The author of this story wants to show us clearly that it is very important to pay attention to the feelings that a person has for you. The author shows us that feelings should not be ignored. Turgenev wants to tell us that it is very important to experience first love. It shows the significance of love, all its problems and happiness. But most importantly, he tells us that you need to take a step towards love for a meeting. Sooner or later, it doesn't matter, the main thing is to take the first step on the way, perhaps to the brightest and longest love.

In the plot, we are clearly told about a couple of two people, Asya and Mr. N.N. After all, it is in the circle of this couple that the whole plot unfolds. These characters accidentally met each other in the city of Reine. Asya immediately realized that she had deep and very sincere feelings for this person, Mr. N.N. But, and Mr. N.N. himself, he did not immediately understand what he felt for Asya, in order for him to understand and understand his feelings for her, he thought a lot and thought about relationships and love in general. The character N.N was extremely indecisive in his intentions and actions, he did not understand what kind of bright ray of happiness he was refusing. But, he felt that very awareness of love and affection for a person too late. It was very sad, because N.N realized that he had missed what was dear to him, that he had lost and destroyed the happiness that was so close to him, he punished himself for destroying everything and losing his happiness. It was his only girlfriend, and the main favorite.

At that time of their relationship, not fused, Asya was only seventeen years old, she was a very self-confident girl. She was full of determination and absolutely nothing could embarrass her or somehow scare her. But Mr. N.N. was attracted not by this, but by the fact that she was very sincere and no matter how she tried to show off, she was an ordinary girl. N.N did not feel any feelings for other girls, and for him these feelings were new! He was in favor of calculating very accurately whether relationships would work out or not, he was used to reasoning and calculating accurately. But in his soul, he clearly, somewhere very deeply understood that he loves this girl and wants to be close to her.

However, without thinking much, he decides that the girl is too young for him. After all, Asya was only seventeen years old. From this position, he clearly understood that he was simply not ready to marry and start a family.

He missed his chance to be happy, and he knew very well what a mistake he had made!

The theme of love in Asya's story

The action of the story takes place abroad in Germany. The narration is conducted on behalf of the protagonist N.N. In the very first lines we learn from his lips that he was young, cheerful and healthy, did not need anything and traveled without any purpose. In a small German town N.N. sought solitude, as he had just been rejected by a young widow. At this moment, N.N. and meets the Gagins, brother and sister.

There is an opinion that the prototype of the image of Asya is Turgenev's illegitimate daughter Polina. Asya was also an illegitimate child, she was brought up first by her mother, and then in a boarding school, where she received a good education. Her way of thinking and feelings were clear to the author, he tried to convey them, describing the ambiguous behavior of Asya.

The dual position of an illegitimate child left its mark on the character of the girl. She is gifted, self-reliant and independent. At the same time very sensitive and impressionable. She is still a very young girl, almost a child. Now, when her personality is being formed, she tries on different images, different behavior. But there is no pretense in it, all Asya's actions are direct, sincere and emotional. Having met his brother and sister, Mr. N.N. feels a special disposition towards Gagin, they become good friends. But the young man is surprised, intrigued and confused by the behavior of Asya.

In fact, the reason for such a strange behavior of the girl is also that she was seized by a completely new feeling - she is in love. And, for the first time being in the power of such a strong feeling, Asya is in disarray - she does not know how to behave. From childhood, the girl got used to being in her special inner world, where not everyone lets her in. She reads and thinks a lot.

Asya expresses her thoughts and experiences directly and without slyness. A new feeling plunged the heroine into confusion. The generally accepted norms of behavior do not allow the girl to talk about her experiences, but they are so strong that Asya is seized with fever and fever. The young man is also under the influence of feelings, he sympathizes with the girl. It seems to the reader that the characters are about to open up to each other and, finally, will be happy. Asya, like Pushkin's Tatyana, is the first to confess her love. And what about the hero of her dreams? Asya's love both pleases and confuses him, and the need to make a decision causes annoyance. It becomes clear that the girl is mistaken, endowing her lover with the best human qualities, he is weak-willed and indecisive.

The denouement comes when Asya, no longer able to endure the unknown, appoints N.N. date, disregarding all conventions. Going on a date, the hero is full of good intentions, but at the decisive moment, instead of telling the girl about his love, he attacks her with accusations. Frightened by decisive action and responsibility for his actions, he loses his happiness forever. Reading the story, we see that most often the hero is annoyed. First, he is annoyed at Asya's unusual behavior, then at the fact that she openly admits her feelings, and then at herself. He realized his love only after losing it forever.

Option 3

We can say that first love is often quite tragic and unpredictable in outcome. This work reflects this assumption very clearly. In it, the author wanted to attract the attention of readers with a question that touched him personally. It was written in the year 1850, and immediately gained popularity, since this story carried a very bright and instructive meaning, which was understood by most readers. On the one hand, the story seems simple and uncomplicated, however, if you feel it deeper, an incredibly thoughtful philosophical meaning is revealed.

The main character fell in love with Asya not at first sight. He became interested in her only when he was able to recognize her rather impulsive, but very sincere character, which he really liked. He thinks that she is a little weird and despite the fact that he has strong feelings, marrying her would be the wrong decision for him. When Asya informs him that her feelings for him are mutual, the hero cannot accept these words. The next day, he nevertheless decides that he needs to "live happily", and he dreams of taking the girl as his wife, but he does not find her in the city. Then, the hero begins to lead a lonely existence for many years. He enters into despair, and ceases to believe in anything. He understands that at one time he made a huge mistake, because he did not accept the words of a girl with whom he could become a truly happy person. Now, the hero does not believe that he will be able to meet the girl again, whom he can love as much as Asya.

For Asya, love for the hero was an instant desire, which the heroine tried to realize by making such an open confession. She was a free girl in her thoughts, and considered it necessary to inform the central character that she loved him. The author shows that despite all her frankness, she was forced to follow the path of suffering, as the hero showed strong indecision, because of which the girl decided to leave the city. The writer shows the fact that one should live in the present moment, and not postpone important moments of life for later.

The image of Grandfather in the poem Grandfather Nekrasov

Grandfather is the main character in the poem. He is Sasha's grandfather, he was once a Decembrist. Modern readers may have recognized in this image a certain Volkonsky. Describing his appearance, one can single out a stately figure.

The system of images in the play Chekhov's Cherry Orchard composition

So the hot time of vacations and sea adventures has ended. Increasingly, the sky is overcast with lead clouds, the evenings have become cold and long, but during the day you can still soak up the rays of the warm sun.

2.3 The theme of love in the story "Asya"

Reviews of contemporaries

It seems to us that "Asya" is one of the most lyrical stories of I. S. Turgenev. Often it is published together with the stories "First Love" and "Spring Waters" under the general title "Tales of Love".

"Asya" was written in 1857, that is, almost a century and a half ago, its appearance marked Turgenev's exit from a deep mental crisis. Published for the first time in 1858 in the Sovremennik magazine, it evoked numerous responses.

The characterization of Turgenev as an artist given by Dobrolyubov can be applied to this work: "Turgenev ... talks about his heroes as about people close to him, snatches their hot feeling from his chest and watches them with tender participation, with painful trepidation, he himself suffers and rejoices together with the faces created by him, he himself is carried away by the poetic atmosphere that he always loves to surround them with ... And this passion is contagious: it irresistibly seizes the reader's sympathy, from the first page rivets his thought and feeling to the story, makes him experience, re-feel those moments, in which Turgenev's faces appear before him. With these words of criticism, it is curious to compare the confession of Turgenev himself about his work on "Asya": "... I wrote it very passionately, almost with tears ..."

