The book was written over three and a half years abroad, in France. Later, in "Literary and Worldly Memoirs", the author admitted that he would not have created "Notes of a Hunter" if he had remained in Russia. Not only could he write, he could not live, being next to his "enemy", which was serfdom and with whom, even in his youth, he swore an oath "to fight to the end."

Thus, Turgenev's departure, among other reasons, clearly demonstrated the writer's loyalty to his convictions.

However, as B. Zaitsev rightly writes, "Notes of a Hunter" is "poetry, not politics." Moreover, Turgenev himself did not accept patriotic verbiage. He was essentially a strikingly Russian man, deeply understanding Russia, feeling its charm and beauty.

The world, immersed in the blue vastness and earthly silence of rural Russia - this was the image of the motherland to the writer's artistic imagination. This is especially clearly seen in Kasyan's story about the Beautiful Sword, about the native places he left behind.

The green-blue expanse and height that opened up to our eyes, absorbing and reflecting the natural grandeur of the earth and sky - everything that we called nature - animated by people like Turgenev's Stepushki, Twigs, Yermolai, Kasyans, Philofsy, Kalinychi - and is manifested in "Notes of a hunter" is an image of the motherland, contemplated by their author from his distance with enduring love and adoration.

The image of the Motherland, embodied in the Turgenev cycle, opened up both Russian and world literature of the artist, endowed with a rare spirit of imagination, drawn from a long, close contact between nature and man. The most charming thing about Turgenev is when he envelops the simplest states of nature in a haze of poetry. In "A Hunter's Notes" leaves "babble" and "fog"; reeds "murmur"; smell, "and the morning of" rustles and rustles, "the clouds resemble" lowered sails "and a curly tree falls under an ax, like a man," bowing and extending his arms.

The poetic inspiration of the author of "The Hunter's Notes", gleaned from nature, nourishes Turgenev's refined aestheticism, bringing him closer to the plasticity and metaphorical sophistication of Silver Age literature. Much in the green-blue world recreated by Turgenev gave rise to a feeling of delight, beauty and faith in the harmony of the human universe.

One of the foundations of this belief for Turgenev himself was the feeling of the complete fusion of a simple person, a peasant with nature, the mutual dissolution of their lives. Such is Foma Biryuk, about whom we can say that he is not just a forester, but the spirit of the forest.

As for Turgenev's Kasyan, it would be true to note that this "strange old man" was a real forest Master - Goblin, who began to fool the hunter, to take away the game from him. And he behaves in the forest, as in his own home, in his own way: he walked "quickly", "mimicked, called to each other" with the birds. Not fail to appear in the thicket of the forest and one of the "leshachat", his face strikingly similar to the owner's face: the girl Annushka with a box of mushrooms in her hand.

The relationship between man and the natural world in Turgenev can be deeply psychological. This is how the image of the fading evening, turning into the night, and the fate of Arina in the story "Yermolai and the Miller's Woman", a woman with "big and sad" eyes, in which, as we understand, life fades away painfully early, are interconnected.

However, no matter how dramatic human fate may seem, no matter how multi-layered and complex it may be, Turgenev nevertheless strives to show that the universe is still perfectly arranged. The basis of this idea in the "Notes of a Hunter" is the affirmation of universal life - "the strong, wise, happy life of nature", its natural course.

The heroes of "Notes of a Hunter" are united by a common feeling of life - to live with all their being in every given minute, to surrender to the elemental flow of life, to submit to those unchanging conditions "which nature laid down for the sun, grass, beast, tree" (Tolstoy). This causes in them an extraordinary integrity of the spirit, which, according to Turgenev, a person who has fallen out of nature is deprived of. As such, he recognized himself and the people of his estate and saw the spiritual health of the Russian nation in its familiarization with the people's worldview, which, the writer believed, would help overcome suffering, a person’s feeling of his loneliness, weakness, awareness of his own insignificance, fear of natural eternity.

Turgenev saw spiritual support for modern man primarily in such concepts close to the people as patience, humility, meekness, the ability to suffer - without tears and complaints to endure one's hard lot, concepts closely related to the Orthodox faith and, first of all, to the image of Christ. So, Lukerya ("Living relics") is endowed with absolute integrity of the spirit, nourished by religious faith. Doomed to immobility, she finds the strength to endure her misfortune in humility and in boundless patience.

The integrity of the spirit of the heroes of the "Hunter's Notes", no matter how different they may be: whether it be the practical Khor or the dreamy Kalinich, the pitiful Styopushka and the mysterious Kasyan, the tenacious like grass in the Yermolai field and the stern, full of duty Biryuk - makes them equal, all equally harmonious.

At the same time, the social side of the life of the peasantry of Russia and Russian society as a whole turned out to be in the center of the writer's attention. "Notes of a hunter" was direct and honest prose, filled with echoes and evidence of the need and distress of the people.

But the main idea of ​​Turgenev was that the peasant is not the master of his own destiny. Thus, he pronounced a sentence on his "enemy" - the cruel, humiliating reality of serfdom.

The story "Yermolai and the Miller's Woman" is permeated with unbearable pain for the trampled dignity, the ruined life. The cruel arbitrariness of the mistress of the serf Arina (Varvara Petrovna was guessed in her), refusing personal happiness to her slaves, dooms her not only to public disgrace, failure to fulfill love, separation from her lover, loss of a child, but also to the quiet extinction of life in this laconic, sad , beautiful woman.

Another hero of Turgenev - Styopushka ("Raspberry Water") is simply deleted from life: "no one knew about his existence." Unlike Styopushka, the yard Bitch ("Lgov") is not forgotten by the owners, who defined him as a coachman, and a cook, and a watchman, and a gardener. And now the knot has been a fisherman with the lady for the seventh year. True, as it turns out later, in the master's river "there are no fish." Turgenev tells not only about the meaningless life of the hero, but, as in the case of Arina, about a life ruined by the arbitrariness of the hostess.

