immediately a rhetorical question arises: “What am I doing here, why am I wandering around in a strange place, among strangers?” - the answer to it is clear to us thanks to Asya, in addition, this is the starting point of his love for the heroine. But these are the thoughts of I. S. Turgenev himself. The time of creation of the story is 1857, the reform of 1861 is being prepared, a time of difficult disputes, opinions, and anxieties. The writer cannot stand aside and introduces into the story the biography of Asya, the daughter of a serf, and all this against the backdrop of a magnificent river, air saturated with moonlight, the sounds of a waltz, and love. The story is filled with psychological details that are precise and brief in form, but contain deep characteristics of the characters, and therefore for the author there is the possibility of such a narrative about them, which N. G. Chernyshevsky will call “secret psychology”; it is also noteworthy that the best landscapes of the story are connected with the emotional experiences and movements of the characters, filled with their inner life: “The mood of my thoughts matched the calm nature of that region” or “In the distance a steamboat was running along the Rhine. We started looking at him. (...) “Go somewhere far away, to pray, to perform a difficult feat,” she continued. “And then the days go by, life goes away, and what have we done?” We will see the continuation of these thoughts in I. A. Bunin in “Clean Monday”.
The tenth chapter is a kind of Rubicon for the young narrator, he is open to love, he desires its appearance, and this feeling of “comprehensive desires” is again emphasized by the calm waters of the Rhine, the starry sky, the “whisper of the wind”, and the hero watches the river, and is already floating in boat downstream, floating towards something long-awaited and, probably, tragic: “... anxiety grew within me.”
The connection between the laws of balance in nature and the laws of balance in a work is amazing. Just as nature has its twists, kinks, surprises, its “suddenly”, so they also exist in the story: the crossing of the Rhine, and the first and last love date ended traditionally - Mr. N.N. considered marrying a seventeen-year-old girl, “with her disposition”, stupidity, and “getting married at such a time” (meaning late evening) is a direct violation of secular conventions; "We have to wait until the next day." But the next day did not become the day of happiness that the nightingale seemed to be singing about the day before. Now the loving Mr. N.N. lost his love forever, having discovered a simple truth: “Happiness has no tomorrow; he has no yesterday; it does not remember the past, does not think about the future; he has a present - and that’s not a day, but a moment.”
Immediately after its publication, the story became the center of attention of critics. N.G. Chernyshevsky ranked N.N. among the “superfluous people,” accusing him of moral and social failure; P.A. Annenkov, on the contrary, saw in such a “weak person” the bearer of the foundations of morality and humanity. However, both critics noticed in Turgenev’s hero some human incompleteness, weakness, lack of will, which did not allow him to retain love and become happy.
The undertaken analysis of the story, considering the role of the landscape in revealing the character of the hero, allows us to deeply understand the structure, and through it the meaning of the work. Our modern attitude towards nature is complemented by the experience of complex reflections and creative insights of I. S. Turgenev, one of the first to penetrate the dialectics of tragedy and harmony of the relationships between man and nature.
Literature:
S. “Asya”, Moscow, “Children’s Literature” 1980. I. “Garnet Bracelet”, Novosibirsk, “West Siberian Book Publishing House”, 1985. G. “Russian man at rendez-vouz. Reflections on reading Turgenev's story "Asya". "Athenaeus" 1858.
V. “On the literary type of a weak person (Regarding the story of Mr. Turgenev “Asya.” “Athenaeum” 1858.
I. S. Turgenev’s story “Asya” is sometimes called an elegy of unfulfilled, missed, but so close happiness. The plot of the work is simple, because the author is not interested in external events, but in the spiritual world of the characters, each of which has its own secret. In revealing the depths of the spiritual state of a loving person, the landscape also helps the author, which in the story becomes the “landscape of the soul.”
Here we have the first picture of nature, introducing us to the scene of action, a German town on the banks of the Rhine, given through the perception of the protagonist. About the young man
One who loves walks, especially at night and in the evening, who peers into the clear sky with a motionless moon shedding a serene and exciting light, who observes the slightest changes in the world around him, we can say that he is a romantic, with deep, sublime feelings.
