Analysis of the story “Date” according to plan. I. S. Turgenev. Analysis of the story “Date What will we do with the material received?”

Karakulova G.K.

About stylistic and genre originality

short story “Date” by I.S. Turgenev.

The story “Date” (1850) by I.S. Turgenev included in “Notes of a Hunter” [I.S. Turgenev. Notes of a hunter. Fathers and Sons. – M.: “Pravda”, 1979. – P. 236 - 244].

It is explored in the work in connection with the search for criteria that help determine the style of a work as a result of creativity. In our opinion, firstly, one of them is the content of the objective theme - the struggle between natural feelings and social status, most clearly revealed in the dating scene - in the present tense of the narrative, in the words of Victor, explaining to Akulina the reason for the groundlessness of her hopes. As a result, it can be judged that in the aesthetic ideal of I.S. Turgenev's anthropological is opposed to the social. And this is a clear sign of a romantic image, the subject of which, as we see, is the feelings of the heroes.

Another criterion is the comprehension of the active center and the content of its component system of focuses, an invariant theme. Therefore, let us turn to the analysis of the final lines of the story (“I returned home; but the image of poor Akulina did not leave my head for a long time, and her cornflowers, long withered, are still kept in my possession...” [P. 244]).

The romantic style in “Date” is associated with the rhythmic-intonation level and its focus (the end of the work with a functional pause, i.e., an ellipsis). What speaks about the genre of a lyrical work, built on the fusion of feelings of the narrator and heroine, reader and narrator, reader and writer , conveying the psychological state of the lyrical hero. There is a clear contrast between the full-blooded, varied feelings experienced in nature in connection with the perception of its phenomena and the feeling of sadness, sympathy for Akulina [psychological focus]. I.S. Turgenev conveys to us his idea of ​​the beautiful and the ugly through the depiction of the relationship between the individual and society. The aesthetic ideal of the artist of the word is conveyed by chronotopic signs ["grove" - ​​"house"] with the intended contrast between nature and society. This contrast reflects the discussion about the significance of nature and the influence of society on the individual in the 50s: Turgenev, as we see, was a supporter of those who defended the unconditional influence of the environment on the quality of a person and his fate [“I returned home - but...”]. Obviously, the discovery of an ideological and thematic focus in the active center, which was not reflected in the meaning of the name. Therefore, in terms of the dominance of tricks, “Date” can be classified as a lyrical, philosophical, psychological work.

The content of the identified system of focusing and their connection with each other (“the principle of contradiction”) determines the invariant theme [i.e. idea] of “Date”, which, due to the dominance in the fabric of the narrative of potential, i.e. hidden contradictions will be rethought, which is inherent in the short story genre. The idea, as is known, stems from the relationship between the chronotopes of the past and the present image of events.

Since the idea (the content factor of the work) is inextricably combined with the genre (the form factor of the work) through a diachronic or synchronic relationship between the past and the present, the works of I.S. Turgenev is, at first glance, a story. After reading the text, we comprehend its essence: the affirmation of deep, natural feelings as beautiful. And in the reverse movement, we perceive the meaning of the story differently: the writer already affirms the idea of ​​​​the powerlessness of beautiful nature, nature [“grove”] before the constraining paths of the social system [“home”]. And one can hear the passionate protest of the humanist writer against serfdom. Contempt for Victor’s weak nature, susceptible to the influence of the environment, is balanced by the understanding that the purity and naturalness of Akulina’s nature is also unable to withstand the environment. This determines the realistic tendencies in the romantic style short story “Date” by I.S. Turgenev. The great critic V.G. is right. Belinsky, the relationship of “Notes of a Hunter” to anti-serfdom works.

So, we studied the “Date” style on the basis of the most important criterion, i.e. according to the content of the objective and invariant themes and their relationship: when reconsidered, the invariant theme, according to the laws of the romantic style, does not coincide with the objective theme in meaning.

In this regard, we examine key details and signs. They are defined by paired words with antonymous signs representing V hidden or in open form (what Yu.G. Nigmatullina refers to real and potential details and signs).

Their function in revealing the style type is also undeniable: potential details and signs in the active center, according to A.E. Kulumbetova, are inherent in a romantic style with realistic tendencies, realistic and romantic-realistic duality. And real details and signs - realistic style with romantic tendencies, or a romantic-realistic synthesis. This is the third criterion for determining style by type of communication.

As we have noticed, the key words at the end of “Date” express a hidden contradiction, which we restore taking into account the previous narrative [“home” - “grove”, “kept” - “long withered”, “kept” - “dropped the cornflowers on the grass”]. The content of the dominant sign focus in the active center is the opposition of the narrator and the hero through their perception of Akulina.

What is the stylistic role of key signs and details in the system and structure of the work as a whole?

The author conveys the meaning of the short story to us through a combination of symbolic, plot-compositional, rhythmic-intonation levels and their focuses. The main criterion for determining the dominant levels of the structure of a work will be the title. Based on this, the plot-compositional and symbolic levels are dominant:

1) a date is a pre-arranged meeting that replaces our idea of ​​intimate relationships (familiar focus);

2) readers’ interest in the characters who came on a date, in their psychology, and events constitutes the content of the plot-compositional level;

3) the concept of “date” is associated with the emotional sphere of perception and expresses the significance of the rhythmic-intonation level.

The beginning of the short story is a description of nature, a kind of “landscape of the soul.” I.S. Turgenev is a master of this technique, which allows him to foresee the further course of events and reveal the inner world of the heroes. The key details and signs of a consistent description of the landscape are subject to a certain rhythm in terms of the change from negative to positive, dark to light. However, such comprehension arises only in forward movement, and in reverse, the positive and bright things dim and lose their significance.

“Autumn” is a sign of a decline in something, the approach of cold, predicting something negative. “Morning” is the beginning of a new day associated with a variable. In direct movement the thought of the possibility of hope arises. And in the reverse movement, the meanings of these signs together foreshadow something sad.