Thomas the Bogatyr lives a beggarly, full of suffering life. Serfdom doomed him to the fate of a "hermit wolf", "murderer", "bloodsucker", "beast", fiercely hated by the peasants, ruined to the extreme, swollen with hunger. And it also dooms Biryuk to painful discord with himself, unbearable mental turmoil. Conscious of the bitter fate of the peasants, he nevertheless zealously serves his cause.

Turgenev also suggested a possible outcome of Biryuk's fate. In Bezhin Meadow, the boy Pavlusha tells how "last summer Akim the forester was drowned by thieves, and now one can hear his soul complaining." Is it not about this fate that the peasant caught by him speaks to Thomas: “You are a murderer, a beast, there is no death for you ... But wait, you won’t reign for long!”.

So in the "Notes of a Hunter" there is a "choral fate" of the people, sung by Yakov the Turk, who sent many peasants, like Kasyan with the Beautiful Sword, to roam the world, seek the truth, and dream of blessed lands where "man lives in contentment and justice." In the meantime, "warm seas" with the Gamayun bird are not found, the peasant is forced to exist with the Polutykins and Penochkins, under the ruthless power of the "support", not having the right to a decent life.

But Turgenev, despite the all-pervasive nature of serfdom, the fate of the people seemed to be full of high meaning. Convinced that the germ of future great deeds lurks in the Russian man, he developed in the "Notes of a Hunter" V. Belinsky's idea, similar to his moods, about the people - the soil that stores the vital juices of development.

and Kalinich. Singers. Bezhin meadow.

1. Anti-serfdom theme in "Notes of a hunter".
2. Features of the Russian national character in the characters of the cycle.
3. Genre originality of stories.
4. Landscape and its role in stories.

The story "and Kalinich"- the first of the future cycle - appeared in the first issue of the Sovremennik magazine for 1847. It was the first issue prepared by the new owners of the magazine, Nekrasov and Panaev. Then the editors failed to appreciate Turgenev's story: it was printed in small print in the "Mixture" section with the subtitle "From the Notes of a Hunter" (thus the name of the cycle was suggested to Turgenev by the magazine). The great success of the story with readers inspired the author, and during 1847, while abroad, he wrote 13 more stories. Turgenev worked on the cycle from 1847 to 1851, and by 1852 he prepared a separate edition of the Hunter's Notes.

"Notes of a hunter" gives a picture of rural and estate life, reveals the relationship of landowners and serfs. But the close attention of contemporaries was primarily ensured by their anti-serf orientation. The authorities also reacted to their appearance, seeing in the stories a dangerous social trend. Nicholas I ordered the dismissal of the censor Prince, who missed the “Notes of a Hunter”, to be dismissed. Lvov "for negligent performance of his position." Turgenev was placed under police surveillance. The social significance of the stories and essays of the cycle consisted not only in exposing the feudal landlords (one of the high-ranking officials said that the landowners "are generally presented in a funny and caricatured or, more often, in a form reprehensible to their honor"), but also in the depiction of peasant types . The author feels sympathy for people from the people, the plight of the Russian people arouses his sympathy.

"Hunter's Notes" antiserf work. Turgenev exposes serfdom as an ugly system that gives rise to cruel or worthless landowners, corrupts the soul, hinders the economic and spiritual development of Russia. The author himself defined the main idea of ​​the Hunter's Notes as follows: “I could not breathe the same air, stay close to what I hated ... In my eyes, this enemy had a certain image, bore a well-known name: this enemy was serfdom. Under this name, I collected and concentrated everything against which I decided to fight to the end, with which I swore never to reconcile ... "The stories are linked into a cycle by the unity of the ideological content and compositional device - the image of the narrator, passing through all the stories. The narrator is a hunter, a local landowner who knows his land well, and most importantly, is deeply interested in the life of the people he meets in his hunting wanderings.

"and Kalinich" is a program work of the cycle, in which its main ideas are outlined, the form of Turgenev's "hunting" story is tested. The plot in it is sketchy in nature: the place of action is accurately indicated and described - the Volkhov and Zhizdrinsky districts of the Oryol and Kaluga provinces. The arguments at the beginning of the story about the types of Oryol and Kaluga peasants, built on the principle of antithesis, as if not connected with the plot of the story, have not only an ethnographic, purely essay value. They set a topical social theme - the difference between corvée and quitrent peasantry. There is no event-driven development of the action in Chora and Kalinich. The story shows the meeting of the hero-narrator with the landowner Polutykin and his serfs Horem and Kalinich. The image of the narrator plays an active role in the story: the narrator comments on the behavior of the characters, expresses his attitude towards them. It is in a dialogue with him that socially significant typical characters are revealed. Sometimes minimal artistic means are enough to create a character for an author. So the character of Polutykin is quite definitely clarified by his surname - he is, indeed, a useless, stupid owner, a ruined landowner.

The main interest for the narrator is the peasants and Kalinich, whose comparative characteristics allow the author to reveal two types of the Russian peasant, to show different facets of the Russian national character. The images of the landowner and his serfs are contrasted: there is no direct conflict between them, but a deep difference in the moral world and life position is obvious. And not in favor of the landowner. Peasants are extraordinary people. One is an excellent practitioner, the other is a poetic nature. The journalistic beginning of the story - discussions about corvée and quitrent peasants - is developed in the images of the central characters.

- "a positive, practical person, an administrative head, a rationalist." He sought permission to switch to quitrent and, in fact, is economically independent. - the type of an intelligent, active, enterprising Russian person, able to boldly go towards the new, however, his capabilities are limited by the ugly serf system. In revealing the image of Khory, the main role is played by the author's descriptions of his estate, hut. Substantive details, the material world are expressive. They show the strength of his economy, reliability, stability of life, allow you to see in the Choir the creative creative principles of the Russian national character. The portrait of Khory significantly complements our understanding of him. In his figure, the author emphasizes solidity. This "shouldered and thick" man stands firmly on his feet. And the comparison of his face with the face of Socrates (“the same high, knobby forehead, the same small eyes, the same snub nose”) expresses respect and sympathy for the author and at the same time enhances the anti-serf pathos of the story. But this smart, strong man is in the position of a slave. This is the reality of Russian reality.