The writer really contributed to the story a lot of his own, personal, experienced and felt by himself. Remarkable in this sense is one place at the end of the fourth chapter, when the hero of the story suddenly stops on his way home, struck by the smell of cannabis, which is rare in Germany. "Her 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 the Russian land." "What am I doing here, why am I dragging myself in a foreign country, between strangers?" - he asks himself, and the reader clearly distinguishes in these words the expression of the feelings of the writer himself, with his passionate, spiritual love for the motherland, to which he devoted his whole life.

The most famous was the article by N. G. Chernyshevsky "Russian man on rendez-vous". It was Chernyshevsky’s point of view that was recorded in the school curriculum on the literature of the Soviet period, who, in a polemic with liberalism, relevant for that time, emphasized in Turgenev’s hero the typical features of a noble liberal: flabbiness of nature, inability to fight decisively.

The article is imbued with the gloomy pathos of a raznochintsy intellectual, poisoned by a deep hostility towards the "loafers" of the nobles.

Chernyshevsky sees N.N. a sign of the times, a feature of a number of literary heroes (Rudin, Beltov from Herzen's novel "Who is to blame?", partly the hero of Nekrasov's poem "Sasha"), and after them the entire liberal noble intelligentsia. The critic points to her failure in the very area that she has long considered "her" - in the sphere of love, chivalrous relations with a lady. Chernyshevsky is convinced that chivalry has long been replaced by meanness, cowardice, cowardice. In part, it was. But Chernyshevsky deliberately exaggerates, his assessment of Turgenev's story is not only a response to a literary text, but also an argument in the ideological struggle of the time.

Turning almost a century and a half later to the work of the famous critic, we clearly see, firstly, the tendentiousness (bias, bias) of Chernyshevsky's analysis of the story, and secondly, the emotional and evaluative nature of the epithets addressed to the main characters (Mr. N.N. - "Worse than a notorious scoundrel", Asya - "a dependent creature, an offended creature"). But despite its distinct tendentiousness, the article contains interesting and quite fair observations.

Reviews of other writers of that time are also based on emotions. V. P. Botkin wrote that not everyone liked Asya. In his opinion, Asya's face failed. P. V. Annenkov and Saltykov-Shchedrin admired the story, Nekrasov also admired, but he wanted to change the scene of the meeting, "soften and reduce" the reproaches of N.N. to Asya.

The above information helps us understand how the story was perceived by contemporaries.

Some researchers of Turgenev's work (P. V. Annenkov) write about the author's "secret" psychologism. They write: "The originality and strength of Turgenev's analysis, its uniqueness and lasting charm lies in the fact that Turgenev was most attracted to those unsteady moods and impressions that, merging, should cause a person to feel full, rich, joyful from the feeling of one's fusion with the environment. the world."

This direction of Turgenev's psychologism was found in his early stories and is clearly traced throughout the entire creative path of the writer. In this area of ​​psychology, he showed himself to be a great master, capturing really the finest, unsteady movements of the soul, almost not translatable into logical categories.

To determine what kind of love Turgenev wrote about, you need to once again carefully read the text of the story, trying to understand what happened between its main characters.

Autobiographical basis of the story

The story "Asya" is based on autobiographical information.

The main theme of the story

The story "Asya" is about love and only about love, which, according to Turgenev, is "stronger than death and the fear of death" and which "holds and moves life." This story has an extraordinary poetic charm, beauty and purity.

The main theme of the story is love. Everything about her, about love, about serious and strict, about intimate and important... The plot is based on a love story that ended in separation not due to some external circumstances, but due to the internal failure of the hero, who failed to take responsibility for the fate and happiness of the girl who fell in love with him.

Love ... This is probably the most mysterious of all human feelings, and Turgenev, as perhaps one of the few writers, perceives with poetic awe the birth of an eternally young feeling - love. How to deal with heart disease? How to overcome sadness? Unrequited love - what is it? How to be the first to say "I love you" to someone you're not quite sure about? How to survive the suffering of rejected love and offended feelings? And in general, how this sacrament of love is performed, how a miracle happens: the world magically changes for the one who loves! Colors are brighter, sounds are clearer! After all, having fallen in love, a person feels more subtle, sees more sharply, his heart opens to beauty, goodness.

Questions and questions... We will not find direct answers to them in Turgenev, but all Turgenev's heroes are tested by love, a kind of test of viability. One of the researchers of Turgenev's work, P. Annenkov, wrote that Turgenev's novels and stories are united by one feature - each of them has a "psychological riddle". So we have to try to unravel this psychological riddle, to understand what means the writer uses in order to reveal to us the secrets of spiritual experiences; trace how N.N. with the Gagins, it develops into a love story, which turned out to be a source of both sweet romantic excitement and bitter torment for the hero, which later, over the years, although they lost their sharpness, doomed the hero to the fate of a bean.

Being focused on love-psychological issues, this story cannot but arouse interest.

The image of the main character

The protagonist of Turgenev's story, on behalf of whom the story is being told, is a twenty-five-year-old rich man who travels, in his own words, "without any purpose, without a plan." The young man is unfamiliar with painful thoughts about the meaning of existence. The only thing that guides the hero in life is his own desire: "I was healthy, young, cheerful, my money was not transferred, worries did not have time to start - I lived without looking back, did what I wanted, prospered, in a word, - the narrator admits "... I lived without looking back."

"Without looking back" is an indicator of the degree of his social emancipation, which is determined not only and not so much by the unburdenedness of all kinds of worldly worries and the absence of thoughts about tomorrow, but by a certain freedom in terms of moral and ethical.

"Without looking back" means not thinking about the consequences of one's actions, "not taking responsibility for the fate of one's neighbor."

"Without looking back" implies, therefore, absolute freedom of will and action without any moral obligations on their part.

As you can see, the character of the hero of the story from the very beginning is set by the author as rather contradictory. On the one hand, the attunement to the wave of his own desires testifies to the well-known selfishness of his nature. At the same time, the deep inner need of the hero is an attraction to society, and this contradicts egoism. He is guided by curiosity, a genuine interest in the world, in people: "It amused me to observe people ... but I didn’t even observe them, I examined them with some kind of joyful and insatiable curiosity." However, the hero's aspiration to meet people is partly imaginary, because the role of an outside observer implies a certain elevation above the surrounding people, isolation from society. But at the same time, along with the desire to take the position of the leader, he does not feel the slightest discomfort from the position of the follower: “In the crowd it was always especially easy and gratifying for me; it was fun for me to go where others were going, to shout when others shouted, and at the same time I loved to watch these others scream." We note that in the end, it was precisely the statement, which turned out to be the freedom of expression of the hero’s will, it was precisely the dependence on the opinion of the “crowd”, on common social class prejudices that prevented the hero from finding happiness: having fallen in love, he did not dare to connect his fate with a girl of a lower origin, the illegitimate daughter of a landowner.

Turgenev masterfully shows the origin and evolution of love feelings in the hero. At the first meeting, the girl whom Mr. N. saw seemed to him very pretty.

Further - a conversation in the Gagins' house, Asya's somewhat strange behavior, a moonlit night, a boat, Asya on the shore, throwing an unexpected phrase: "You drove a pillar into the moon, you broke it ...", the sounds of a Lanner waltz - this is enough for the hero to feel yourself unreasonably happy. Somewhere in the depths of his soul, the thought of love is born in him, but he does not give it a go. Soon, with pleasure, even with hidden complacency, the hero begins to guess that Asya loves him. He drowns in this blissful sweet feeling, not wanting to look into himself and speed things up. Asya is not like that. Having fallen in love, she is ready for the most extreme decisions. And these decisions are required from the hero. But when Gagin starts talking about marriage, N.N. again evades the answer, as he once evaded him in a conversation with Asya about wings. After reassuring Gagin, he begins to interpret "as calmly as possible" about what should be done in connection with Asya's note. And then, left alone, thinking about what had happened, he remarks: "Her love made me both happy and embarrassed ... The inevitability of a quick, almost instantaneous decision tormented me ...". And he comes to the conclusion: "Marrying a seventeen-year-old girl, with her disposition, how can this be!"