At the beginning of the narrative there is an iconic microfocus with a negative meaning ["about half of September"]. Its potential meaning is in the reverse movement of the peak of the struggle between light and dark and the natural preponderance of the latter.

Real details [“a light rain fell” - “sunshine”, “then everything became clouded” - “then cleared”] directly convey the expectation of something joyful, and in the opposite direction they anticipate the content of the plot action of the date itself and emphasize Akulina’s incompatibility and Victor.

In the description of the autumn colors of the interior of the grove, an opposite change of rhythm is observed: there is a contrast between joy, hope and emptiness, fadedness [“everything lit up”: “the gentle reflection of white silk”, “the leaves suddenly dazzled and lit up with red gold”, “like the color of overripe grapes” " - "everything around turned slightly blue": "bright colors instantly faded", "without shine, white"]. The artist’s use of epithets and personification serves as a means of enhancing the dissimilarity between the human experiences of a peasant woman and a valet, as well as the changeability of the feelings of a girl in love. The romantic opposition of light and dark [“bright colors” - “dimmed”] is associated with a romantic attitude (tragic - ugly).

I.S. Turgenev uses the technique of psychological parallelism, which is a kind of beginning, an emotional key to revealing the subsequent picture. The similarity between the foliage of birches and Akulina is both external and internal: “The foliage on the birches was still almost all green, although it had noticeably turned pale; only here and there stood one young girl, all red or all gold, and you had to see how she flashed brightly in the sun when its rays suddenly broke through, sliding and motley, through every network of thin branches, just washed away by the sparkling rain" [C . 237]. The epithets [“green”, “young”, “flashed brightly”] speak of the strong connection between the birch forest and Akulina. The heroine, like one of the elements of nature, grows out of a birch grove. “... The entire interior of the forest was filled with the sun and in all directions, through the joyfully rustling foliage, the bright blue sky shone through and seemed to sparkle; the clouds disappeared, dispersed by the rushing wind; the weather had cleared, and there was that special, dry freshness in the air that filled the heart with some kind of cheerful feeling and almost always predicts a peaceful and bright evening after a stormy day. I was about to get up and try my luck again, when suddenly my eyes stopped on motionless human form. I took a closer look: it was a young peasant girl” [S. 237-238]. Metaphors ["filled with sunshine", "joyfully rustling", "sparkled", "clouds were hiding", "the weather cleared", "freshness"] predict that we will talk about accepted beauty. The iconic detail “looked closely” confirms our idea about the unity and inseparability of Akulina and nature.

The description of the girl’s appearance speaks of her spiritual purity [“white shirt”, “blond hair”, “white forehead”]. “Yellow beads” indicate that she dressed up for someone.

Details [“a trace of a tear”, “her eyelids turned red”, “her lips moved bitterly”] express sadness, thoughtfulness, and heartfelt emotion.

The contradiction is concluded by the details and the sign built on the comparison [“eyes, large, bright and timid, like a doe’s”], which express the characteristics of the girl - graceful and timid at the same time.

Mental satisfaction contrasts with feelings of anxiety, doubt, timidity and uncertainty [“she suddenly flushed, smiled joyfully and happily” - “again she drooped all over, turned pale, embarrassed”].

The psychological description [“trembling, almost pleading look” of the intensity of feelings, Akulina’s strong excitement due to emotional experiences conveys hesitation and fear.

The second parallel is between the images of aspen and Victor. “Before I stopped in this birch forest, I walked through a tall aspen grove with my dog.”

The author's attitude towards nature is adequate to his attitude towards the hero. In order to emphasize the most important thoughts, I.S. Turgenev uses the technique of repetition and focuses the reader’s attention on them. ["I, I confess, I don’t like this tree too much - aspen...” - “ I confess, he didn’t make a pleasant impression on me”; "... with her pale lilac barrel" - "... pink tie with purple tips...", "...swinging her round unkempt leaves..." - " Round the collars of his white shirt mercilessly propped up his ears and cut his cheeks...” (According to me. - G.K.S. 237, 239)].

The signs [“metallic foliage” - “bronze-colored coat”] are an expression of coldness and hostility.

Already Victor’s first phrases testify to his lack of spirituality; he addresses the girl with extreme importance and disdain [“... majestically passed his hand...”, “... looking around with dignity...”].

The description of the valet’s appearance also speaks of the absence of any taste, style, or grace: “... starched sleeves covered the entire hand right down to the red and crooked fingers, decorated with silver and gold rings with turquoise forget-me-nots” [P. 239].

The author shows him as a person devoid of acute perception, slow-witted, limited and insensitive, who was influenced by his environment [clothing from a lordly shoulder, conveying bad taste - the ordinary appearance of an undeveloped personality]. He strives to meet the necessary requirements, his “high” position, without thinking about the opposite effect [“stretched”, “lazy”]. In him we see an indifferent attitude towards Akulina’s feelings, he behaves with her with arrogance, speaks proudly and arrogantly [“... you’re not stupid, not quite a peasant...”, “without education”], believing that a simple peasant woman does not deserve his attention . That is why he “lazyly” accepts her gift - “a bunch of blue cornflowers” ​​[“carelessly”, “with thoughtful importance”], which he then indifferently “dropped.”

The last episode of the story - a picture of autumn, the approach of winter - helps to understand the idea of ​​​​the work. Akulina faces a bitter, difficult fate [“a fresh smile of fading nature”, “winter”], this is confirmed by the image of a raven - symbols of misfortune. The heroine’s trouble is the lack of demand for her bright and selfless feeling of love. This part represents a lyrical digression from the plot of “Date”. The role of the narrator is lyrical: what is happening is perceived by us through his point of view - the third hero of the story, and he, the lyrical narrator, determines the composition of the story - circular: landscape paintings begin and complete the story.

