The plot of Pushkin's story "The Young Lady-Peasant" similar to the plot of the famous Shakespearean play “Romeo and Juliet”. The main characters of both works love each other and want to be together, despite the fact that their fathers are at enmity with each other. Meanwhile, unlike Shakespeare's characters, Pushkin's heroes successfully overcome all conflicts, and in the end everything ends well for them.
The plot line of the story is the theme of love. The son of the landowner Berestov, Alexey, having met Lisa, the daughter of the landowner Muromsky living next door, soon became “passionately in love” with her:
“I begged her not to deprive him of one joy: to see her alone, at least every other day, at least twice a week,” the young man could not live without a girl, since “he was already in love without memory.”
And the girl herself, reciprocating the young man’s feelings, “was no more indifferent.” Love prompts both to meet frequently and soon leads them to the idea of marriage.
Meanwhile, the fathers of young people do not like each other. Thus, Muromsky “did not get along” with Berestov and “every minute found opportunities to criticize him.” In turn, “hatred of innovation was a distinctive feature” of Berestov, who condemned the ideas of the “Anglomaniac” Muromsky. Muromsky, who does not like criticism, responded by “furying and calling his zoil a bear and a provincial.” On this basis, a conflict broke out between the landowners.
The heroes of the story tend to welcome guests cordially. Thus, Muromsky cordially welcomes neighbors into his house, even when his longtime rival Berestov is a guest:
“Muromsky received his neighbors as kindly as possible.”
Muromsky's daughter Liza also decides to receive unexpected guests, but only if her father accepts her conditions:
“I will accept them, if you wish, only with an agreement: no matter how I appear before them, no matter what I do, you will not scold me,” the girl agrees with her father’s proposal.
However, in addition to the desire for acceptance, the heroes are also overcome by the opposite desire - for rejection. For example, Berestov threatens to reject his son if he does not accept his will:
“You get married, or I’ll curse you, and I’ll sell the property and squander it, and I won’t leave you half a dime.”
However, Alexey rejects his father’s offer:
“I don’t want to get married and I won’t get married,” the young man persists.
Much attention in the story is paid to the issues of the characters’ belonging to something or someone. For example, Berestov owns considerable property:
“He built a house according to his own plan, started a cloth factory, tripled his income,” the landowner expanded his holdings.
For comparison, the yard girl Nastya emphasizes her belonging only to her mistress Lisa:
“I’m yours, not daddy’s,” the girl declares to Muromsky’s daughter.
At the same time, Nastya separates herself from the hostility between the landowners.
“What do we care about gentlemen! ... Let the old people fight if they are having fun,” the girl avoids the master’s quarrel.
Likewise, Lisa, having met Alexei, at first keeps herself apart:
“Lisa jumped away from him and suddenly took on such a stern and cold look,” the girl assumes an inaccessible look.
The story often notes the identical behavior of the characters. So, Alexey and Lisa experience identical feelings for each other - “increasing mutual inclination.”
“Dressed up as a peasant woman,” Lisa strives to look identical to an ordinary village woman:
“She repeated her role, ... spoke in a peasant dialect,” the heroine behaves like a peasant woman.
At the same time, a number of the characters in the story often remain aloof from other people. Such, for example, is the “prim” Englishwoman Miss Jackson, who, in her words, “was dying of boredom in this barbaric Russia” with cultural traditions alien to her.
While the “Anglomaniac” Muromsky even “cultivated his fields ... according to the English method,” Berestov deliberately behaves “in the Russian way,” avoiding everything alien to folk traditions:
“Russian bread will not be born in someone else’s style,” the story notes.
Thus, the characters in the story have inherent desires for belonging, acceptance, identity and love. These needs are of the consolidating type.
Meanwhile, the heroes also show opposite tendencies: towards isolation, rejection, alienation, and conflicts.
Note that the characters are distinguished not only by a certain set of aspirations, but also by ways of satisfying their desires. Heroes are also distinguished by their degree of self-control.