The structure of the narrator's image in the story is very complex. According to the first sentence of the story, we understand that this story was recorded from the words of N.N. The one who allegedly wrote it down reveals himself with just two words: "... began N.N." Then N.N. tells the story of his love, at that time he was probably about fifty years old. Several N.N. coexist simultaneously in the story:

N.N. fifty years;

N.N. twenty-five years old - the way he was in reality (found in actions);

N.N. twenty-five years old - the way N.N. sees him. at fifty (discovered through attempts at introspection).

The story takes the form of memoirs shared by N.N. twenty-five years after meeting Asya. The temporary distance is necessary for Turgenev in order to give the aged hero the opportunity to look at himself from the outside, to pass judgment on himself.

Thus, the reader sees N.N. - a young man of about twenty-five, cheerful, carefree, living for his own pleasure. He subtly feels the beauty of nature, is observant, well-read, has acquired knowledge in the field of painting and music, is sociable, has an interest in the world around him, in people. But he is indifferent to work, and he does not need it. Nevertheless, with all his strengths and weaknesses, he managed to touch Asya's heart.

The role of landscape in the story

The landscape plays an important role in revealing the human character.

The hero himself admits that he "didn't like the so-called beauties" of nature, "didn't like it to be imposed", "prevented" from focusing attention on a person. A small, cozy German town just attracts the hero with its simplicity, the fact that there is nothing "majestic" and "super interesting" in it, and most of all - with its tranquility, which is felt in everything. It is no coincidence that, introducing the reader to Z., the author paints him at night, when the town is "sensitively and peacefully" dozing. The narrator calls the moonlight "serene", the rays of the night luminary - "stationary"; the night watchman's whistle sounds 'sleepy', and the dog grumbles 'in an undertone', and the candles 'glow discreetly in the narrow windows'. And even the waters of the famous Rhine "slid past, slightly swollen and rumbling," and the boats, launched by the children, "quietly ran on slightly puffed up sails." Having settled in Z., the hero feels quite comfortable, maybe because the calm, measured rhythm of Z.'s life miraculously corresponds to the biorhythm of his own body. N. N. leisurely walks along the quiet streets or sits peacefully on the banks of the river, spending time in pleasant contemplation.

In Turgenev's story, every detail of the landscape lives and breathes in its own way. "Vine vines mysteriously protruded their curled tendrils from behind stone fences; something ran in the shadows near the old well, ... and the air was caressing your face ... ". Everything suggests that the peace of the sleeping town is just an appearance: static is fraught with continuous movement, behind the apparent tranquility you can clearly feel the intense pulse of life going on as usual.

Comparison of the story "Asya" and "Doctor Faust" by Goethe.

The final lines: "The lindens smelled so sweet that the chest involuntarily breathed deeper and deeper, and the word "Gretchen" - either an exclamation or a question - just begged to be on the lips" - not only convey the enthusiastic state of the hero's soul, fascinated by the charm of a summer night, but also gives the image a certain national flavor.

The name Gretchen is not accidentally mentioned on the pages of Turgenev's story.

As you know, one of the temptations offered by Mephistopheles to Faust is the temptation of love. Mephistopheles brings Faust to Margarita and helps him satisfy his flared passion. However, what at first seemed like a simple whim, develops into a serious feeling. Nevertheless, Faust, carried away by Mephistopheles to new temptations, forgets about his beloved. Rejected by people, abandoned by her fiancé, in despair Margarita kills her newly born daughter. Faust learns too late about the tragic fate of his beloved. He tries to free her from prison, where she is imprisoned for the murder of a child, but the young woman, tormented by repentance, decides to accept retribution for her sins, to answer for her deeds before God's court.

The mention in "Ace" of Gretchen (a diminutive of Margarita) is certainly very significant. And Turgenev's Asya and Goetev's Margarita are two young creatures who have barely entered "adult" life, contact with which ends dramatically for both. Both experienced love for the first time, and both turned out to be deceived in their first feeling (Turgenev, however, does not allow his heroine to fall into sin). It's about similarities at the plot level. With a deeper analysis of female images, one can also reveal a lot in common, noting, however, clearly visible differences. In spiritual terms, the heroine of Goethe's poem is rather unassuming. She cannot understand the high intellectual demands of her lover.

Speaking about Asa, it should be noted that the education received by the heroine is rather unsystematic. But neither N.N., nor the reader draws a conclusion about the spiritual limitations of Turgenev's heroine, because, unlike Margarita, Asa has a great desire for knowledge, for self-improvement. “Tell me what I should do? I will do whatever you tell me,” she almost begs N.N.

I agree to everything for you!

You chained by some wonderful force

Me to myself: I'm ready for anything;

And it seems impossible to do more

What have I done for you my dear!

However, the meaning invested in the words of the heroines of two different eras and works is by no means the same. "I will do everything that you tell me" - in the mouth of Turgenev's heroine, it means recognition of the role of the ideological leader for her beloved. In the words of Asya - a thirst for familiarization with genuine spiritual values, a thirst for entering a new round of intellectual and moral development. In the words of Margarita: "I agree to everything for you!" - on the contrary, not the creation, but the destruction of moral prohibitions, the willingness to step over what until recently seemed unshakable. As you can see, here the Russian girl stands at an unattainable height.

Finally, consider the parallel "Faust - Mr. N.N." At first glance, in N.N. there is nothing Faustian. And, nevertheless, both of them are brought together by the tragic role that they happened to play in the lives of their beloved. So, Faust not only did not find happiness and harmony in love for Margarita, but, for his part, acted as a destroyer of someone else's, albeit limited, and yet whole world in his own way.

Like Faust, the hero of Turgenev's story was also destined to become only a destroyer of the hopes of a young soul. The mission of the mentor, with naive gullibility assigned to him by Asya, turned out to be N.N. obviously off the hook.

The main character of the story. Asya - "Turgenev's girl".

The second chapter takes the reader to the opposite bank of the Rhine, where another town is located - L .. In L. Life is in full swing. There is no trace of that silence and tranquility that is typical for Z. Flags flutter in the square, loud music plays. Despite the fact that the hero of the story is more akin to calmness, he is also attracted by a different rhythm of life: "All this joyful boiling of a young, fresh life, this impulse forward - wherever, if only forward - this good-natured expanse touched and set fire to me "Shouldn't I go to them?" - I asked myself ... "It is important that it was here, at the celebration of life, that N.N. meets Asya - a girl who is life itself.

Asya is by no means a beauty, although she seems "very pretty" to the narrator. Actually, external beauty is not the dominant feature of the "Turgenev girl". "Turgenev girls" - heroines whose minds, richly gifted natures are not spoiled by light, they retained the purity of feelings, simplicity and sincerity of the heart; these are captivating spontaneous natures without any falsehood, hypocrisy, strong in spirit and capable of difficult accomplishments. Personal charm, grace, human originality are important for the author in the guise of his heroines.