Kalinich- the complete opposite of Khoryu externally and internally. He is "a man of the most cheerful, most meek disposition", an exalted nature. Being completely dependent on the landowner, every day he must accompany him to hunt. He completely abandoned his own farm. Kalinich is close to nature, touching in his affection for Khor: he brought him a bunch of wild strawberries. Contrasting the heroes, the author sees in each of them remarkable features of the national character.

The story "Singers", written in the early 50s, combines essay and novelistic features. And although the narration is conducted on behalf of the narrator and contains essay elements, the plot of the story is based on an event. The competition of singers is the central part of the story. In the story, in addition to the main characters - Jacob the Turk and the hawker from Zhizdra - there are many other heroes that make up a picturesque multi-figured composition. Artistic means of revealing character are enriched. In addition to expressive portrait details, author's characteristics, Turgenev gives a story about the past of the heroes (such is the life story of Mogarych, Oboldui). The idea of ​​the characters deepens with the movement of the plot. The epic background of the main event carries an important ideological load.

Turgenev showed in the story an extraordinary Russian talent. The creative spiritual principle in the "best singer of the neighborhood" Yakov-Turk wins over the vocal skills of the self-confident row-cropper. Showing the listeners frozen in excitement, the narrator, as it were, merges with them and conveys in his words the experiences and feelings that engulfed everyone: “He sang, completely forgetting both his rival and all of us ... A Russian, truthful, ardent soul grabbed your heart , grabbed right by his Russian strings. The choice of song is significant. The song "Not one path in the field ran ..." is really in tune with the fate of the Russian people. It contains “youth, and strength, and sweetness, and some kind of captivatingly sad sorrow.”

Turgenev is a realist, he does not idealize the hero: in the final part of the story, the author sees an ugly general drunkenness. And Yakov, who had recently soared in spirit, shocked everyone with his marvelous singing, like everyone else, plunged into the darkness of heavy revelry. The writer does not avoid details that reduce the image of the hero: “He sat bare-chested on a bench and, singing some dance street song in a hoarse voice, lazily plucked and plucked the guitar strings. Wet hair hung in clumps over his strangely pale face. Nothing remained of his soulful excitement. The ugly reality has a destructive effect on the fate of talent in Russia, and this is yet another verdict on serfdom.

"Bezhin Meadow"- a poetic story about Russian nature and a child's soul. In this story, the sketchy beginning gives way to a lyrical narrative. Turgenev is interested in the moral world of people from the people. With great sympathy, the author recreates the images of five peasant boys who gathered around the fire on a July night and tell each other scary stories. Nature in Bezhin Meadow ceases to be the background of action, it becomes a means of indirect characterization of the characters. Pictures of summer nature, framing the story, are full of lyrical expressiveness and, as it were, inspire the characters of the boys. And their fantastic stories, legends, and beliefs are full of vivid imagery and poetry. The mysterious world of their fantasies, the world of nature and the real world merge into a single whole in the souls of the boys. The soul of the people, akin to nature, is poetic and mysterious.

In the "Notes of a Hunter" I.S. Turgenev acted as an artist of acute social anti-serfdom problems and revealed the features of the national character in living peasant types. The role of descriptions of nature in stories is great. Nature is a means of revealing the character, inner world and state of mind of the characters.

The story "Raspberry Water" was published in the journal "Sovremennik" No. 2 for 1848. It combines the ideas of two essays, which Turgenev called in the plans "Fog" and "Stepushka". The story was written in Paris in the autumn of 1847.

In the first magazine publication, the story underwent significant censorship. In the 1852 edition of the Hunter's Notes, the original text was restored.

Literary direction and genre

The story "Raspberry Water" is realistic, has an anti-serf orientation. The reader observes a number of typical images of peasants and landlords. In its descriptiveness, the story is similar to an essay, it does not have a pronounced climax. In terms of saturation with characters and events, the story approaches the story.

Issues

The main problem of the story is connected with serfdom, which makes both peasants and landowners unhappy in their own way and deprives them not only of dignity, but also of their human appearance.

Plot and composition

The story "Raspberry Water" is included in the cycle of "Hunter's Notes", united by the hero-narrator. The name of the story is dedicated to the source, the key, which was called "Raspberry Water", gushing from the crevasse of the Istra River.

The unprecedented August heat that accompanies the characters throughout the story leads the hunter to the source. The exposition of the story is a summer landscape and a description of the key, near which the narrator meets two old men - Styopushka and Tuman.

Having told about Styopushka, the hunter comes closer and recognizes another old man, Tuman, with whom he recalls the order under the old count. Thus, through a monologue (the narrator's reasoning about Styopushka) and a dialogue (with Tuman), the reader learns about the life of not only these peasants, but also the master Pyotr Ilyich.

The story seems to end with this dialogue. But it is followed by a landscape in which the feeling of heat and stuffiness still intensifies. He plays the role of a kind of interlude, after which a new character is introduced - the peasant Vlas.

From the dialogue of Tuman with Vlas, who has recently lost his son, who has approached him, the reader learns that life under the count's son, Valerian Petrovich, is even more difficult.

The sad song at the end on the other side of the river corresponds to the mood of the characters. The ending of the story is open, the fate of none of the characters is determined.

Heroes of the story

Styopushka is the most miserable creature that could be generated by serfdom. This is a man without a past, who came from nowhere in the village of Shumikhino and lives with the gardener Mitrofan, whom the landowners settled on the site of the once burnt down master's house.

Only after talking about the life of Styopushka, the author describes his appearance, emphasizing that Styopushka is a small person not only figuratively, but also in the literal sense: “His face is small, his eyes are yellow, his hair is up to the eyebrows ...” Childish, primitive appearance complements the character's speech. Styopushka spoke stammeringly, "as if he turned over pounds with his tongue."