Feeling love for Lisa after the first date, Alexey is so absorbed in passion that he wants to see her again:
“Alexey was delighted; all day he thought about his new acquaintance; at night, the image of a dark-skinned beauty haunted his imagination,” the image of a girl haunts the young man.
Alexey does not know that in the form of the peasant woman Akulina he is dealing with Liza, and therefore refuses to marry Muromsky’s daughter. Meanwhile, Alexei’s father, unaware of his son’s feelings, demands that he abandon his stubbornness and marry Lisa:
“I’ll give you three days to think about it, but in the meantime, don’t dare show your face to me,” Berestov threatens to leave his son without an inheritance.
Mistaking Liza for an illiterate villager, Alexey intends to use the skills he acquired at the university to educate the girl, and therefore takes her under his wing:
“If you want, I’ll teach you to read and write right away,” the young man is ready to instruct Akulina.
A young man enjoys taking care of a girl:
“I will accompany you if you are afraid,” Alexey takes care of Lisa.
Meanwhile, Alexey himself is not always independent in making decisions:
“It is my duty to obey you,” the young man admits his dependence on his father.
Alexey, in the words of the yard girl Nastya, “loves to chase girls.” Indeed, already on the first date, having warmed up to Lisa, disguised as a simple peasant woman, he involuntarily holds the girl:
“Accustomed to not standing on ceremony with pretty villagers, he wanted to hug her,” and when saying goodbye, “he held her hand.”
Lisa, trying to get rid of the possible claims of the young master, calls herself Akulina, the daughter of a blacksmith:
“Akulina,” answered Lisa, trying to free her fingers from Alekseeva’s hand, “let me go, master; It’s time for me to go home.”
As the narrative progresses, it is mentioned that the appearance and manners of society ladies are so identical that they look impersonal:
“The skill of light soon smoothes out character and makes souls as monotonous as hats,” uniformity reigns in high society.
At the same time, a number of characters stand out from others due to the peculiarity of their appearance. For example, as the narrative progresses, the “character peculiarity” of the county young ladies is noted, emphasizing the “originality” of their nature. Likewise, Alexey, who received a university education, stands out for his unusual manners in a simple village environment, and therefore is perceived by local young ladies as a special person:
“He wore a black ring with the image of a death’s head. All this was extremely new in that province.”
Character analysis carried out The story “The Peasant Young Lady” shows that the heroes have needs of a consolidating type. Characters differ both in the types of aspirations and in the ways they satisfy their desires associated with their character traits.
The work emphasizes the issues of belonging of something to someone. All characters, one way or another, belong to something. At the same time, some characters seek to patronize others, thereby depriving them of independence. Sometimes the characters stand apart, emphasizing their independence.
Many characters are characterized by their acceptance of other people. At the same time, heroes reject in others what they do not like. Sometimes characters want to keep someone close to them, which causes the opposite reaction in others - the desire to get rid of the obsessive treatment.
The work repeatedly notes the identity of the behavior of some characters, even to the point of depersonalization. At the same time, the peculiar character of a number of characters is also emphasized. At the same time, the manifestation of national identity is contrasted with fashionable foreign trends as an alien way of life.
The plot-forming line of the work is based on the correlation of opposing themes: love and conflict. The main character is completely consumed by feelings for the heroine. In this case, circumstances force the hero, as it seems, to abandon his intentions to marry for love. Meanwhile, in the end, all the contradictions that arose between the characters are successfully resolved.
Analysis of characters, characteristics of the plot of the story The Young Lady-Peasant.
Pushkin’s “Young Lady-Peasant Woman” is full of lightness, humor and simplicity. Reviews that appeared immediately after the story was published position the work as innovative both in terms of form and content. In general, “Belkin’s Tale,” which includes this work, is Pushkin’s first prose experience to see the light of day. Let us examine the innovation that Alexander Sergeevich brought to literature using the example of the story “The Young Lady-Peasant Woman”. Reviews from critics clearly speak of its simplicity and at the same time depth of meaning. Let's look at these aspects as well.