Artistic, romantic nature, Asya subtly feels the beauty and poetry of the world around her. “You drove into the moon pillar, you broke it,” she shouts to N.N. The choice of “place of residence” also speaks of this. The brother and sister settled outside the city in a "small house" standing "at the very top of the mountain" and never tire of admiring the beauty of these places. "- Here is our dwelling! - Gagin exclaimed, as soon as we began to approach the house ... look around ... what is the view?". The delight of the hosts is transferred to the guest. “The view was, for sure, wonderful,” the narrator writes. “The Rhine lay in front of us all silver, between green banks; in one place it burned with the crimson gold of the sunset ...”. Nature seemed to have opened its arms to meet its true connoisseurs: "The town sheltered by the shore showed all its houses and streets; hills and fields scattered widely. It was good below, but even better above ... ". However, more than the natural beauties themselves, the heroes are impressed by the expanse that opens from a height. Vulgarity and worldly vanity seem to remain somewhere far below, at the foot of the mountain. Even the sounds of music, "vulgar and rude" near, in the distance, according to Gagin, are perceived in a completely different way: "... All the romantic strings stir in you like that."

The story itself is called "Asya", after the name of the main character, since she turned out to be not only the best in comparison with N.N., but also because she remained unique in the memory of the narrator for life. From the very first minutes of her appearance on the pages of the story, the reader begins to feel that the heroine is shrouded in some kind of mystery. Gagin introduces her as his sister. But she didn't look like her brother at all. The secret of Asya will be revealed after some time from the lips of Gagin himself.

His father, Nikolai Gagin, "a very kind, intelligent, educated man," married early, for love. His wife died when his son was barely six months old. A few years after the death of his wife, Nikolai Gagin got along with his wife's maid, Tatyana. When the younger Gagin entered the cadet school, Asya, the illegitimate daughter of the landowner, was already two years old. Tatyana did not agree to become the master's wife and lived with her daughter with her sister, a cowgirl.

Tatyana, apparently, had an intuitive understanding that she could not correspond to the social role of the lady, that the attitude of the peasants towards her and her daughter would always be ambiguous with a negative connotation. Wanting to avoid slander, she brought up her daughter in strictness, sought to ensure that Asya learned the role of a peasant woman.

Seven years later, Asya was left an orphan and found herself in the master's house. Her father, not daring to recognize her openly as his daughter, said that he took her "to feed." Gagin, telling N.N. Asya’s story, utters the following phrase: “Imagine what should have happened in Asa when they took her to the master. She still cannot forget the minute when she was put on a silk dress for the first time and kissed her hand.”

So what was to happen in Asya's soul?

A deep shock was to be experienced by the child soul, for which the whole world turned upside down. Violated, it would seem, the order established for her by her mother, the order to which everything around obeyed.

Asya, who received the attribute of a noblewoman (a silk dress, living in a master's house, outward respect from the servants), nevertheless did not receive a noble status. She was not a legitimate daughter and felt "to be fed". Her fate completely depended on her father's mood: "... it used to be that I found out from one dad's cough from another room whether he was pleased with me or not."

One social role was taken away from her, and the other was not appropriated.

Artificial isolation from the world also affected the formation of Asya's character: "... except for her father, she did not see anyone." This led to a lack of communication experience precisely at the age when the basic skills of social orientation develop.

Gagin says: “Asya soon realized that she was the main person in the house, she knew that the master was her father; but she also soon realized her false position; self-esteem developed strongly in her, distrust too; bad habits took root, simplicity disappeared. She wanted (she once confessed this to me herself) will make the whole world forget her origin; she was ashamed of her mother, and ashamed of her shame, and proud of her.

She was proud because her mother was a beautiful, simple, strict and intelligent woman; she was ashamed, because, having been born a peasant mother, she could not feel natural in a noble environment; she was ashamed of shame, because she appreciated the best qualities of her mother. The whole being of the girl protested against the artificial and contrived situation in the epicenter of which she found herself.

Later, left an orphan, Asya became attached to her brother, then "survived" in the St. Petersburg boarding school for four years. "Asya was extremely quick-witted, she studied well, better than anyone; but she did not want to come under the general level, she was stubborn, looked beech ... "

After seventeen years, when it became impossible for Asya to stay longer in a boarding house, Gagin retires, takes his sister and goes abroad with her.

Traveling with her brother in Germany, Asya desperately searches for herself, tries to understand the essence of her personality, intuitively feeling that the social role does not yet constitute human individuality. But the world around her is such that all manifestations of the soul are strictly regulated by society.

The romantic inconsistency of Asya's image, the seal of mystery that lies on her character and behavior, give her attractiveness, charm, and the whole story - an inexplicable poetic flavor.

The author reveals the character traits of the heroine through a description of her appearance and actions. About Asya's face, the narrator says: "... the most changeable face that I have ever seen." And then he writes: "Her big eyes looked straight, bright, bold, but sometimes her eyelids squinted slightly, and then her eyes suddenly became deep and gentle ... ". The face and whole appearance of Asya, apparently, match the character of the hostess, has a predisposition to a quick and sudden change. Turgenev almost does not name the feelings that possess the heroine in a given period of time, he paints her portrait in changes, in movement - and the reader understands what is happening in her soul. The writer carefully monitors not only the content of the speeches that the characters exchange, but also the tone in which the speeches are made, and the "duel" of looks, facial expressions, and the wordless communication of the interlocutors.

The main idea of ​​the heroine consists of her actions and behavior in different situations. Asya's behavior can be fully called extravagant. She, with a glass in her hand, climbs over the ruins, then sits over the abyss, then laughs and plays pranks, putting a broken branch on her shoulder and tying her head with a scarf; sometimes she puts on her best dress that same day and comes to dinner with her hair carefully combed, tied up and wearing gloves; then in an old dress she sits quietly at the embroidery frame - just like a simple Russian girl; then, violating all the rules of decency, ready for anything, she makes an appointment with a young man in private; finally, decisively breaks with him and finally leaves the city in order to lose his beloved forever.

What is the reason for such extravagance of the heroine? As a subtle psychologist, Turgenev often forces the reader to draw conclusions by comparing facts.

Another technique the author uses to give a more complete picture of the heroine is reviews of other people about her. First of all, it's her brother. Talking about Asya's childhood years, he draws attention to the abnormal conditions of upbringing, which could not but affect the increased vulnerability, self-esteem. And the heroine herself is constantly thinking about herself, revealing her soul in seemingly randomly thrown words. And then we learn that she dreams of "going somewhere far away, to prayer, to a difficult feat ... Otherwise, the days go by, life will go away, but what have we done?"

Far from being an ordinary girl, she dreams, as Gagin says, of a hero, an extraordinary person, or a picturesque shepherd in a mountain gorge.

Asya is attracted by romantic distances, she longs for activity and is sure that "to live not in vain, to leave a trace behind herself", and also to accomplish a "difficult feat" is within the power of any person. N.N. long ago I lost faith in such things. And of course, the wings that Turgenev's hero mentions are the wings of love, first of all. The deep meaning of the narrator's statement about the wings that a person can grow goes beyond the love theme. When they talk about inspiration, they mean the ability of a person to soar above the ordinary. This metaphor is so close and understandable to Asya that she immediately “tryes it on” for herself (“So let’s go, let’s go ... I’ll ask my brother to play a waltz for us ... We’ll imagine that we are flying, that we have grown wings”), highlights the dominant character heroines: the disturbing impulsiveness of the soul in its striving for the sublimely ideal. Thus, Asya's character is contradictory, her actions are often unpredictable, like life itself. N. N. is afraid of Asina's "strangeness", afraid of surprises and worries that his marriage to her promises him.

Telling the story of the awakening in the soul of this girl of a strong and deep feeling of love, Turgenev, with great skill as an artist-psychologist, reveals the original nature of Asya. "Ace needs a hero, an extraordinary person," Gagin says about her. She naively admits that she "would like to be Tatiana", whose image attracts her with its moral strength and integrity; she does not want her life to be boring and colorless: she is attracted by the thought of a bold and free flight to an unknown height. “If we were birds, how we would soar, how we would fly” ... - Asya says to the person she fell in love with.