This is further confirmed by the fact that he immediately felt sympathy for his new acquaintances, the Gagins, although before that he did not like meeting Russians abroad. The spiritual closeness of these young people is also revealed with the help of the landscape: the Gagins’ home was located in a wonderful place, which Asya especially liked. The girl immediately attracts the narrator's attention, her presence seems to illuminate everything around.
“You drove into the moon pillar, you broke it,” Asya shouted to me. This detail in Turgenev becomes a symbol, because the broken moon pillar can be compared with Asya’s broken life, the girl’s broken dreams of a hero, love, and flight.
Continuing acquaintance with the Gagins sharpened the narrator's feelings: he is attracted to the girl, he finds her strange, incomprehensible and surprising. A jealous suspicion that the Gagins are not brother and sister forces the hero to seek solace in nature: “The mood of my thoughts was just in line with the calm nature of that region. I gave myself entirely to the quiet play of chance, to the rushing impressions...” What follows is a description of what the young man saw during these three days: “a modest corner of German soil, with simple contentment, with ubiquitous traces of applied hands, patient, although unhurried work...” But the most important thing here is the remark that the hero “gave himself entirely to the quiet game of chance.” This phrase explains the contemplative nature of the narrator, his habit of not mentally straining himself, but of going with the flow, as is depicted in Chapter X, where the hero is actually sailing home in a boat, returning after a conversation that excited him with Asya, who opened her soul to him. It is at this moment of merging with nature that a new turn takes place in the hero’s inner world: what was vague, anxious, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with Asya’s personality. But the hero prefers to mindlessly surrender to the oncoming impressions: “I’m not only talking about the future, I didn’t think about tomorrow, I felt very good.” Everything further happens rapidly: Asya’s excitement, her awareness of the futility of her love for the young aristocrat (“my wings have grown, but there is nowhere to fly”), a difficult conversation with Gagin, a dramatic meeting of the heroes, which showed the complete “winglessness” of the narrator, Asya’s hasty flight, the sudden departure of brother and sister. During this short time, the hero begins to see clearly, a reciprocal feeling flares up, but it is too late, when nothing can be corrected.
Having lived for many years as a familyless man, the narrator keeps as a shrine the girl’s notes and the dried geranium flower that she once threw to him from the window.
Asya’s feeling for Mr. N.N. is deep and irresistible, it is “unexpected and as irresistible as a thunderstorm,” according to Gagin. Detailed descriptions of mountains and powerful river flows symbolize the free development of the heroine’s feelings.
Only this “insignificant grass” and its slight smell remained for the hero from that beautiful, integral world of nature and the world of Asya’s soul, merged together in the brightest, most important days of the life of Mr. N.N., who lost his happiness.
I. S. Turgenev’s story “Asya” is sometimes called an elegy of unfulfilled, missed, but so close happiness. The plot of the work is simple, because the author is not interested in external events, but in the spiritual world of the characters, each of which has its own secret. In revealing the depths of the spiritual state of a loving person, the landscape also helps the author, which in the story becomes the “landscape of the soul.”
Here we have the first picture of nature, introducing us to the scene of action, a German town on the banks of the Rhine, given through the perception of the protagonist. About a young man who loves walks, especially at night and in the evening, peering into the clear sky with a motionless moon shedding a serene and exciting light, observing the slightest changes in the world around him, we can say that he is a romantic, with deep, sublime feelings.
This is further confirmed by the fact that he immediately felt sympathy for his new acquaintances, the Gagins, although before that he did not like meeting Russians abroad. The spiritual closeness of these young people is also revealed with the help of the landscape: the Gagins’ home was located in a wonderful place, which Asya especially liked. The girl immediately attracts the narrator's attention, her presence seems to illuminate everything around.
“You drove into the moon pillar, you broke it,” Asya shouted to me. This detail in Turgenev becomes a symbol, because the broken moon pillar can be compared with Asya’s broken life, the girl’s broken dreams of a hero, love, and flight.