Styopushka not only was not a yard servant, did not receive any salary or allowance, but he could not even be considered a man. Styopushka had no position in society, no connections, no relatives, no one knew about him, he didn’t even have a past. And he was not listed on the revision, that is, he was a dead soul.

Styopushka lived like an animal in a cage behind the chicken coop, in winter - in the waiting room or in the hayloft. He ate what good people served. The author compares Styopushka with an ant, which fusses only for the sake of food. His movements are fussy, he is ready to hide at any moment.

Fog is the nickname of the freedman Mikhail Savelyev, who used to be the butler of Count Pyotr Ilyich. He was a seventy-year-old man with a regular and pleasant face. He talked a little through his nose, "good-naturedly and stately," did everything slowly, even blew his nose and sniffed tobacco. With pleasure, Tuman talks about different aspects of the life of landowners: about dogs and dog hunting, about rich lordly receptions, clothes, and even master morality. He is dissatisfied with the loss of his position under the master, because at the same time he has lost his significance.

The third peasant the narrator meets is Vlas. This is a man in his fifties. His dusty travel clothes and knapsack betray him as a man who has come a long way. Vlas suffered greatly from serfdom. He lost his son and could no longer pay the rent "ninety-five rubles from the tax." Therefore, he went to Moscow to the master Valerian Petrovich, the son of Peter Ilyich. But the master refused to transfer him to corvée, ordering him to pay the arrears first. Vlas treats life's injustice as something natural, as if it were something else.

Landlords occupy a special place in the gallery of realistic types of the Russian village. Count Pyotr Ilyich, "the nobleman of the old century", lived in the village of Troitskoye in a huge wooden house with 2 floors. The count liked to receive guests, enjoying their subservience. He convened the whole province and lived in grand style, and having gone bankrupt, he went to Petersburg to look for a place for himself and died in oblivion in a hotel.

The reader learns the details of the count's life from the story of his butler. The fog admires the splendor of the lordly banquets. As an example of the kind soul of Count Fog, he cites an ordinary, apparently, story: “He beat you, you look, he already forgot.”

Tuman considers wisdom the tyranny of the master, who expelled the bandmaster from the Germans, who wanted to eat with the gentlemen at the same table, because the musicians (and there were 40 of them, a whole orchestra) already "understand their job." According to Tuman, the master was ruined by matreskis (mistresses) who had power over him.

The narrator is the spokesman for the author's attitude to serfdom. If the peasants do not fully understand the tragedy of their forced existence and justify their masters, then the narrator sincerely sympathizes with the serfs. This is reflected in the details: he calls the peasant "my poor Vlas", asks Tuman uncomfortable questions about the severity of the late master.

Turgenev condemns a system from which a person (Styopushka) who has fallen out of it ceases to be a person at all.

Stylistic features

The story is poetic and even musical. With the help of psychological parallelism, Turgenev describes the internal state of the characters. The growing heat corresponds to the intensification of the emotions of the peasants: the completely indifferent Stepushka, the timidly indignant Mist and the desperate Vlas.

The details in the story are important for the psychological characteristics of the characters. The fog is embarrassed when the narrator forces him to admit that the current order is better than the previous one, because he misses the "good times". Vlas laughs and invigorates, but his face betrays grief from the loss of his son, resentment towards the master: there are tears in his eyes, his lips twitch, his voice breaks.

Turgenev's peasants are bright individuals. They even speak differently: Styopushka is slurred, Fog correctly and reasonably, in a gentlemanly way, keeps the conversation going, Vlas - briefly, holding back resentment.

Analysis of the cycle of stories by I.S. Turgenev "Notes of a hunter"

There are books in the history of literature that express whole epochs not only in the development of literature and art, but also of the entire social consciousness. Among these books are the "Notes of a Hunter" by I.S. Turgenev.

In this collection of short stories, the unifying figure is the "hunter", the storyteller-writer, a nobleman by social status. The "Hunter" does not so much reveal the theme of the book as disguises it: he simply talks about what happened to him, what he saw and remembered - that's all; he does not seem to think at all about the fact that what is being discussed now, in this essay, is somehow connected with what he told earlier. But Turgenev does not forget this: by comparing, juxtaposing, systematizing, he develops a theme of such scope that only Gogol before him dared to speak aloud. This is the main difference between the hunter-narrator and the author.

In "Notes" Turgenev often resorts to the method of juxtaposing times - old and new. The author's assessment of the old is clear - it was a century of noble revelry, extravagance,depravity and arrogant arbitrariness. And the author reflects on the nobility of the new century on the pages of this book.

The picture of noble morals created by Turgenev inevitably raises the question for readers: how can people who have received some kind of education still enjoy their inhuman rights, live in this poisoned atmosphere of tyranny and slavery? A staunch realist, Turgenev was well aware of the power of commitment to convenience and comfort, the power that the most ordinary habits have over a person, and how closely each person is connected with his environment. But he knew that different people relate to life differently and that a person's position in life also depends on the properties of his nature.

If you look closely at all these prosperous representatives of the nobility - the Polutykins, Penochkins, Korolevs, Stegunovs, Khvalynskys, Shtoppels, Zverkovs, dignitaries, princes and counts, then one cannot fail to notice one common feature: they are all mediocre, people with a miserable mind and frail feelings. Insignificant people, they are able to appreciate in others only brute force, no matter how it manifests itself - in bureaucratic arbitrariness or in the whims of wealth, in whims, arrogance or in the intricacies of meanness. Everything that went beyond the boundaries of their creeping understanding, they pursue.

Arkady Pavlovich Penochkin enjoys respect in a noble society: "Ladies are crazy about him and especially praise his manners." And Pyotr Petrovich Karataev, while he was "swaggering" and squandered his estate, if he was not among the respected members of the local nobility, then he did not attract his condemning attention. But as soon as he fell in love with the serf girl Matryona, everything immediately changed. "The sleepy and vicious boredom of the idle nobility" showed itself! Mrs. Marya Ilyinichna, having learned that Karataev wanted to buy Matryona from her because he loves her, did not miss the opportunity to amuse her tyrannical soul: “I don’t like it; you don't want to, and that's it." A sincere feeling, and even for a servant - she could not forgive this. Society approved it, but Karataev was condemned and eventually thrown out of its ranks.