The chronotope of the short story is a birch grove, a sign of the dominance of the anthropological principle, containing light and hope. All the action takes place in nature, since love is a natural feeling. This is the writer’s hint about a romantic plot - a meeting of young people. The symbolic chronotope is based on the technique of parallelism. The feeling was dramatic for the peasant woman; the struggle between hope and hopelessness in her is the essence of the psychological struggle. Turgenev reveals the reason for her misfortune: My love for an insignificant person is sticking. Let us remember the subject detail “knocking an empty cart...”, which is directly associated with the image of Victor, in contrast to Akulina, who is in constant motion, but has not accumulated spiritual baggage.

It is obvious that the system of keywords (chronological and subject signs and details) that we studied is connected with the system of images and its types. Nature is described in a symbolic way and, occupying the main place in the narrative about human feelings, the inner world of the individual, emphasizes the emptiness of Victor [“empty cart”] - from the atiric image, and the intense psychological struggle in Akulin and the lyrical hero. So, as our study of the criteria for determining the style of a work has shown, with the dominance of the symbolic type of imagery, both the psychological and statistical disclosure of the characters are significant, which speaks of the romantic style of “Date” by I.S. with realistic tendencies. Turgenev. The genre is a lyrical, philosophical and psychological short story.

System analysis of a work of art. Scientific and methodological manual.

Issue . 1. Rauan. Almaty 1998.

Two portraits: heroesstory"Date"