Continuing acquaintance with the Gagins sharpened the narrator's feelings: he is attracted to the girl, he finds her strange, incomprehensible and surprising. A jealous suspicion that the Gagins are not brother and sister forces the hero to seek solace in nature: “The mood of my thoughts was just in line with the calm nature of that region. I gave myself entirely to the quiet play of chance, to the rushing impressions...” What follows is a description of what the young man saw during these three days: “a modest corner of German soil, with simple contentment, with ubiquitous traces of applied hands, patient, although unhurried work...” But the most important thing here is the remark that the hero “gave himself entirely to the quiet game of chance.” This phrase explains the contemplative nature of the narrator, his habit of not mentally straining himself, but of going with the flow, as is depicted in Chapter X, where the hero is actually sailing home in a boat, returning after a conversation that excited him with Asya, who opened her soul to him. It is at this moment of merging with nature that a new turn takes place in the hero’s inner world: what was vague, anxious, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with Asya’s personality. But the hero prefers to mindlessly surrender to the oncoming impressions: “I’m not only talking about the future, I didn’t think about tomorrow, I felt very good.” Everything further happens rapidly: Asya’s excitement, her awareness of the futility of her love for the young aristocrat (“my wings have grown, but there is nowhere to fly”), a difficult conversation with Gagin, a dramatic meeting of the heroes, which showed the complete “winglessness” of the narrator, Asya’s hasty flight, the sudden departure of brother and sister. During this short time, the hero begins to see clearly, a reciprocal feeling flares up, but it is too late, when nothing can be corrected.
Having lived for many years as a familyless man, the narrator keeps as a shrine the girl’s notes and the dried geranium flower that she once threw to him from the window.
Asya’s feeling for Mr. N.N. is deep and irresistible, it is “unexpected and as irresistible as a thunderstorm,” according to Gagin. Detailed descriptions of mountains and powerful river flows symbolize the free development of the heroine’s feelings.
Only this “insignificant grass” and its slight smell remained for the hero from that beautiful, integral world of nature and the world of Asya’s soul, merged together in the brightest, most important days of the life of Mr. N.N., who lost his happiness.
The story “Asya” makes the reader think about love again. No one argues that love is the most beautiful, sublime and noble feeling in the world, but, unfortunately, we are not always able to understand whether the feeling experienced...
The term “Turgenev's girl” hides the image of captivating heroines with special qualities of the soul with a dramatic fate. Asya “Turgenev Girl” from the story “Asya” is a girl with an unusual destiny. Turgenev saturates not the external, but the internal...
Surely each of us knows that there are times when just one word can completely change a person’s life. This is exactly what happened to the main character of I. S. Turgenev’s story “Asya”. The young man N.N., traveling around Europe, in one...
At the time of the creation of the story “Asya” (1859), I. S. Turgenev was already considered an author who had a significant influence on public life in Russia. The social significance of Turgenev’s work is explained by the fact that the author had the gift of seeing in ordinary...
3) How do you understand the narrator’s words “What a chameleon this girl is!”?
Homework:
So, Asya seems to illuminate everything around her, with her the world comes alive, a person becomes happier.
(invites you to admire nature)
(He is happy. And forgot about the “cruel beauty”)
– Listen to Turgenev’s prose poems, created by him at the end of his life.
12) Why does Gagin come to the hero in chapter 3?
2) write down the lines - the characteristics of Asya given by Gagin, draw a conclusion about the disposition and character of the heroine;
– What unites these poems with the story “Asya”?
Are these two towns similar? Prove it with text.
1) acquaintance with the main directions of Turgenev’s creativity; with the heroes of the story “Asya”;
9) Prove that Turgenev’s portrait is primarily psychological.
What changed his mood?
But there is no description of nature in this chapter! Why? When does the hero begin to admire nature?
10) Turgenev paints Asya as a romantic girl who subtly senses the beauty and poetry of the world around her. In the episode of Asya and Gagarin's farewell after their first meeting (end of Chapter P) there are many symbols. The majestic river is a symbol of life’s path; lunar path - heavenly path, sanctification from above. And Asya notes: “You drove into the moon pillar. You broke it!” The voice of fate sounded, but the hero did not hear it. Why?