But the pictures of intra-noble relations, for all their expressiveness, played a subordinate role in the "Notes of a Hunter": they were needed insofar as they helped to investigate the main guilt of the nobility - the guilt before the people.

Belinsky explained the success of “Khorya and Kalinych” (the first of the published stories) by the fact that in this essay Turgenev “came to the people from the side from which no one had approached him before. Khor, with his practical sense and practical nature, with his rough, but strong and clear mind ... - the type of Russian peasant who knew how to create a meaningful position for himself under very unfavorable circumstances.

It was worth taking a closer look at Khor to make it immediately clear how much this illiterate peasant surpasses his master Polutykin precisely in intellectual terms and, therefore, talk about noble guardianship over the peasant is so senseless and false. Khor treats Polutykin with barely hidden contempt, because he “saw through” him, that is, he understood how worthless he was, and not because he wore European clothes and kept “French” cuisine. Khor did not experience any fear of the foreign.

The result of Turgenev’s observations on Khor’s personality is expressive: “From our conversations, I took out one conviction, which readers probably do not expect in any way - the conviction that Peter the Great was predominantly a Russian person, Russian precisely in his transformations. The Russian man is so sure of his strength and strength that he is not averse to breaking himself: he is little concerned with his past and boldly looks forward. What is good, then he likes, what is reasonable, give it to him, but where it comes from, he does not care.

The conclusion suggests itself: the only help that the smart and practical Hori really needed was in liberation from the Polutykins, that is, in liberation from serfdom. That is why Belinsky paid special attention to this essay.

Turgenev explored the corrupting influence of landlord power on all aspects of life. He paid special attention to the fact that serfdom literally disfigured the peasant's attitude to work.

Life next to the landowner engendered in the serfs not only a sense of dull obedience. From generation to generation, the master was accustomed to seeing a man of special destiny and even breed, his life was considered something like an embodied ideal. This invariably aroused a feeling of admiration for the masters. It made itself felt more strongly among the serfs; it was in it that lackeys were most often encountered - not only by position. Such, for example, as the valet Victor from the story "Date". The very soul of servility was embodied in him.

The tense atmosphere in the village is clearly shown in the story "Biryuk". Driven to the extreme, the chopping man went from plaintive requests to open furious indignation somehow suddenly; neither the hunter nor Biryuk expected anything like this. And yet, the most unexpected thing was that Biryuk let the chopper go and, most importantly, how he let him go. He did this not at all because he was afraid of the men's threats. Foma Biryuk changed his mind a lot, listening to the complaints and reproaches of the peasant he had caught; did not his loyalty to his master, who eats peasants, seem shameful to him; didn’t he now think that his wife had run away with the tradesman, leaving her children, because she was sick of the “master’s bread” given out to him for privet fidelity? Most likely, Biryuk will again diligently hunt down the choppers; but it may also happen that these guesses of his will not be forgotten, and then it will no longer be possible to vouch for not only the safety of the landowner's forest land, but also for his life.

The Hunter's Notes convinced the reader of the need to abolish serfdom as the basis of the entire social system in Russia. Turgenev all his life firmly held to the conviction that issues of social existence, even the most complex ones, can only be resolved according to the laws of reason, which is the crown of modern civilization.

Inexhaustible treasures of the national spirit were found in the poetic talent of the Russian people. And in order to get an idea of ​​this dignity of the national character, it was not necessary to look for especially prominent people: to one degree or another, it was inherent in the vast majority of peasants - young and old.

The consciousness of the enslaved peasantry, its morals were full of contradictions and contrasts. Dreams of freedom and admiration for the master's power, protest and humility, rebelliousness and lackeyism, worldly sharpness and complete lack of initiative, spiritual talent and indifference to one's own fate - all these properties existed side by side, often turning one into another. According to Turgenev himself, it was a "great social drama", and without understanding that this drama there is, Russia itself could not be understood. He did not just start the development of this topic. For many decades to come, he gave a measure of its complexity, identified its constituent contradictions. For this great book one could take as an epigraph the famous lines of Nekrasov:

You are poor

You are abundant

You are powerful

You are powerless

Mother Russia! -

if they had not been written a quarter of a century after the publication of The Hunter's Notes.

Ministry of Education and Science of the Russian Federation

State Educational Institution of Higher Professional Education

Orenburg State Pedagogical University

Faculty of Philology Department of Linguistics and Methods of Teaching the Russian Language

Course work

on the topic: Analysis of the collection of stories by I.S. Turgenev "Notes of a hunter" in the positional aspect

Orenburg 2010

INTRODUCTION

The aim of the work is to study the collection of short stories by I. Turgenev "Notes of a Hunter" in the positional aspect. To achieve it, the following tasks were set:

Consider the "Notes of a Hunter" from the point of view of the positional use of the image of nature in them;

Analyze each episode with a description of the image of nature;

Establish the location of each episode and its connection with the rest of the stories;

Make a conclusion about the role of each episode with the image of nature in the collection.

Select episodes depicting nature, establish their length and localization in the text of each story and in the cycle.

The subject of the research is the image of nature in the collection of short stories by I. Turgenev "Notes of a Hunter".

CHAPTER 1. STUDYING THE TEXT COMPOSITION IN THE POSITIONAL ASPECT

The main function of the language is the communicative function, this main function is performed by the language through the message - texts designed through the language. A literary text, being a work of art - literature - unlike other texts, does not perform a pure communicative function. In order to satisfy the spiritual aesthetic need, the artistic text ignores reality, choosing in it only what is necessary to express a certain idea, an artistic problem. This idea is the main organizing core of a literary text. Understanding an idea is not always easy, and linguistic analysis can help here - the study of the material form of a literary text, in which the artistic idea is “encoded”, encoded [Korbut-3; 76].