But she had to be bitterly disappointed: Mr. N.N. does not belong to the number of heroes capable of a bold feat, a strong, selfless feeling. He is sincerely passionate about Asya in his own way, but this is not true love, free from doubts and hesitation. When Gagin directly puts the question before him: "After all, you will not marry her?" - he cowardly avoids a clear answer, because the inevitability of a quick, almost instant decision tormented him. Even alone with himself, he does not want to admit that he is frightened not only by the wild temper of a seventeen-year-old girl, but also by her “doubtful” origin, because lordly prejudices are too deeply ingrained in his nature. In the scene of the last meeting with Asya, Turgenev debunks his hero, portraying him as an indecisive, weak-willed and cowardly person.

Last date.

The scene of the last meeting is prepared by the entire previous dynamic plot development of the story: the casual acquaintance of the characters, their meetings and conversations. The date is appointed by Asya herself, acting in this case like Pushkin's Tatiana, just like she, the first to confess to the chosen one of her heart in love.

Asya's feelings for N.N. deep and irresistible, it is "unexpected and also irresistible, like a thunderstorm," according to Gagin. Let's pay attention to the artistic space of the episode. Date N.N. and Asya takes place in a small, rather dark room, in the house of the burgomaster's widow, Frau Louise. The closeness and seclusion of the space in which the meeting scene takes place emphasize Asya's secrecy, the depth of her feelings for N.N.. Most of the other meetings of the characters take place in an open natural space.

The meeting scene most clearly reflects the psychological contradiction, the discrepancy between the psychological rhythms of N.N. and Asi. The fullness of the feeling experienced by Asya, her timidity, bashfulness and resignation to fate are embodied in her laconic remarks, barely audible in the silence of a dark room.

On the contrary, N.N., who takes the initiative in the dialogue, is verbose, he seems to be trying to hide behind reproaches and loud exclamations his unpreparedness for a reciprocal feeling, his inability to surrender to love, which so slowly matures in his contemplative nature. Love N.N. to Asya, obeying the whimsical game of chance or the fatal predetermination of fate, it will flare up later, when nothing can be corrected.

The hero himself admits this: “When I met her in that fatal room, I still did not have a clear consciousness of my love ... it flashed with irresistible force only a few moments later, when, frightened by the possibility of misfortune, I began to look for and call her ... but it was too late then."

Thus, the meeting scene, in which the reader meets the main character of the story for the last time, finally clarifies the complex, contradictory nature of the heroine. Having experienced a whole gamut of feelings in a short time of meeting - from timidity, an instant flash of happiness and complete self-giving (“Yours ... - she whispered barely audibly”) to shame and despair, Asya finds the strength in herself to stop the painful scene and, having overcome her weakness, " with the speed of lightning "disappears, leaving N.N. in complete confusion.

And so ends the love story of a strange girl Asya.

Turgenev is inclined to condemn N.N.'s indecision. He explains such a decision by the well-known frivolity and even irresponsibility of youth, the young man's belief that life is endless and everything can happen again. Obviously, that is why in those years he did not grieve for Asa for too long, only many years later he realized the significance of meeting her in his life. Postponing a decision indefinitely is a sign of mental weakness. A person should feel a sense of responsibility for himself and others in every minute of his life.

So why did the happiness of the heroes not take place?

Perhaps because the spiritual life of Asya and N.N. proceeded differently. Asya experienced the culmination of feelings during a date, and N.N. at that moment he was only ready to enjoy romantic contemplation; he did not then feel in himself that which takes away prudence and caution. The realization of the feeling of love for him came later. The reasons for the life drama of the heroes lie in the difference in their psychological make-up, their temperaments.

The story "Asya" provides many opportunities for organizing research activities of students.

While reading "Asya", the students for the first time meet with a work about love, which they will discuss in class. Much depends on how serious this discussion will be in further work with the material devoted to this topic. In our opinion, one should not focus on talking about the prototypes of the heroes of the story: all attention should be directed to the analysis of the text.

Chapter III. Practical part

Before starting to write our work, we put forward a hypothesis. An experiment was carried out to confirm our assumption.

The practical task was worked out at school No. 41 in the 7th "a" class. 17 people took part in the experiment. On the parallel of the seventh grades, this class is the strongest. Students do well in literature. At the lesson, children actively work, express their opinions, successfully perform independent work. The literature program, according to which schoolchildren study, provides for the study of the story "Asya" in the 8th grade, so we studied the story as an elective.

Students study literature according to the textbook edited by G.I. Belenky. The students' attention is focused on the outstanding works of Russian writers. Schoolchildren get a general idea about the writers - their life and work, about the connection of the studied works with the historical conditions in which they were created and which were somehow reflected in them. Two main ideas of the literature course can be distinguished in the program: love for the motherland as the basis of human life; the meaning of life, to the realization of which at a certain stage a person approaches. The patriotic idea is expressed in a number of works in a direct form.

The study of literature in the seventh grade plays a crucial role, since it is during this period that the intensive formation of the value orientation of schoolchildren takes place. In this situation, the role of the teacher's personality increases, and the moral problems raised by literature become especially important.

When studying a work, it is important for the teacher to take into account all stages of the student's acquaintance and further work with the text: primary perception and understanding, analysis, in-depth understanding, evaluation.

The student moves from understanding the meaning of the word in the work to the ability to formulate his own thought, to express his impression of what he read. The authors of the program recommend that the teacher pay attention to the work on the development of speech, to expand the vocabulary of students, to the ability to formulate their own thoughts and impressions.

Before starting the study of the story "Asya", we conducted a questionnaire with the students. The questionnaire included questions relating to the life and work of the writer and several questions about the story "Asya". None of the students completed the questionnaire. 11% made seven and six mistakes, 41% of students made five mistakes, 23% made four mistakes, 6% made three mistakes and one mistake. Most of the mistakes were made in questions that relate to students' understanding of the story "Asya".

Lesson outline.

Class 7 "a".

Theme: The theme of love in Ivan Sergeevich Turgenev's story "Asya".

Educational - to prepare students for the perception of the story "Asya"; follow the birth of love between Asya and Mr. N.N. and for its development; identify the means by which the author conveys the psychological state of the characters; episode analysis training.

Developing - to form the skills of oral coherent speech; develop expressive reading skills.

Educational - to form students' interest in Russian literature; contribute to the education of students of moral qualities.

Methodical techniques: teacher's word, conversation, expressive reading, analysis of a literary text.

Type of analysis: analysis of the development of the action with elements of the analysis of the artistic image.

During the classes:

Love, love is a mysterious word.

Who could fully understand you?

Are you always old or new in everything?

Are you vexation of the spirit or grace?