from the series "Notes of a Hunter" by I.WITH. Turgenev

Master prose writer of the 19th century, I.S. Turgenev implemented in his works those artistic techniques that not only a writer, but also every person inevitably encounters, in whose professional activity it is necessary to describe, narrate, reason... Artistic persuasiveness, level of skill, and even the attractiveness for readers of a work are most often determined by the way the characters are presented in it, how reliable and entertaining their relationships are, the external and internal world, etc. Therefore, depicting people in a work is perhaps the author’s most difficult and responsible task. The first mention of Viktor Alexandrych is an indication of his social status, which is restored based on his appearance: This was, by all indications, a spoiled valet.Oa handsome, rich gentleman. His clothes exposed pretension to taste andenaked negligence... Acquaintance with the character is noteworthy in that it begins with clothing - that is, a detail that depends on the person and is not constant, although in Turgenev in “Notes of a Hunter” most of the descriptions begin with the physical data of a person - appearance, age, height, build, facial features - what attracts attention first. (Compare for example: ...I saw a woman of about twenty, tall andthnew, with a gypsy dark face, yellow-brown eyes and a pitch-black braid(“Chertophanov and Nedopyuskin”); Imagine, dear readers, a plump, tall man, about seventy years old, with a face likeAndthose who see Krylov’s face somewhat, with a clear and intelligent gaze under an overhanging eyebrow, with an important posture, measured speech, and a slow gait: here’s Ovsyanikov for you(“Ovsyanikov’s One-Palace”); Imagine a dwarf about five years oldesit with a little one, smooGa long and wrinkled face, a sharp nose, brown, barely noticeable eyes and curly hairswith thick black hair(“Kasyan with a Beautiful Sword”); Owl headRperfectly dried, monochrome, bronze - like an ancient iconnno letter; the nose is narrow, like a knife blade; I can hardly see my lips - only my teeth and eyes turn white, and I’m knocking them out from under my scarf.Tthin strands of yellow hair on the forehead(“Living Relics”), etc.). Drawing attention - first of all - to the clothes of the hero of "Date" immediately gives a hint of a certain value system of the young valet, of the importance for him of the external, ostentatious. Next, the author draws the appearance through the prism of his own perception, which manifests itself in modal and introductory constructions, and in evaluative vocabulary:His face, rosy, fresh, cheeky, belonged to the number of persons who, e as much as I could tit, almost always outrage men and, Unfortunately, very often liked by women. Appearance is inseparable from body movements, gestures, physiognomy, the mention of which complements the impression of a young poseur, not very skillfully trying to give the impression of a significant person:He apparently tried to give his rough features an edge.Aethe expression is contemptuous and bored; besprGhe nervously squinted his already tiny, petty-gray eyes, winced, lowered his eyeslips, yawned forcibly, and with a careless, although not quite deft, ease, he adjusted hisatOwith his reddish, arrogantly curled temples, he plucked the yellow hairs sticking out on his thick upper lip -wow, it broke unbearably. He began to break down as soon as he saw the young peasant woman waiting for him; mehdOslowly, with a leisurely step, he approached her,Ostood, shrugged his shoulders, put both hands in his coat pockets and, barely It seems that every word bears the stamp of the author’s hostility, which manifests itself in many ways, in the various means of evaluation embedded in this fragment. GFurther references to the hero’s appearance are scattered and are found mainly in the author’s comments on direct speech, which comes to the fore. His interlocutor is depicted completely differently. Let's start with the fact that the narrator saw her first, and her description - or rather, not the description itself, but the author's emotions embedded in it (pity, compassion) - largely precede the placement of accents in the story. I would like to note the syncretism of the author's vision - we imagine the girl as the narrator sees her, as if continuing to follow the impressions that arise in him in a random order, perhaps somewhat chaotic (but this is how it happens when we first meet): the narrator does not draw according to individually, systematically, appearance, posture, facial expression: these impressions seem to replace each other, he again and again returns to the significant - in his opinion - details.eHow much more noble does the peasant Akulina appear before us than the well-dressed valet Victor:; long blonde hair; red ash color; forehead, white as ivory; thin skin; high eyebrows - long eyelashes eyes, large, bright and shy, like a doe's... the image of a sweet and attractive girl who is not spoiled even a little thick and round noseIn general, this description is quite significant in scope: the narrator admires the girl and already sympathizes with her, evoking sympathy in the reader, although the action itself has not yet unfolded and the situation is not yet known to him or to us, the readers. However, it is no coincidence that his gaze again and again stops - and this is emphasized in the story - on the expression of the girl’s face (em; ... I didn’t particularly like the expression on her face: it was so simple and meek, so sad and so full of childish confusion; Nya in front of her own sadness a trace of a tear stopping at the very lips, slightly pale Her eyelids turned red, her lips moved bitterly, and a new tear rolled from under her thick eyelashes. ) - and at the end of the description an evaluative adjective is used as it turned out, completely fair. Almost every replica of Viktor Alexandrych is a touch to his portrait; the means of linguistic expressiveness in the direct speech of this hero are truly inexhaustible, but let us dwell on the most striking elements that it is advisable to consider in accordance with the level structure of the language. It should be noted that in the direct speech of Viktor Alexandrych there are almost no means of the phonetic level, although in general in the essays of “Notes of a Hunter” - in the direct speech of other heroes - there are such and are aimed at conveying the peculiarities of the pronunciation of certain words, most often of foreign origin ( uncool, inferiority, fershel and so on.). In the speech of the young valet, there are practically no such obvious violations of the orthoepic norms of the phonetic level, with the exception of the transmission of the pronunciation of the word by means of orthographyegenerally quality - "society". By the way, from the point of view of phonetic norms, Akulina’s speech does not contain any violations.: Some morphological features of the hero’s speech deserve attention - for example, those associated with the use of verb forms of a certain person in a figurative meaning:Things are abyss ... not behind everything you'll see (the use of a 2nd person verb in the meaning of the 1st person “I will not see”, in addition to the shade of generalization, introduces into the sentence a hint that the speaker considers himself a significant person - at least in his own eyes). Or: O Still, you are without education, so you must obey when you gov ryat (the verb of the 3rd person is used in the meaning of the 1st person - cf. “I say”; thereby the hero once again contrasts himself, an educated, important person, with an illiterate village girl). In general, there is a lot of unsaid in the text, which is only felt through linguistic means. Noteworthy is the use of the pronoun in preposition to us: To me and the master You can't stay here... (thus the hero hints at his own need for the master, at the unity of views and plans; in addition, the replica contains an intensifying particlesame, which brings emotion to this sentence). You can note the use of a possessive pronoun instead of a personal pronoun: I Perhaps the greatest number of striking features is present at the syntactic level. In our opinion, the most significant are appeals as expressors of the attitude of one person to another. It is possible to trace exactly how the hero addresses the peasant girl Akulina: the addresses are expressed first of all, and this is natural, by his personal name - Akulina, as well as an insignificant and dry etiquette formula my dear, in addition, an evaluative substantivized adjective stupid. I wonder what the word silly, its shape and Viktor Alexandrych uses words of the same root repeatedly in relation to the girl, which gives the right to talk about the inconsistency of his assessments: cf. according to the text - I haven't forgotten youlips, yawned forcibly, and with a careless, although not quite deft, ease, he adjusted hisdu: only yoube smart , don't be a fool, listen to your father... Of course,you're not talking lips, yawned forcibly, and with a careless, although not quite deft, ease, he adjusted his pa ... - Yes, you close your eyes, close your eyes... Yes, not that one, not that one,stupid ! ... There are simply such miracles as you,stupid , and in a dream I can’t imagineOeat... I'm not angry, butbwho are youstupid ... The only phrase intended as praise ( you're not stupid), is devalued by the request be smart..., as well as “direct” appeals stupid and predicate adjective stupid. In general, the young valet strives to gain the attention of the listener, to give himself some mystery and inaccessibility - this flatters his vanity, so Viktor Alexandrych’s speech contains phrases aimed at attracting the attention of his interlocutor: you know... understandHe apparently tried to give his rough features an edge.Are you eating me?.. you know it yourself... you judge for yourself!.. I can’t imagineOyou eat... you can’t understand... All this, combined with Akulina’s tactless accusations of stupidity, helps create the impression of a arrogant person, inclined to belittle his interlocutor in order to rise above him. (In one of Viktor Alexandrych’s remarks there is a parcellationAndUV Let's see you, see you. Not next year, but after... ), which serves to create expressiveness and highlight the last part of the sentence that is important in meaning. If the first part () see you, see you... still gives some hope, then the second completely negates this impression, especially the final word(after next year - this is a specific period, andOP next - a very vague concept).Willingly or unwittingly, in direct speech a person reveals his value priorities. So, for example, the inversion ( Master, it seems ) makes it possible to understand the scale of the significance of concepts for a young valet: Petersburg is the limit of his aspirations, the master’s purpose of living in Petersburg is less important - entering the service, as well as the likelihood of this intention being realized (he does not undoubtedly enter, but for now he wants to enter). stupid): Despite the fact that the hero pretends to have a secular gloss, he