What does “living without looking back” mean?
(They are not similar. In the town of L., life is in full swing. There is a “celebration of life” here. Music is playing).
(named after the main character)
This - uniqueness, grace, charm - will distinguish all the “Turgenev girls”.
Teacher: Nature and music are the eternal companions of love. The author endows his characters with what he himself knew how to do: feel and understand the world around them.
Read the portrait of Gagin. Define a keyword for it (“soft”).
One of the features of Turgenev's portrait is the key word, which plays a role in the narrative.
Lesson: The role of landscape sketches in the story by I.S. Turgenev "Asya"
Purpose: 1. Educational - to expand and deepen for students the concept of “landscape in
literary work";
2. Developmental - to develop skills in analyzing the content of artistic
text;
3. Educational - to be able to see the beauty and spirituality of nature,
assess its impact on a person’s inner world.
During the classes:
I. The teacher's word.
We are finishing our conversation on the works of I.S. Turgenev, we summarize the conversations and debates on the story “Asya”. I would like the important remark made in the first lesson that the writer was a person sensitive to poetry and the beauty of nature not to go unnoticed.
The story “Asya” contains many landscape sketches. Knowing the “golden rule” of the unity of the artistic world of a work, we cannot help but ask the question: “Why does the writer turn to the state of nature? What role do landscape sketches play in the story “Asya”?
II. Let us concentrate our attention on Chapter X of the story. Let's read it. It's not big.
(A trained student reads the chapter by heart.)
- Am I mistaken in calling this chapter a landscape sketch? What is landscape?
The statement that Chapter X is a landscape sketch is controversial. But the main content of the chapter is devoted to a description of the river, sky, wind, stars, and the singing of a nightingale. This corresponds to the definition of landscape in a literary work.
Definition of landscape on the board.
Landscape (French) - (literally - country, area) - a picture of nature that has various artistic meanings. The landscape is part of the entire picture depicted and correlates with the mood of the characters.
So, let's delve into what the author portrays.
What is the emphasis in describing nature?
- River.
2) What did N.N. see? on the river? Name specific words.
- Royal (epithet) river; the river carried (personification); dark, cold depth.
- Is the river so dark and cold?
- No, the stars sway and tremble in it, reflected from the heavens.
“Anxious revival seemed to me everywhere...” And this statement doesn’t seem to be about the river at all..
- N.N. leaned his elbows on the edge of the boat. For what?
- Probably take a closer look at the state of the water.
- What did he see?
- It’s not so much my vision that’s affected, but my hearing (the whisper of the wind in my ears is personification), the quiet murmur of water behind the stern. The sense of smell and sensation are also heightened (fresh breath of the wave - and again the technique of personification). That's all. Just a mention of the nightingale, which sang on the shore.
- What next?
- Further to the end of the chapter a description of the state of the hero himself is given. And only the last sentence says that “the boat kept rushing, and the old carrier sat and dozed, leaning over the oars.”
III. So, the landscape sketch is small
- What did we, the readers, see?
- Sky, river, reflection in the river.
- Perhaps, we have before us an ordinary picture of nature. But is this true for N.N.?
Prove that the surrounding nature causes him great excitement.
- “Looking around, I felt a secret uneasiness in my heart..” “.. but also in
there was no peace in the sky: speckled with stars, it kept moving, moving,
shuddered (personification), “an alarming revival seemed to me everywhere - and
anxiety grew within me,” “the whisper of the wind in my ears, the quiet murmur of water
irritated me, the fresh breath of the wave did not cool me down"
- The hero is absolutely not calm, he is very excited, and therefore it is not at all accidental
next sentence: “Tears boiled in my eyes, but they weren’t tears
pointless delight." Next N.N. explains their reasons himself. How?