Lesson stage	Teacher activity	Student activities	Notes
Orgmoment Preparatory stage Analysis of the 16th chapter. Generalization. Questions for generalization. Summarizing.	Greeting students. Reporting the date and topic of the lesson. Microgoal: to prepare students for the perception of the story "Asya". The teacher reads the lines of the epigraph. It was not by chance that we began the lesson on the story "Asya" by reading these poetic lines. Love... This is probably the most important and intimate of all human feelings. And Turgenev, as, perhaps, one of the few writers, recalls with poetic awe the birth of an eternally young feeling - love. How to deal with heart disease, how to overcome sadness? Unrequited love - what is it? How to be the first to say "I love" to a person in whom you are not entirely sure? How to endure the suffering of rejected love and offended feelings? And in general, how this sacrament of love is performed, how a miracle happens: the world magically changes for the one who loves! Colors are brighter, sounds are clearer! Having fallen in love, a person feels more subtle, sees more sharply, his heart opens to beauty and goodness. Questions and questions... We will not find direct answers to them in Turgenev, but all Turgenev's heroes pass the "test of love", a kind of test of viability. And at the word "Turgenev's girl" a number of special visions arise: And there in the distance, where the grove is so foggy, Where the meadow barely trembles over the path - Elena, Lisa, Masha, Marianna, And Asya, and the unfortunate Susanna - Gathered in an air crowd. Familiar bizarre shadows Creations of love and beauty And an effective and feminine dream, - They were called to life by a pure, gentle genius, He gave them form, colors and features. Three stories: "Asya", "First Love", "Spring Waters" - Turgenev wrote about his first love. Biographical features formed the basis of "Asia". In 1842, an illegitimate daughter, Pelageya (later Polina), was born to Turgenev from a serf peasant woman, Avdotya Ermolaevna. For a long time the girl lived in the Turgenev estate, in Spassky. Her position was humiliating and miserable. The mother of Ivan Sergeevich handed over her granddaughter to the arms of one of the serf laundresses. The maid called Polya gloatingly "lady". In 1859, Ivan Sergeevich took his daughter to Paris, to Pauline Viardot, who then raised the little Field with her children. That is, Turgenev's daughter received a quite decent noble upbringing - in a word, exactly the story of Asya, the story of her strange life, woven from contradictions. The teacher draws the attention of students to the words written on the blackboard: Happiness has no tomorrow... He has a present - and that is not a day - but a moment I.S. Turgenev And happiness was so possible ... A.S. Pushkin At the end of today's lesson, you and I will have to answer the question: "Why does happiness have no tomorrow, what prevented the main characters from becoming happy?" Did you like the story? Which character made the biggest impression on you and why? Which episodes do you think are the most important and why? How did N.N. and Asya? What is the state of mind of N.N. after the first day of dating? Where did you meet N.N. and Gagin Asya on the second day of dating? What does it say? How does Asya feel in N.N.? Confirm with text. How does the second day of dating end? Two weeks of daily meetings have passed. N.N. he was more and more upset by jealous suspicion and, although he did not fully realize his love for Asa, she gradually took possession of his heart. He was in the grip of this feeling. What mood was dominant during this period? How is the suspicion of N.N. that Gagin and Asya are not brother and sister? What feelings take over the hero after this? What did N.N. about Asa from the brother's story? How does his state of mind change? How do you understand Asya's words: "If you and I were birds, how would we soar, how would we fly. So we would drown in this blue..."? What did N.N. on this day, after Gagin's story of his sister, a merry waltz with Asya and her call to imagine that wings have grown on them? How does Turgenev, through landscape sketching (ch. 10), help readers understand the psychological state of the hero at this moment? Microgoal: determine the role of chapter 16 in the story. "The scene of Asya and N.N. meeting in the house of Frau Louise" What events are described in this chapter? In what state was N.N. on a date with Asya? Did you like N.N. in this scene? What does he accuse Asya of? How does he want to justify himself? How does Asya behave during the rebuff? How do you understand the role this chapter plays in the story? The main theme of the story is love, the plot is based on a love story. Why do you think this love ended in separation? The story is called "Asya", after the name of the main character. Why do you think? Can Asya be called a beauty? Actually, external beauty is not the dominant feature of the "Turgenev girl". Personal charm, grace, human originality are important for the author in the guise of his heroines. - What creates an idea about Asa? Now let's go back to the question we asked at the very beginning of our lesson. So why did the happiness of the heroes not take place?	Teacher greeting. Record the date and topic of the lesson. Mr. N.N. all mellow with sweet languor and the expectation of happiness. On the ledge of the wall, on the ruins of a feudal castle, Asya sat right above the abyss. This speaks of the romantic nature of the heroine. Dislike, annoyance. The hero is not aware of what is happening to him. He feels some kind of vague unease, which grows into an incomprehensible anxiety; then a jealous suspicion that the Gagins are not relatives. Persistent curiosity, some annoyance at the mysterious, inexplicable behavior of the girl, the desire to understand her inner world. Overheard conversation in the gazebo. The hero himself does not find an exact definition of his feelings. But the reader already understands that he was captured by a deep and disturbing feeling of love. It is from him that he goes to the mountains. Selective retelling of Asya's story. He instantly regains his lost balance and defines his state in this way: "I felt some kind of sweetness - it was sweetness in my heart: it was as if they secretly poured me honey into it ...". Love inspires a person, lifts him above the ordinary. N.N. I felt, on the one hand, a secret anxiety, on the other, an intoxication with the joy of rapprochement; he had a thirst for happiness. The landscape, as it were, absorbs the psychological state of a person, becoming the "landscape" of the soul. It is at this moment of merging with nature in the inner world of the hero that a new leap is made: what was vague, disturbing, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asya, but which the hero has not yet dared to call by name. The hero prefers to give himself thoughtlessly to incoming impressions: "I'm not only about the future, I didn't think about tomorrow, I felt very good." Doubt, hesitation. The meeting scene, in which the reader meets the main character of the story for the last time, finally clarifies the complex, contradictory nature of Asya. Having experienced a whole gamut of feelings in a short time of meeting - from timidity, an instant flash of happiness to shame and despair, Asya finds the strength in herself to stop the painful scene and, having overcome her weakness, "with the speed of lightning" disappears, leaving N.N. in complete confusion. Because of the internal failure of the hero, who failed to take responsibility for the fate and happiness of the girl who fell in love with him. Since it not only turned out to be the main one, i.e. the best, in comparison with N.N., but also because it remained unique in the memory of the narrator for the rest of his life. Students find the details of the portrait in the text. Asya is by no means a beauty, although she seems very pretty to the narrator. The main idea about Asa is created by her actions, her behavior in different situations. Because the spiritual life of Asya and N.N. proceeded differently. Asya experienced the culmination of feelings during a date, and N.N. at that moment he was only ready to enjoy romantic contemplation; he did not then feel in himself that which takes away prudence and caution. The realization of the feeling of love for him came later. The reasons for the life drama of the heroes lies in the difference in their psychological make-up, their temperaments.	A trained student speaks. One student reads the words written on the board. The end of chapter 6 - the beginning of chapter 7 is read out.

As we have already noted, the story "Asya" provides many opportunities for organizing the educational activities of students. The main technique to help organize the research activities of students in our lesson was the method of setting problematic questions and assignments. One of the students was offered a research task in advance: it was necessary to answer the question - "What biographical information formed the basis of the story?". Also, before starting a conversation on the story "Asya", a problematic question was posed to the students, to which they had to answer at the end of our lesson: "Why did not the happiness of the heroes take place?". In addition, in the course of the conversation, students were also asked various problematic questions (What role does chapter 16 play in the story? Can Asya be called "Turgenev's girl?").

After the lesson was over, the students were asked to re-survey. We got the following results: 24% of students completed the work without errors, 6% made one mistake, 23% made two mistakes, 6% made three mistakes, 18% made four mistakes, 17% made five mistakes, 5% made one mistake.

Thus, we can conclude that our hypothesis was confirmed. The organization of research activities of students during our lesson contributed to a deeper perception of the literary text. This was also confirmed by the results of the student survey.

Conclusion

We can conclude that research work in literature lessons should be considered from two points of view: as a teaching method and as a level to which schoolchildren can rise in their activities.

Research work as a teaching method is the development of the ability to independently analyze a literary work. The main technique in the research method of teaching is the formulation of problematic questions, research tasks.