is betrayed by intolerance and irritability, which is first expressed in repetitions of words for the purpose of strengthening (not to mention addressing a woman -- Yes, close your eyes, close your eyes... But it’s not the same, it’s not the same, stupid! Another! - ...inWith Victor called and, not allowing her to correct her mistake, took the lorgnette away from her. The young valet’s speech contains rhetorical questions that, as we know, do not imply an answer or contain an answer themselves: with such questions the hero puts his interlocutor in an awkward position, depriving her of the opportunity to object or explain anything:OI'm not angry, but you're stupid... What do you want? After all, I can’t marry you? after all not mOgu? Well, then why are you x are you scratching? what? The hero's speech is emotionally charged: a large number of exclamatory sentences are striking - it should be noted that such sentences do not contain any important messages suggesting intense emotions. The concentration of such proposals is observed when talking about St. Petersburg, when Victor boasts about his upcoming trip; in a situation of irritation because the girl did not figure out how to use the lorgnette; when conveying feigned indignation, behind which the hero hid to avoid a serious answer:n- You didn’t talk to me like that before, Victor Alexa Drych,” she said, without raising her eyes. “Before?..before!” Look!.. Before! - he remarked, as if indignant. There is an emotional, very pretentious emphasis on a certain word:enow winter is coming, and injealous - in winterO- you know it yourself - pr one hundred badness. The lexical composition with which the hero operates in the story is naturally determined by the range of micro-topics in his speech. This circle is small: St. Petersburg and the realities of social life - and the antithesis "the education of the gentlemen, to whom the hero naively classifies himself, is the stupidity of the peasants." You can note the group of vocabulary that is relevant for the speaker: words Petersburg, master, (words related to the thinking, intellectual spherelips, yawned forcibly, and with a careless, although not quite deft, ease, he adjusted hisnonsense, understand/understand, pos. baby, a few root words). From a stylistic point of view, the lexical composition of the hero’s speech is characterized by fairly frequent inclusions of colloquial elements, which once again proves the untenability of Viktor Alexandrych’s claims to secularism. Wed. And Iwas I completely forgot... Moreover,you see , rain! Affairsabyss : You can’t see through everything, and he’s still scolding. What nonsense -whine ! ... nonsense no govOri...And-and , Whichnonsense ... Well,charged same; in addition, the postpositive particle is actively used -That. Perhaps it is the vocabulary that reflects intentional cruelty - Viktor Alexandrych, despite his own narrow-mindedness, knows how to hit the girl harder, while enjoying his own importance: thus, he twice tries to leave, not wanting to see Akulina’s tears: And then Ithhour atthdu...However, it's time for me to go; humiliates her with his own superiority, throwing a dubious compliment ( Of course, you're not stupid, not quite a peasant, so to speak....), talking about life in St. Petersburg, deliberately drawing attention to the lorgnette (by the way, not knowing how to use it in the same way as Akulina); feigns misunderstanding, actually pushing the girl to openly express her feelings: - ... it’s a sin for you, it’s a sin for you, Viktor Alexandrovich, by God! - What is sinful ? - he asked, frowning his eyebrows, and slightly raised and pOreturned his head to her. - It’s a sin, Viktor Alexandrovich. At least they said a kind word to me when I said goodbye; at least say a word to me, poor orphan... - What can I tell you ? - I don't know; you know this better, Viktor Alexandrovich. Here you go, and at least say a word... What have I done to deserve it? - How strange you are! What can I do? - Just a word... All the remarks presented are questions, while the first two are actually redundant in terms of meaning, they simply repeat the girl’s remarks. The tears of poor Akulina do not evoke any sympathy in the young man, on the contrary: twice, as mentioned above, he threatens to leave, in addition, Viktor Alexandrych, as an indifferent observer, throws out his comments as if by chance: Well, that's right, let's goHe apparently tried to give his rough features an edge.roll; Chorus, chorus... and so on. No less expressive than the speech itself are the author's comments - nonverbal information about facial expressions, gestures, etc. If we artificially select from the work only the author’s comments, similar to the stage directions in the play, regarding the non-verbal behavior of Viktor Alexandrovich, then the picture will turn out to be very eloquent: ... continuing to look somewhere to the side, swinging his leg and yawning... (He yawned again.)... (He took off his cap, majestically ran his hand through his thick, tightly curled hair, which began almost at theHe apparently tried to give his rough features an edge.our brOweave, and, looking around with dignity, carefully covered his precious head again.)... (And he wrinkled his blunt nose.)... (And he sleptOcalmly stretched and yawned again.)... (He said these words as if from the gutwow, it broke unbearably. He began to break down as soon as he saw the young peasant woman waiting for him; mehka, lying on your back and meanOhands under his head.) Victor winced, but gave her the glass. He patted her condescendingly on the shoulder... he continued, smiling smugly... Victor muttered in an undertone, changingHe apparently tried to give his rough features an edge.staying in place. As you can see, the author’s comments provide additional touches to Victor’s behavior. Some of them directly relate to the melody of speech, for example, the characteristics of tempo, timbre, and emotionality of speech: Bywow, it broke unbearably. He began to break down as soon as he saw the young peasant woman waiting for him; mehhe snapped hastily and with vexation; he continued, pronouncing words carelesslyandbut also nehow much in the nose; he uttered these words as if from the stomach; he objected in the voice of a disgruntled mentor; Victor said coolly; halfway throughOLosa AveOVictor muttered... All of the above comments work to create a negative impression of the hero and complement his speech characteristics. It is also interesting to note that Turgenev points out long pauses in the conversation before Viktor Alexandrych’s remark, who seems to condescend to his interlocutor: he finally spoke(this comment appears twice). Unlike her interlocutor, Akulina is a man of few words. And indeed, when the heart speaks, a person has no time for beautiful statements, and she is not accustomed to this, and is not used to it... At the beginning of the conversation - especially - her remarks are brief, in fact they repeat what Viktor Alexandrych said, which indicates her strong emotional excitement , confusion.(As noted above, the speeches of the young valet, with all his desire for bookishness and pomposity, are characterized by colloquial elements; there are some in Akulina’s speech - however, in her mouth they do not look like something alien, grating on the ear, since the girl has no pretension to seem better, smarter, more educated than she really is. In addition, there are not so many of these elements: at the morphological level - the use of postpositive particles-That When- That God...; will lead see you again; ); at the syntactic level - some constructions, the use of which in her speech is quite appropriate due to the high degree of expression they contain () . Noteworthy is the striking feature of the heroine’s vocabulary: the abundance of words and phrases belonging to folk poetic speech ( good word, miserable withAndlittle mouth, darling, my poor little head etc.) - it’s as if a folk song-cry sounds in front of us... If a young valet addresses a girl by name and even with a derogatory word stupid, then in a girl’s speech he always - Victor AlexanDrych And "You". In general, Akulina, who is distinguished by disproportionately greater spiritual sensitivity and subtlety, cannot help but understand how humiliating the current situation is for her and how humiliating her own behavior is, but she is unable to change anything. Yes, she sadly said: "You will forget me, Viktor Alexandrovich"... - before us is not a question (will you forget me?) and not a request (don’t forget me!), but a statement that is obvious to both her and him, and perhaps an indirect, hidden hint for the interlocutor to object to her, but Victor Alexandrych either could not or did not want to hear him. Akulina’s speech sometimes becomes confusing, her statements are not always complete in intonation and meaning (It seems that I have nothing to do with youYu beat, everything seems to be for you... You say, I have to obey my father, Viktor Alexandrovich... But how can I obey my father... and etc.). If Viktor Alexandrych, in a conversation with a girl, touches on the topic of his brilliant future, then the only theme that is important to her runs through her words - their relationship, the girl is depressed, sad, cannot hold back her tears; only one item made her “perk up a little” - a bouquet of flowers - something that is close, understandable and dear to her.Perhaps the most noticeable feature of the girl’s speech is the constant repetition - a return to what is only important to her at this last meeting: an imminent separation, in which she does not want to believe (Behind V tra? ... So are you going tomorrow?); reproaches - timid, which she barely dares - for the coldness of her beloved (...It’s a sin for you, it’s a sin for you, Victor Ale.. To... Sandrych, by God! Sinful, Viktor Alexandrovich.. ); bitter thoughts about the future ( Oh, Viktor Alexandrych, how will we be without you! And what will happen to me, what will happen to me, miserable one?... and so on.); humiliating - and the girl herself understands this - a plea for a warmer, more sincere farewell ( at least a word). As you know, in order for an insignificant person to rise, he must not become better himself, but humiliate another. At first glance, both the speech and non-verbal behavior of Viktor Aleksandrovich work to create just such an image, causing unequivocal censure, but it is felt that the problem of the work is deeper. The conflict of this work - and any conflict (not only in a literary work, but also in all the diversity of life situations) lies in the dissimilarity of people - and not necessarily some are regarded by the reader as “good”, others as “bad”. Both poor Akulina and the young valet are too different and not suitable for each other. Akulina does not want to internally accept this obvious truth, and to Victor their dissimilarity seems too direct and simple (she is “without education,” to him with the masterHe apparently tried to give his rough features an edge.you can't stay here to be; now winter is coming, and in the village - in winter - you yourself know - it’s just nasty