1.1 The concept of linguistic analysis

Linguistic analysis is a special system of teaching techniques for decomposing a text into its constituent parts, studying them, comparing, comprehending, and then understanding a literary text in the unity and interconnection of all its elements [Korbut-4; 76].

Linguistic analysis allows us to see the organic constructive links between the courses of literature and the modern Russian language. Two main stages of linguistic analysis: analysis and synthesis. It is better to start with the analysis of the elements, then draw a conclusion about the influence of the elements on the content - synthesis. Linguistic analysis also includes some aspects of other types of analysis. The literary aspect - the comprehension of a literary text as a fact of social thought - can be connected at the stage of synthesis. The stylistic aspect - understanding the violation or non-violation of the norms of the literary language of the modern era and the era corresponding to the time the work was written, is necessary at the stage of analysis. The most complete analysis of a literary text is general philological, such an analysis includes all known types of analysis: linguistic, literary criticism, and historical.

In linguistic analysis, a literary work is considered “as a source of impressions for the reader” (Arnold), who experiences certain feelings, regardless of either the personality of the author or public opinion. What linguistic units, arranged in what sequence, contribute to the impression? - these are the main questions that are posed in linguistic analysis [Korbut-4; 76].

The composition of the artistic text. From a linguistic point of view, composition is a way of arranging and connecting language units of different levels in a coherent linear structure of a literary text. The composition is a harmonious unity of form and content.

B.A. Uspensky proposed to consider the linguistic composition of a literary text as a system of intratextual points of view. The point-of-view system includes the points of view of the author(s), the characters, and sometimes the supposed points of view of the readers.

In the composition, two types of speech can be distinguished - direct and indirect. Direct speech is formally distinguished by quotation marks (or dashes). Letters, diary entries, articles from newspapers and magazines can also be attributed to direct speech, they enhance “reliability” [Korbut-22; 76].

Among indirect speech A.Yu. Korbut identifies two main ways of narration. Objective narration (objective speech) and subjective narration.

“The compositional units of a literary text,” writes A. Yu. Korbut in his work “Linguistic Analysis of a Literary Text,” in the aspect of points of view are all elements that change the type of narration: direct speech, writing, dream, document, diary, newspaper material, subjective speech of the author, etc.

The dynamic aspect of the composition. The compositional unit of a literary text in a dynamic aspect is the type of speech: narration, description, reasoning in the author's speech. Most of the large literary texts are fictional narratives with the inclusion of other types of speech [Korbut-27; 76].

Symmetrological aspect. The next aspect of the composition of a literary text is associated with the strong positions of the text, its proportions and types of symmetry in it. Thus, the analysis of the composition in this aspect allows us to see the manifestation of the laws of symmetry in the linguistic structure of a literary work. The most important manifestation of the laws of symmetry in a literary text is the golden section, which is called the harmonic center. The first level of the golden ratio divides the text into two unequal parts by a factor of 0.618. This is the point of the golden ratio, or the harmonic center. The harmonic center is a strong position of the text.

The second level of the golden section proportion highlights the absolute beginning of a literary text. This is a part of the text, including the title, epigraph, if any. Its coefficient is 0.146, which is approximately the first 15% of the text. The absolute beginning is also a strong position of the text.

The absolute end is the final strong position of the artistic text, calculated by the proportion of 0.944, which is approximately the last 6% of the text. Here the psychological tension is removed, the conflict is resolved. In addition to these strong positions, there are proportions-borders that can be attributed to the weak positions of the text.

Absolute start - the first strong position of the body of the text, has a graphic emphasis on the left (space). The absolute beginning performs an introductory function: it represents time, place, determines the way of narration (or a combination of different ways), contains the plot of events, represents the most important linguistic elements that will be repeated further. Harmonic center - a strong position that does not have a graphic highlight, is perceived unconsciously.

The absolute end is a strong position that has a graphic highlight on the right. This strong position includes an event denouement. In our case, one story (“Lgov”) has such a strong position.

Strong positions and their functions. A strong position is the most effective point of a literary text, the perception of which combines a high degree of memorability and readiness to perceive subtext. The start zone, or start, includes two strong positions: the title and the absolute start. The title forms a title zone - a set of elements graphically separate from the rest of the text. The title zone includes subtitle, genre, epigraph [Korbut - 29-34; 76].

The primary compositional feature of a literary text is its linearity - the units from which a literary text is built can be built in one way: one after the other, in a line. Therefore, the sequence of arrangement of parts, chapters, chapters, paragraphs or stanzas, sentences or lines, words is the most important aspect of a literary text. A literary text lives only while it is being read, and its first contact with the reader is made through the title (3). The next "step" in the perception of a literary text is the epigraph (if any). An epigraph is a quotation (literary or folklore) highlighted with spaces, like a heading and subheading, graphically separated by an offset to the right. Expresses the main artistic problem of the whole work or part of it, thus highlighting the content core of the literary text [Korbut - 34-38; 76].

CHAPTER 2. ANALYSIS OF THE COLLECTION OF I.S. TURGENEV'S "NOTES OF A HUNTER" FROM A POSITIONAL POINT OF VIEW

The Hunter's Notes is a cycle of twenty-five small prose works. In their form, these are essays, short stories and short stories. Essays (“Khor and Kalinych”, “Odnodvorets Ovsyannikov”, “Raspberry Water”, “Swan”, “Forest and Steppe”), as a rule, do not have a developed plot, contain a portrait, a parallel description of several heroes, pictures of everyday life, landscape, sketches of Russian nature. The stories (“My Neighbor Radilov”, “Office”, “Hamlet of the Shchigrovsky District”, etc.) are built on a certain, sometimes very complex plot. The whole cycle is told by a hunter who tells about his observations, meetings, adventures.