Of course, research activities cannot cover the entire pedagogical process. It has been historically proven that a student cannot acquire the entire amount of knowledge only through personal research and the discovery of new laws and rules for him. Nevertheless, research activity is necessary when conducting a modern literature lesson, because a modern lesson is, first of all, such a lesson in which the teacher skillfully uses all the possibilities of the student. Due to its flexibility, variability, being a zone of free search, research work directly responds to the interests and needs of students, contributes to the realization of the creative potential of the individual, influences the formation of value orientations, tastes.

Despite the fact that research activity does not provide a solution to educational problems that require sensory-figurative thinking, that is, activities that are in the nature of practical or artistic creativity, it is associated with the solution of cognitive tasks and educational tasks with problematic content, with the practical activities of students, collecting additional information, new facts from various sources. Research activity as a result of solving a theoretical problem allows the student to "discover" new knowledge or a mode of action.

Based on all of the above, we can conclude that research activity helps to increase the depth of awareness and understanding of the work, and also contributes to a more effective perception of the literary work by schoolchildren. Therefore, right now there is an urgent need to understand the specifics of student research in literature, in the methodology for organizing the research activities of schoolchildren.

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Application

1. Turgenev's name was:

Ivan Stepanovich;

· Ivan Semyonovich;

Ivan Sergeevich.

2. The years of the writer's life:

· 1918 – 1993;

· 1818 - 1883;

1718 - 1783.

3. Name the first printed story from the cycle of I.S. Turgenev "Notes of a hunter":

· "Biruk";

· "Two hunters";

Khor and Kalinich.

4. The main theme of "Notes of a hunter":

· The theme of love;

· The theme of denunciation of serfdom;

The theme of the search for the meaning of life.

5. What image entered the literature along with the works of I.S. Turgenev:

· The image of the "Turgenev girl";

· The image of "Turgenev's love";

· The image of "Turgenev's Russia".

6. What female name was placed in the title of one of the stories of I.S. Turgenev?

7. The story "Asya" is included in the cycle of stories:

· "Spring waters";

· "The first love".

8. The main theme of the story "Asya":

· The theme of love;

In the senior classes, where special attention was paid to the consideration of problem situations in the lesson. The purpose of this stage of the study is to identify the didactic possibilities of exploratory teaching methods in literature lessons in high school. Characterizing the senior school age in the studies of L.I. Bozhovich show that the orientation of the personality, including the moral orientation, is laid long...

Thus, the circle of reading of schoolchildren, built by the teacher, can be expanded through project teaching and research activities. 2. Overloading the program with translated works is considered as irrational. At the same time, a literature course for the senior classes of a profile school can be supplemented by an elective course, which examines the contextual connections of Russian literature with foreign ones ...

Taking into account gender differentiation, they will make it possible to find forms that reflect the symbols of women's experience, thereby forming gender poetics. Among the theoretical problems that make up the gender aspect of literary criticism, the question of the typology of women's prose is of paramount importance. The typology of the work of women writers can be built on different grounds, but in this case we are interested in the problem...

gg. a series of historical studies of the famous Tatar writer and public figure G.Yu. Kulakhmetov (1881-1918) under the general title "Pages of History", dedicated to the history of the world from ancient times. His popular articles in periodicals are known, which explained the essence of the constitutional system of a number of Western countries, analyzed the constitutions of Great Britain, ...

Many works were written by the magnificent Russian classic I.S. Turgenev and many of them were devoted to the theme of love. One of the most popular books on the shelves of libraries for many years now is the story "Asya" about a girl who was ready to sacrifice everything she has for the sake of love. This love story, alas, does not have a happy ending. Love in the story played a wayward, cruel joke with the main characters, but they are also to some extent to blame for the fact that the relationship did not work out, in particular, the main character of the story, Mr. N.N.

Once, while traveling through Germany, in a quiet town on the banks of the Rhine, he met two Russians who immediately liked them. The young man introduced himself as Gagin. He was a successful artist. And the girl whom Gagin introduced as his sister was called Asya. N. N. quickly became friends with them and became a frequent visitor to their house. At first, Asya avoided the guest, but then she began to communicate with him more and more. As N.N. himself noted, she was always different. One day she could appear as a mischievous, eccentric child, another day as a serious young lady. He had no idea why she was undergoing such changes.

In fact, Asya's behavior was due to her dual origins. Their father and Gagin were alone. He was a wealthy and respected nobleman. And Asya's mother was a modest maid. Since her parents died and she was in the care of Gagin, it was difficult for her to get used to a society of a different way of life. In any case, she got used to the presence of Mr. N.N. and even chatted with him cheerfully. Once Gagin arrived and told a friend that his sister was not feeling well, was refusing to eat and was feverish. She confessed to her brother that she was in love with their new friend and would like to connect her life with him. Gagin, believing that N.N. had no serious intentions, recommended to his friend to honestly explain to Asya the whole situation.

The fate of the young lovers was decided on the day of their only frank conversation. During the meeting, Asya found herself in the arms of N.N. and did not regret her “first step” at all, but he began to reproach her for telling everything to her brother, thus making their personal happiness impossible. Asya escaped from the hands of her lover and ran away. In vain he tried all day to find her in the city, and calmed down only in the evening, noticing the light in her window. From that day on, he firmly decided that he wanted to marry Asya and would make her a formal proposal. The next morning, when he came to his friends, they were no longer in the house, and the maid said that the owners had left.

The only explanation was a note left by Asya, which said that if N.N. had said at least one word, she would have stayed. Gagin also left a note to a friend in which he wrote that he was convinced of the need for separation. Thus ended the love story of the heroes of Turgenev's story, almost without starting. It was only a shame that years later N.N. realized that he would never meet such an extraordinary girl as Asya. She remained in his soul the only love for life.

The story "Asya" is a touching story about unfulfilled love. The main characters are sometimes compared to Romeo and Juliet, although there were no such obstacles in their way as those of Shakespeare's lovers. The reason why a pure high feeling remained only a memory lies not in external causes, but in the characters of the main characters.

The birth of a feeling

Film frame

The protagonist, who hides under the initials N.N., travels around the world. After staying in a European town, he goes to a student event. N.N. does not like to communicate with Russian people abroad, but one couple attracts his attention: a young handsome young man and his mysterious companion. Between young people easy communication is fastened. The new acquaintance's name is Gagin, and his companion is Asya. They are brother and sister, as it turns out a little later - half-father. Mr. N.N. begins to visit them often, believing that he sympathizes with Gagin, this man with a real Russian soul. But little by little he realizes that Asya attracts him more. This unusual pretty girl likes the hero. But her behavior is not always clear to Mr. N.N. The heroine often behaves like a capricious child. But sometimes her features are transformed and her bright sad look excites the hero. Asya also falls in love with Mr. N.N. But, being still very young, she does not know how to properly attract his attention.

Lovers from different worlds

Mr. N.N. And Asya have feelings for each other. But they are very different people. The hero is accustomed to approach everything reasonably, because feelings seem dangerous to him. The same applies to the choice of a future wife. In the secular world in which he grew up, the image of the ideal wife is a compliant woman with good manners, a shadow of her husband. The image of Asya did not fit into such stereotypes. She is a wild element, capable of both creating and destroying. Asya's originality attracted Mr. N.N., but it was also precisely this that alarmed him, frightened him. Plus, she's only 17 years old. And the idea of ​​marrying an underage girl seemed stupid to the protagonist. Therefore, he hesitated with a declaration of love.

Asya's confession

The heroine could not find a place for herself after meeting with Mr. N.N. First love arose so suddenly and covered her head. She is still young and does not know how to behave with her lover. Therefore, Asya behaves strangely: either she sits quietly, then she suddenly breaks down and runs away somewhere, then she laughs insolently, then she looks very thoughtfully and sadly.