). Therefore, the very arrangement of characters in the text turns out to be another means of revealing each of them.

-- References Mikhailov P.M. Character. Showing a person in fiction and principles of analysis. - Simferopol: State Publishing House of the Crimean ASSR, 1940. - Turgenev I.

S. Notes of a hunter. // Turgenev I.S. Complete collection of works and letters in 30 volumes. - T.3. - M.: Nauka, 1979.

Turgenev's story "Date", a brief summary of which will be discussed below, is included in the series "Hunting Notes". Published in Sovremennik magazine in 1850.

Exposition

Where does it all begin? The hunter stopped in the autumn forest to rest.

He admires the magnificent pictures of the colorful forest. At first our hero dozed off, and when he woke up a short time later, he saw a peasant girl in the clearing. We begin to consider Turgenev’s story “Date”.

Plot plot

This is how the summary of Turgenev’s “Date” continues. By the appearance of a man, you can immediately determine that he is a gentleman. He is wearing clothes from a lord's shoulder, his crooked red fingers are studded with gold and silver rings with turquoise. The girl peers at him, ugly and narcissistic, with delight and affection. From further conversation it turns out that they see each other for the last time. Akulina, that’s the heroine’s name, wants to cry, but Victor says that he can’t stand tears, and the poor thing holds them back as best she can.

She tilts her head towards the flowers, carefully sorts them out and tells the young man what each flower means, and gives him a bouquet of cornflowers. He casually drops it and talks about imminent separation: his master is leaving for St. Petersburg, and then, possibly, abroad.

Conflict

During this conversation, different understandings of the current situation emerge. We present a brief summary of Turgenev's "Rendezvous". Akulina believed in the tender feelings of the young man, which in reality did not exist. Finally, before leaving, he did not even utter a single kind word to the girl, as she asked, but only told her to obey her father. This means that she will be married off against her will.

Climax

The heroes part. Akulina is left alone with her experiences. This does not exhaust the summary of Turgenev’s “Rendezvous”. The ending remains open. When a hunter appears, Akulina runs away in fear, and he shows understanding of the feelings that worry the girl. The hunter selects a bouquet of cornflowers and carefully stores them.

Analysis of the work

Let's look at the heroes first. There are only three of them: the hunter, Akulina and Victor.

The author secretly admires the girl who is the center of the story. First, her appearance is described with doe eyes and long eyelashes, thin, slightly tanned skin, blond hair held back with a scarlet ribbon. Only tears roll down your cheek. When Victor appeared, she perked up joyfully, and then became embarrassed. She tenderly kisses Victor's hand with trepidation and addresses him respectfully. And when he finds out about the separation, he cannot contain his grief. Akulina tries to restrain herself and begs only for a kind word goodbye. The bouquet she collected is of great importance to the girl, but she attaches special importance to the cornflowers, which Victor carelessly, like herself, rejected. These blue flowers have become a symbol of desecrated love.

Victor immediately makes a bad impression on the author. The young man is very ugly. His eyes are small, his forehead is narrow, and his mustache is sparse. He is full of narcissism and self-satisfaction. Victor behaves disgracefully with Akulina, yawning, showing that he is bored with the peasant woman. He endlessly turns his watch and his lorgnette, which he does not know how to use. In the end, Akulina’s sincere grief frightens him, and he shamefully runs away, leaving the girl alone.

The hunter tells us about the date, sympathizing with the girl and despising the cynical lackey who may have ruined her life.

The problems raised by the author can be transferred to our realities. Too often, modern young girls choose completely unworthy men and make them an object of worship, and then, abandoned, suffer. This concludes the analysis of Turgenev’s “Rendezvous”.

The story “Date” was written in 1879 and belongs to I. S. Turgenev’s “Notes of a Hunter” cycle. “Date” is a delicately poetic lace about the unhappy love of a peasant woman for a young man who, in the author’s opinion, is unworthy of her love. The story is small in volume and its composition coincides with the previous works in the cycle.