In the 40-50s of the XIX century, I. S. Turgenev created a number of small prose works, combined in one collection called "Notes of a Hunter". Unlike most writers of that time, who depict peasants as a faceless gray mass, the author in each essay notes some special feature of peasant life, therefore all the works combined in the collection gave a vivid and multifaceted picture of the peasant world. This cycle immediately brought fame to the author. In all stories there is one and the same main character - Peter Petrovich. This is a nobleman from the village of Spassky, an avid hunter. It is he who tells about the incidents that happened to him during his campaigns. Moreover, Turgenev endowed him with observation and attention, which helps the narrator to more accurately understand various situations and more fully convey them to the reader.

Passionately in love with nature, Turgenev made extensive use of descriptions of nature in his Notes of a Hunter, which constitute the brightest pages in the history of the Russian literary landscape. Turgenev treated nature as an elemental force living an independent life. Turgenev's landscapes are concrete and fanned by the experiences of the narrator and the characters, they are dynamic and closely connected with the action.

In order to determine what role each episode with the description of nature plays for the entire collection, we first understand what nature is in the broad, generally accepted sense.

The Free Encyclopedia gives this definition of nature. Nature - the material world of the universe, in essence - the main object of study of science. In everyday life, the word "nature" is often used in the meaning of the natural habitat (everything that is not created by man).

V. I. Dal understands this concept as “nature, everything material, the universe, the whole universe, everything visible, subject to five senses; but more our world, the earth, with everything created on it; is opposed to the Creator... All natural or natural products on earth, the three kingdoms (or, with man, four), in their original form, are opposed to art, the work of human hands.

The philosophical dictionary has the following definition of nature. Nature - in a broad sense - everything that exists, the whole world in the variety of its forms; is used in the same row with the concepts: matter, universe, universe. 2) The object of natural science. 3) The totality of the natural conditions for the existence of human society; ""second nature"" - the material conditions of his existence created by man. The implementation of the exchange of substances between man and nature is the law that regulates social production, the condition of human life itself. The cumulative activity of society has an increasingly noticeable impact on nature, which requires the establishment of their harmonious interaction.

As you can see, all definitions clarify that nature is everything that is not created by man. For Turgenev, nature is the main element, it subjugates a person and forms his inner world. The Russian forest, in which “stately aspens babble”, “a mighty oak stands like a fighter, next to a beautiful linden”, and the boundless steppe are the main elements that define the national features of a Russian person in the “Notes of a Hunter”. This is perfectly in line with the overall tone of the cycle. The true salvation for people is nature. If in the first essay-prologue the narrator asked to pay attention to the peasants, then the final story is a lyrical confession of the author's love for nature, "fur sich", as he himself jokingly says, saying goodbye to the reader. For Turgenev, nature is the repository of everything and everyone. At the same time, all descriptions of nature are divided into two groups: external manifestations of nature (landscape objects, animals, weather and natural elements) and hidden or implicit (human activities associated with nature, the influence of nature on the life and life of a peasant).

It was quite fashionable to call this book a book about nature and about man in nature. Even if the characters do not relate to nature, all the same, the story about them cannot do without the landscapes mentioned at least in passing. It is no coincidence that the collection ends with a poetic hymn to nature "Forest and Steppe". Undoubtedly, the main aesthetic link in all short stories is the narrator, the "strange man". And the main thing in it is that the image is given outside of social civilization, as a man of nature, inextricably linked with it. His soul, his spiritual world are filled with nature. And through this natural and aesthetic prism, all the stories about which he tells are refracted. Turgenev "came to the recognition of the inclusion of the human personality in the general flow of world life, to the recognition of the unity of man and nature."

Such a unity of the “strange hunter” with nature, such an aesthetic unity of the “Notes of a Hunter” through numerous landscapes recalls the teachings of Jean-Jacques Rousseau about the “natural man”. Turgenev, following Rousseau, argues that nature created all people equal and only social institutions create the problem of social inequality. Public lack of freedom distorts the natural, natural essence of a person, morally cripples him. The drama of man is, according to Turgenev, that he has fallen out of the unity of nature. Turgenev considers the problem of "natural man" in the philosophical, universal moral aspect. Falling out of the natural unity of a person makes him either morally ugly or completely unhappy. And Turgenev in "Notes of a Hunter" tries to show how morally beautiful the "natural man" associated with nature is.

As a "material" for linguistic analysis in our work, we have chosen a collection of short stories "Notes of a Hunter" by I. Turgenev. We study this collection from the standpoint of the composition of a literary text.

Turgenev's stories almost all contain direct speech and dialogues. A special exception is the story "Forest and Steppe", in which the author conducts an invisible dialogue with the reader, there is no direct appeal to any person, there is no formal emphasis on direct speech (quotation marks), the dialogue does not carry a special semantic load.

The entire collection of Turgenev is a subjective narrative, since there is a direct author's assessment of events, characters, the narrating author judges only what is known to him; the widespread use of words with the main emotional and evaluative meanings such as “love”, “good person”: “As a hunter, visiting Zhizdrinsky district, I met in the field and met one Kaluga small landowner, Polutykin, a passionate hunter and, therefore, an excellent person” ("Khor and Kalinich").

Subjective narration expresses directly the author's point of view, which is often polemical in relation to the reader's point of view. In this sense, Turgenev does not force the reader to think in the same way as he does; his unobtrusive narration gives the reader the opportunity to evaluate the described person or events.