- “What I felt was not the vague sensation I had recently experienced
comprehensive desires, when the soul expands, sounds, when it seems to it that it
understands and loves everything No! A thirst for happiness was kindled in me. I did not yet dare to call it by name, but happiness, happiness to the point of satiety - that’s what I wanted, that’s what I was yearning for.”
- What's going on?
The hero actually admits to himself, formalizes in his heart the irresistible need that has arisen - the thirst for happiness, happiness to the point of satiety. And he himself clarifies that this is no longer the vague, recently experienced feeling of comprehensive desires...”
What was created by the author, how did he construct the events, what did N.N. Did such movements of the soul arise, did such a thought take shape?
(Pay attention to the beginning of the chapter)
- Where was N.N. and what was he doing?
- The whole day went as well as possible. We had fun like children. Asya was sweet and simple. Gagin was happy looking at her. I left late.
Conclusion: it was a wonderful, eventful day. Everyone was pleased with each other. In this situation, that “feeling of all-encompassing desires, when the soul expands and sounds,” may well arise. Moreover, it was on this day that N.N.’s spiritual rapprochement took place. and Asi.
During the way home in the shower N.N. a qualitative change occurs - “a thirst for happiness was kindled in him..”
- What happened on the way home? How does this path differ from those daily journeys that N.N. made?
- N.N. For the first time, I not only crossed the river, but asked the ferryman to launch the boat downstream.
- The movement along the river turned out to be surprising. It radically changed the hero's condition. What did he see?
- The river appeared before him in all its royal splendor. She came to life. The hero felt an alarming revival everywhere. And anxiety grew within him.
- Why did the alarm arise? (a statement about the river that it is life itself.
The life of every person can be compared to a river, the beginning of which is noticeable to everyone;
its further course and its purpose, when it wriggles like a snake across wide planes, can only be discerned by the All-Seeing One. Will it merge with neighboring rivers, increasing their volume, or will it absorb them? Will it remain a nameless river; will it feed with its shallow waters, together with millions of other rivers and rivers, some great river? Or will a new Danube or Rhine be formed from it and its water flows will become an eternal border line on the globe, a stronghold and waterway for entire states and continents? We won't know; we know only one thing, that its path lies in the Great Ocean.. (T. Carlyle).
For the first time N.N. did not cross this “life”, occupying his usual position of an outside observer. He found himself in the “thickest of life itself” - in the middle of the Rhine. Everything in this life “stirred, moved, shuddered.” Life is full of events; there is no calm, predictability, or balance in it. All this causes concern for N.N.
But at the same time, to know all these complexities and contradictions of existence is what it means to live life. Feeling how everything moves and lives around, N.N. and he himself suddenly feels a thirst for happiness, a thirst to live to the fullest. Thus, it is the state of nature that helps the hero understand himself, form a thought that may become the basis for his further actions.
And one last thing. What is the role of the carrier in this passage?
- He helps to cross the river.
- And if we consider it on a symbolic level, assuming that the river is life itself, and the boat is the movement of one person in it?
N.N. unable to control his own destiny. It is not suitable for this. And while the boat is moving along the river, the carrier is dozing, leaning over the oars. This means that the boat (N.N.’s life) flows along the river (life in the general sense) arbitrarily. There is no control over your destiny, no goal. This gives rise to the assumption of N.N.’s personal insolvency.
And to the question: will he be able to rebuild his life, take responsibility for Asya’s fate, become her support, her hero, we can probably only give a negative answer.
IV. Conclusion.
Thus, the landscape sketch, to which Chapter X is devoted, acquires greater significance, going beyond the scope of the landscape and its role in a work of art.
In your notebook, you must make the following notes during or at the end of the conversation:
The role of landscape sketching.
Affirmation of the enormous influence of the life-giving power of nature on the spiritual world of man.
The hero felt the fullness of life sensations.
A vital thought takes shape in the hero’s soul, which can become the basis for his further actions.
The assumption of the hero's inability to decide his fate.
This lesson is applied in the basic system of lessons for studying the story by I.S. Turgenev “Asya”, so homework involves moving on to a new block of lessons on the work of another writer (for example, preparing a message on a biography).