The exhibition includes a description of the time of year and the state of nature at the moment when the hero once again walks around the outskirts of his estate in order to observe the world around him and find something new for inspiration. And, as always, the weather is in harmony with the author’s mood and the events that take place before his eyes. The plot unfolds against the backdrop of a September forest, constantly changing weather, the struggle between despondency and light, the quiet “whispering” of leaves that have not yet flown.

Peaceful in the silence, the hunter falls asleep in a birch grove, and when he wakes up, he finds a peasant girl twenty meters away. She attracts his attention not only with her wonderful appearance, clear and transparent, like the sunny autumn sky, with a look. From the girl’s tear-stained face, the stupor in which she remains for a long time and from her periodic shuddering from the rustling of the forest, he guesses that the girl is waiting for someone important to her. This is the plot point.

Finally, the one for whom the unfortunate woman has been waiting so stubbornly appears, and further development of the plot is based on the author’s observations of what is happening, his assessment and on the dialogues of the characters. The image of the character that appears contrasts with the image of the girl. If she immediately evokes unconditional sympathy and sympathy in the author, then the man acts repulsively on him. The reason for this is his careless manner of behavior, narcissism, antics, indifferent and dismissive attitude towards the girl’s feelings. Her name is Akulina. She addresses her lover timidly and by his first and patronymic name - “Viktor Alexandrych.” It seemed that she expected some changes for the better from this meeting and at the same time guessed that her love was unrequited.

Characteristics of the character through his own behavior are also important for understanding the author’s position. Victor, by his origin, is just a valet for the master. However, he talks down to Akulina, as if he, unlike her, is educated and brought up. He boasts about his future trip to St. Petersburg and then abroad. Against the backdrop of all this self-praise, the girl’s behavior looks unusually touching and inspires respect.

Turgenev, although he creates a realistic description of people from a simple environment, shows the subtle organization of the heroine’s soul. And thus she is more reminiscent of Turgenev’s noblewoman heroine. The writer also examines the nature of love as such. In this case, undivided. Akulina does not notice the shortcomings of her lover. She obediently listens to his speeches, is frightened by the news of his imminent departure and falls into despair. Having already realized that she is seeing Victor for the last time, she eagerly catches his every movement with her gaze, admires him and suffers at the same time. The culmination of her experiences, and at the same time the plot of the story, is the moment when she, unable to bear her despair, asks her lover to say at least one word to her goodbye. She reminds him that he used to be different with her. The reader guesses that she remembers him as affectionate and friendly. But in response she sees only bewilderment and irony.

The sad date scene ends with the proud valet leaving without showing any attention to his former lover. The hunter is extremely excited by what he sees and, unable to withstand the surging feelings, runs out from behind the cover and rushes to Akulina. But she screams and immediately runs away.

There is a symbolic detail in the story - a bouquet of flowers. Akulina holds it in her hands even before the date begins, and already at this moment they look fading. When the girl runs away from the hunter, she drops these flowers. From the subtext of the episode, we understand that the flowers symbolize the ruined soul of a young girl, her lost hopes for happiness. At the end of the work, the author admits that for a long time afterwards he could not forget the unfortunate Akulina.

Goals : provide conditions for consolidating and expanding students’ knowledge about the text, typeand speech style, develop the ability to analyze text of artistic style:continue work on the visual and expressive means of language, show their role in creating an artistic image, identify individualfeatures of the style of Turgenev - a landscape painter; promote love fornature, attention to the artistic word.

During the classes

I. Org moment.

II . Reading and writing the topic and epigraph for the lesson.

In days of doubt, in days of troublethinking about the fate of my homelandYou alone are my support and support, O great, mighty, truthful and free Russian language. I.S. Turgenev.

III . Teacher's opening speech.

The language of I.S.’s works is strikingly beautiful and luminous. Turgenev. The more you get to know him, the

you find more pure, clear, good things and cannot tear yourself away from this source, you enjoy and rejoice that the Russian people have been given such a “great, mighty” Russian language, that there is such a writer,in whose skillful hands our tongue is “capable of working miracles.” V.G. Belinsky said:“We cannot fail to mention Mr. Turgenev’s extraordinary skill in depicting paintings Russian nature." And today - “Date”. This is not only the title of the story, but alsomeeting with the beautiful and bright language of the writer. We will try to see Turgenev’s style of writing, the peculiarities of his language, and feel how beautiful the Russian language is.Expressive reading of a passage.

The weather was changeable. The sky was either covered with loose white clouds, then suddenly cleared in places for a moment, and then, from behind the parted clouds, azure appeared, clear and gentle, like a beautifuleye.(...) The leaves rustled slightly above my head; by their noise alone you could tell what time it was thenof the year. It was not the cheerful, laughing trembling of spring, not the soft whispering, not the long talk of summer, not the timid andcold babble of late autumn, and barely audible, drowsy chatter. A weak wind slightly pulled along the tops. The interior of the grove, wet from the rain, was constantly changing, depending on whether the sun was shining or covered by a cloud; She then lit up all over, as if suddenly everything in her smiled: the thin trunks of the not too common birch trees suddenly took on a delicate glow of white silk, the small leaves lying on the ground suddenly dazzled and lit up with red gold, and the beautiful stems of tall curly ferns, already painted in their autumn color , like the color of overripe grapes, they showed through, endlessly getting confused and intersecting before our eyes; then suddenly everything around turned slightly blue again: the bright colors instantly faded,the birches stood all white, without shine, white, like freshly fallen snow that had not yet been touched by the coldplaying ray of winter sun.(...)

The foliage on the birches was still almost green, although noticeably paler; only here and there stood alone, young,all red or all gold, and you had to see how it flashed brightly in the sun when its rays suddenly broke through, gliding and motley, through the dense network of thin branches, just washed away by the sparkling rain.Not a single bird was heard: everyone took refuge and fell silent... (I.S. Turgenev. “Date”)

Conversation about first impressions.