In the collection of short stories by I. Turgenev, there is a synthesis of all three types of speech: “Wealthy landowners lived in these mansions, and everything went their own way, when suddenly, one fine morning, all this grace burned to the ground. The gentlemen have moved to another nest; the homestead was deserted. The vast ashes turned into a garden, in some places cluttered with piles of bricks, the remains of former foundations. From the surviving logs, a hut was hastily knocked together, covered with baroque wood, bought ten years in advance to build a pavilion in the Gothic style, and settled in it the gardener Mitrofan with his wife Aksinya and seven children. Mitrofan was ordered to deliver greens and vegetables to the master's table, a hundred and fifty miles away; Aksinya was entrusted with the supervision of a Tyrolean cow, bought in Moscow for a lot of money, but, unfortunately, devoid of any ability to reproduce and therefore has not given milk since the purchase; they gave her a crested smoky drake, the only "master's" bird, in her arms; children, due to their infancy, were not assigned any positions, which, however, did not in the least prevent them from becoming completely lazy ”(“ Raspberry Water ”); “I looked around. We rode across a wide plowed plain; in extremely gentle, undulating rumbles, low, also plowed hills ran into it; the gaze embraced only some five versts of deserted space; in the distance, small birch groves, with their rounded-toothed tops, alone broke the almost straight line of the sky. Narrow paths stretched across the fields, disappeared into the hollows, twisted along the hillocks” (“Kasyan with the Beautiful Sword”); “Hunting with a gun and a dog is wonderful in itself, f ur sich, as they used to say in the old days; but, let's say, you were not born a hunter: you still love nature; you, therefore, cannot but envy our brother ... ”(“ Forest and Steppe ”).

stories of the collection ("My neighbor Radilov", "Bezhin meadow", "Date") begin with a description of nature. Here the stylistic dominant of the literary text is formed, the time and place of action are presented.

All stories in Turgenev's collection are titled. They can be divided into two groups. The first group includes stories that have a name (or proper names) in their title. These can be names, surnames, nicknames of people, geographical objects (names of villages and cities). This group includes 15 stories: “Khor and Kalinich”, “Yermolai and the Miller’s Woman”, “Raspberry Water”, “My Neighbor Radilov”, “Ovsyannikov’s Odnodvorets”, “Lgov”, “Bezhin Meadow”, “Kasyan with a Beautiful Sword” , "Biryuk", "Swan". "Tatyana Borisovna and her nephew", "Pyotr Petrovich Karataev", "Hamlet of the Shchigrovsky district", "Chertop-hanov and Nedopyuskin", "The End of Chertop-hanov". From the name it becomes clear where the event will take place or who the story will be about. The second group is made up of stories that have common nouns in their titles: “County doctor”, “Burmaster”, “Office”, “Two landowners”, “Death”, “Singers”, “Date”, “Living relics”, “Knocks” , "Forest and steppe". Despite the fact that in these titles there is no direct relation to the person or place of action, it is still not difficult to guess what the story will be about. Being in the linguistic aspect a word, phrase or sentence, the title answers one of the topical issues of the literary text. Who? What? "Pyotr Petrovich Karataev", "Death"; Where? "Lebedyan", "Bezhin meadow", "Office"; What's happening? "Date", "Knocks", etc.

Turgenev practically does not use epigraphs in his collection. Is it possible to consider the stories "Living Powers" and "Forest and Steppe" as an exception. From the epigraphs, you can immediately understand who or what will be discussed:

Land of native long-suffering -

The land of the Russian people!

F. Tyutchev. ("Living Relics").

And little by little start back

Pull him: to the village, to the dark garden,

Where the lindens are so huge, so shady,

And lilies of the valley are so virginally fragrant,

Where are the round willows above the water

From the dam they leaned in succession,

Where a fat oak grows over a fat cornfield,

Where it smells like hemp and nettle...

There, there, in the open fields,

Where the earth turns black with velvet,

Where is the rye, wherever you throw your eyes,

It flows quietly with soft waves.

And a heavy yellow beam falls

Because of transparent, white, round clouds;

It's good there

(From a poem burnt) ("Forest and Steppe").

The entire collection of stories by I. Turgenev can be presented in a table where you can clearly see how many words are in a single story and in each of the episodes. For convenience, we have divided episodes in each story with a description of nature and without a description. From the table it is clear how many episodes and what their size is.

linguistic analysis Turgenev's story

Table 1 - Number of words in episodes

TOTAL NUMBER OF WORDS WITH DESCRIPTION OF NATURE WITHOUT DESCRIPTION OF NATURE AND KALINYCH36021. 137 WORDS1. 73 WORDS2. 3 392ERMOLY and Mellenchiha31841) 2121) 222) 952) 10343) 263) 3094) 304) 14505) 6Maline Water2 6801) 1301) 1032) 1162) 18253) 507Unaya TEXAR2 967MA Knife Radils2 3101) 1211) 2002) 1222) 1867ODDVORE Ovsyannikov5 ) 1601) 572) 1092) 17803) 393) 684) 314) 4575) 265) 227BEZHIN LUG5 9391) 3131) 902) 182) 1133) 273) 554) 1204) 885) 565) 18) 18) 46) ) 368) 889) 1889) 294510) 8310) 104811) 10911) 912) 5212) 4913) 8113) 25Kusian with beautiful sword5 2831) 1371) 82) 2552) 20323) 713) 124) 2944) 895) 755) 8276) 936 ) 437) 1348BURMISTR3832KONTORA4410BIRYUK20751) 1161) 412) 1918TWO LANDSHIPS2506LEBEDIAN3156T.B. And her nephew34691) 1251) 102) 3334Simt33131) 3201) 2972) 2696Pevets52031) 1381) 272) 802) 4473) 1013) 644) 284) 8415) 455) 24776) 706) 4007) 947) 168) 376p.p.Karataev4195Den 5291) 18702) 1672) 24HAMLET SHIGROV. UYEZDA7495CHERTOPKHANOV AND NEDOPYUSKIN4894END OF CHERTOPKHANOV9316LIVING RIGHTS41201) 381) 1152) 782) 1783) 3702STUTCHIT3741 FOREST AND STEPPE

But according to this table it is impossible to determine where the episodes with a description of nature are located. For this, a linear model of a literary text is used - a segment of a straight line, divided into proportions with marked strong positions. Each story in the text has its own linear model [Korbut - 33; 76] (Appendix 1.).

Through mathematical calculations, we can find the coordinate for any episode. We will present the result of these calculations in a table (in electronic form), where each episode is separately numbered and has two values ​​- the beginning and the end, indicated by units. The remaining coordinates that are not related to this episode with a description of nature are indicated by zeros.

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