However, despite her young age, it is Asya who decides to take the first step towards love. Not knowing how to cheat, she simply confesses her feelings to him. The heroine is waiting for Mr. N.N. understand her and say the right words, but he hesitates. Instead of talking honestly with the girl, the hero tells everything to her brother. Gagin immediately understands that his friend is not ready for marriage. He is not angry, because he also considers such a marriage inappropriate.

Awareness of error

Mr. N.N. returns to his place, but the next day he realizes what a mistake he made, because he loves Asya! He comes to the Gagins to ask for the girl's hand and heart. But they had already left, and the hero never met them again. However, the narrator will keep the love for this strange, mysterious girl forever.

At the beginning of the story, the hero is already a mature person, but he remembers his first love with tenderness. He realized that he had made a mistake by not saying simple words to Asya about his true love.

It was based on the features inherent in the biography of the writer. The characterization of Asya in the story "Asya" is impossible without a brief digression into life, or rather the love of Ivan Sergeevich.

Eternal friend of Pauline Viardot

The relationship between Pauline Viardot and Ivan Sergeevich lasted a long 40 years. It was a love story that settled only in the heart of one man, Turgenev, and the woman passionately revered by him did not reciprocate. She was married. And for all four decades, Ivan Sergeevich came to their house as an eternal and forever faithful friend of the family. Having settled "on the edge of someone else's nest", the writer tried to build his own, but until the end of his life he loved Pauline Viardot. Viardot became a woman of love, a killer of the happiness of girls who fell recklessly in love with Ivan Sergeevich.

It is worth saying that the tragic relationship with Viardot was not new to him. Still quite young Ivan at the age of eighteen fell in love with his daughter Katenka. A sweet angelic creature, which the girl seemed at first glance, in fact, was not. She had lengthy meetings with the chief village ladies' man. By an evil irony, Sergei Nikolaevich Turgenev, the writer's father, won the girl's heart.

However, not only the writer's heart was broken, he himself more than once rejected women who loved him. After all, until the end of his days, he adored Pauline Viardot.

Characteristics of Asya in the story "Asya". Type of Turgenev girl

Many people know that Turgenev's girls exist, but few remember what she is like, the heroine from the writer's stories.

The portrait characteristic of Asya, found on the pages of the story, is as follows.

As can be seen from the above lines, Asya had an atypical beauty: a boyish appearance combined short large eyes, fringed with long eyelashes, and an unusually slender figure.

A brief description of Asya, her external image will be incomplete, if not to mention that, most likely, it reflected Turgenev's disappointment in the circle (consequences to Ekaterina Shakhovskaya).

It is here, on the pages of the story "Asya", that not only Turgenev's girl, but Turgenev's feeling of love is born. Love is compared to revolution.

Love, like revolution, tests the heroes and their feelings for stamina and vitality.

Asi's origin and character

The background of the heroine's life made a significant contribution to the character of the girl. This is the illegitimate daughter of a landowner and a maid. Her mother tried to bring her up in severity. However, after the death of Tatyana, Asya was taken to his father. Because of him, feelings such as pride and distrust arose in the girl’s soul.

The characterization of Asya from Turgenev's story introduces initial inconsistencies into her image. She is controversial and playful in dealing with all people. If you take her interest in everything around, then you can understand that the girl shows it a little unnaturally. Since she looks at everything with curiosity, however, in fact, she does not carefully delve into or peer into anything.

Despite her inherent pride, she has a strange predilection: to make acquaintances with people who are class below her.

moment of spiritual awakening

The characterization of Asya from Turgenev's story will be incomplete if you do not consider the issue of the spiritual awakening of the main characters: Asya and Mr. N.N.

The hero and author of the story, having met Asya in a small German town, feels that his soul trembled. We can say that he spiritually revived, opened to feelings. Asya removes the pink veil through which he looked at himself and at his life. N.N. understands how false his existence was before the moment he met Asya: the time spent on travel now seems to him an unaffordable luxury.

The reborn worldview of Mr. N.N. looks forward to every meeting with trepidation. However, faced with a choice: love and responsibility or loneliness, he comes to the conclusion that it is absurd to possibly marry someone whose temper he will never conquer.

Love also helps to reveal Asya's character. She begins to realize herself as a person. Now she cannot get by with the usual reading of books from which she drew knowledge about "true" love. Asya opens up to feelings, hopes. For the first time in her life, she stopped doubting and opened herself to vivid feelings.

What is she, Asya, in the eyes of Mr. N.N.?

The characterization of Asya in the story "Asya" is not made by Ivan Sergeevich himself, he assigns this task to his hero, Mr. N.N.

Thanks to this, we can notice the transformation of the hero's attitude towards his beloved: from hostility to love and misunderstanding.

Mr. N.N. noted the spiritual impulse of Asya, who wants to show her “high” origin:

All her actions at first seem to him "childish antics." But soon he saw her in the form of a frightened, but beautiful bird:

The relationship between Asya and Mr. N.N.

The verbal description of Asya in the story "Asya" predicts the tragic outcome of the emerging relationship between the heroine and Mr. N.N.

By nature, Asya is a contradictory nature from her very roots. One has only to remember the attitude of the girl to her mother and her origin:

The girl loved to be paid attention to, and at the same time was afraid of this, as she was quite timid and bashful.

Asya dreams of a hero who will become for her the embodiment of happiness, love and thought. A hero who can meekly oppose himself to "human vulgarity" in order to save love.

Asya saw her hero in Mr. N.N.

The narrator fell in love with the girl from the first moment they met. She wanted to intrigue him and at the same time show that she was a well-born young lady, and not some kind of daughter of the maid Tatyana. This behavior, unusual for her, influenced the first impression formed by Mr. N.N.

She then falls in love with N.N. and begins to expect from him not just actions, but an answer. The answer to her question: "What to do?" The heroine dreams of a feat, but she never expects it from her lover.

But why? The answer is simple: Mr. N.N. not endowed with spiritual wealth inherent in Asa. His image is rather meager and a little dull, although not without a touch of edification. This is how he appears before us according to Chernyshevsky. Turgenev himself sees him as a man with a trembling, tormented soul.

"Asya", characteristic of N.N.

Souls, heart impulses, thoughts about the meaning of life were unfamiliar to the hero of the story N.N., on behalf of whom the story is being told. He led a dissolute life in which he did what he wanted, and thought only about his own desires, neglecting the opinions of others.

He did not care about the sense of morality, duty, responsibility. He never thought about the consequences of his actions, while shifting the most important decisions onto the shoulders of others.

However, N.N. - not the full embodiment of the bad hero of the story. Despite everything, he did not lose the ability to understand and separate good from evil. He is quite curious and inquisitive. The purpose of his journey is not a desire to know the world, but a dream to know many new people and faces. N.N. proud enough, but the feeling of rejected love is not alien to him: earlier he was in love with a widow who rejected him. Despite this, he remains a kind and pleasant enough young man of 25 years.

Mr. N.N. realizes that Asya is a strange girl, therefore she is afraid to face unexpected turns of her character in the future. In addition, he sees marriage as an unbearable burden, which is based on responsibility for someone else's fate and life.

Afraid of change and changeable, but full of life, N.N. renounces possible mutual happiness, placing on Asya's shoulders the responsibility for deciding the outcome of their relationship. Having thus committed a betrayal, he predicts in advance for himself a lonely existence. By betraying Asya, he rejected life, love, and the future. However, Ivan Sergeevich is in no hurry to reproach him. Because he paid the price for his mistake...