1. What time of year does Turgenev depict? Why? How does this passage relate tothe plot of the story? (Turgenev depicts nature most often at the moment of its awakening, blossoming and maturity rather than withering. Paintings of the autumn landscape are extremely rare in his works. However, in the story “Date” we see
autumn landscape, changeable, sad, which serves as emotionalan accompaniment to the inner life of people, to the moods of the characters.)

2. A.P. Chekhov wrote: “What a luxury “Fathers and Sons”! Damn how it’s done!” Socan be said about any work of Turgenev. So we’ll see how this sketch is “made”, which helps the writer write vividly, vividly, and authenticallypicture of autumn nature.

IV . Text analysis. Work in groups.

I group. Morphological structure.

1. What part of speech words carry meaning? Why?

2. In what form are the verbs used? (Time, view) Why?

3. What other part of speech does the writer use? Their feature.

SPEECH SAMPLES

The key words are...

Exactly. .. help Turgenev convey...

Harmony and balance of natural processes with all their dynamismachieved through a combination...

(The key words are verbs. They help Turgenev conveyshades, as well as the continuity of movement in nature, the variability of the autumn landscape).

The verbs are used in the past tense because we are talking about past events.All verbs are imperfect because they indicate a long, unfinished action, and therefore are used in the description. Only in the last sentence are verbs of the perfect form used: sheltered, silent - a completed action. A narrative rich in verbal connections becomes dynamic and also emotional.

In addition to verbs, the text uses verbal nouns, adjectives, participles and gerunds. The harmony and balance of natural processes, with all their dynamism, is achieved through a combination of verbs with nouns and adjectives. By placing participles next to adjectives,Turgenev obscures its verbosity, independent role and emphasizes what it has in common with adjectivesfunction of the subject’s attribute: cheerful, laughing trembling of spring, etc.)

IIgroup. Lexical organization of the passage. Visual media.

1. What is the role of adjectives in the text? Are all adjectives epithets?

2. For what purpose are double and triple epithets used? (concatenation of epithets)

3. The role of repetitions.

4. Do only adjectives play the role of definitions - epithets?

5. With what lexical means does the author show variability andthe inconstancy of autumn nature?

6. Give examples of synonyms. What are they used for?

7. Are there comparisons in the text? How are they expressed?

8. What other figurative language devices are present in this text?

9. Attention to shades of light and to the play of colors is one of Turgenev’s main features- landscape painter. Turgenev's landscapes are full of not only visual, but also sounddetails. Prove the validity of this remark.

Vocabulary work: sheltered (choose a number of synonyms for this word.)

(The imagery of Turgenev’s narrative speech is created by the intensive use of definitions, most of which are epithets.With the help of epithets, Turgenev reveals the properties of objects he saw,expressing your emotional and evaluative attitude

to what is depicted. Double,triple definitions constitute the specificity of Turgenev's style. In order toto emphasize the significance of the feature, the author uses repetitions: white birches... white, all red or all gold... The role of epithets and definitions is not only played byadjectives, but also adverbs and participles that help sharpen propertiesobjects, images: the laughing trembling of spring, the coldly playing ray, stealthily, slyly, sparkling rain.

Showing the variability of autumn nature, the writer uses antonyms: clouded-cleared, shining-closed, illuminated-extinguished. To convey shades of the same action or process, synonymous combinations of words are used (technique of contrasting synonyms, gradation):not...trembling... not whispering... not... talking... not... babbling - but chatter.)Comparisons also play a picturesque role: like a beautiful eye, like the color of overripe grapes, like freshly fallen snow, like red gold - which help not only to more vividly imagine the picture painted by the author, but also make it possible to see the writer’s attitude to what he depicts. Turgenev’s nature lives and feels, therefore personifications occupy not the last place in Description: the rain whispered, nature smiled, the foliage turned pale.Turgenev's landscapes are full of not only visual, but also sound details: azure, noise, trembling, whispering, talking, babbling, chatter, reflection, gold, blue, ray of sun,whispers, green, red, gold, motley...).

IIIgroup. Word formation. Syntax.

1. Write down the verbs with prefixes. Which prefixes predominate? What are theymean? (In this text, Turgenev uses prefixed verbs. The prefix for, denoting the beginning of an action, is especially often used: it became clouded, closed, lit up, fell silent...)

2. Basic syntactic units. Which proposals prevail? (complexor simple, union (which?) or non-union connection). Why? What is achievedusing exactly these proposals?

3. What unions are the most common? (Indicate a conjunction that helps convey the variability and inconstancy of autumn weather).

4. Provide an example of inversion. What is the role of forward and backward word order?

5. What is the role of participial and participial phrases, separate definitions?

6. What punctuation marks predominate? Why?

What is the purpose of declarative sentences?

(Turgenev’s favorite syntactic constructions are complex sentences, often compound sentences, which are easily divided into simple ones. There are only eight sentences in this text, a non-conjunctive and coordinating connection is presented.It is precisely such sentences that help create a figurative picture, convey the impression of what was seen, and give the description vividness, emotionality, and spontaneity.

The most common conjunctions are the conjunctions and, a: and - showssimultaneity of occurring events, and - adversarial relationships. Variabilityand the author conveys the inconstancy of autumn weather with the help of homogeneous terms,connected by a repeating conjunction then.

The tone of the story is calm. This is achieved through direct word order.Inversion is observed only with isolated definitions expressed by participlesrpm or adjectives: azure, clear and affectionate. The dynamism of the picture is given by adverbial and participial phrases. Turgenev's favorite punctuation mark is the semicolon (6 times), the colon appears only twice, the rest are commas. The use of declarative sentences gives the text a calm, descriptive character.)

V . Features of the writer's style.

So, in Turgenev’s works the natural world appears changeable,moving, painted in the tones of a certain mood. Pure lyricismcombined with simplicity, precision and clarity of image. This text is brightThe individuality of the writer’s creative method emerged. Let us summarize our observations (working with the table).

FEATURES OF I.S. TURGENEV’S STYLE

word formation