Boldino autumn... This is one of the most productive periods of Pushkin’s work. At this time, “Belkin’s Tales” came out from under his brilliant pen. Finding himself in the lap of nature, surrounded by the bright colors of autumn, observing the life of the Russian village, far from St. Petersburg life with constant surveillance by the secret police, the writer relaxes here and writes “like he hasn’t written for a long time.” During these three short months, A. S. Pushkin creates both poetic and dramatic works. It is here, in Boldin, that the writer tries himself as a prose writer.
Pushkin has been nurturing the idea that prose should be simple and laconic for a long time, and he shares it with his friends more than once. The writer believes that such creations should describe Russian reality as it is, without embellishment. The path to writing artistic prose works was not easy, because at that time greater preference was given to poetry and the poetic language corresponding to it. Pushkin had a very difficult task: to process linguistic means in such a way that they fit the “language of thought.”
Let us turn to the last story from the series “The Young Lady-Peasant”. Reviews say that it is easy to read and has a simple plot.
The work tells about two landowner families: the Berestovs and the Muromskys. They don't get along with each other. A son, Alexey, is being raised in the family of the first master. Lisa is the daughter of the second. Landowner fathers are very different from each other. If Berestov is a successful businessman, he is loved and respected in the area, then Muromsky is a typical representative of the landowner class - an inept manager, a real gentleman.
Young Berestov is preparing to become a military man, but his father doesn’t quite like this idea, so he keeps his son in the village, near him. Alexei's pleasant, attractive appearance makes him popular among the daughters of local nobles. Lisa Muromskaya learns about his existence from the maid Nastya (her heart was also won by the young master). The girl described Alexei to her mistress in such a way that for her he also became a romantic ideal. Liza, dreaming of meeting young Berestov, dresses up in a peasant outfit and heads to the grove where he usually hunts.
Young people meet and fall in love with each other. Young Muromskaya introduces herself as the daughter of the local blacksmith Akulin. Alexey is not afraid of her social status; he longs to continue meeting with the girl. An accident interferes with the usual course of things. During a joint hunt, Muromsky's horse suffered, Berestov came to his aid - and so the relationship between them began to warm up. It got to the point where they agreed to marry their children.
Arriving with his father for lunch at the Muromskys, Alexey does not recognize Liza Akulina: the girl greatly changes her appearance and becomes affected during the conversation. Meetings of young people continue. Alexey decides to marry a peasant woman, which he informs her about in a letter. Arriving to explain himself to the Muromskys, he meets Lisa-Akulina reading his letter.
This is how she is - Pushkin’s “Young Lady-Peasant”. The content, as we see, is not complicated by additional meanings; everything clearly outlines the ordinary life of nobles and peasants.
Let's take a closer look at the main characters of the story. Liza Muromskaya is a seventeen-year-old girl, the daughter of a landowner. It should be said that A.S. Pushkin was the first to talk about the daughters of landowners. This is Tatyana Larina in Eugene Onegin. These girls are pure, dreamy, they are brought up on French novels. At the same time, Lisa is capable of truly loving, surrendering to this feeling, she does not know how to lie or dissemble - all her feelings are sincere. It should be said that she is also very smart. The rules of decency that existed in the 19th century did not allow a girl to meet a young man without an announcement and introduction, which is why Lisa comes up with a comedy involving cross-dressing.
The next hero of the story “The Young Lady-Peasant Woman”, reviews of which are always positive, is Alexey Berestov. Initially, the reader learns about him from the lips of Nastya, Lisa’s maid. She imagines him as an unapproachable heartthrob, shrouded in various secrets. In fact, the young man is a sincere young man, capable of truly loving, sincere, not setting class boundaries.
The fathers of young people, on the one hand, are very similar (widowers who have devoted their entire lives to raising their only children, hospitable, ambitious), but on the other hand, they are completely different. This affects the way the economy is run. If Berestov is enterprising in economic activity, successful and prosperous, then Muromsky’s passion for English manners did not bring him to prosperity: even his estate was mortgaged. However, having made peace, the landowners realize that they are able to create a very influential union through the marriage of children.
“The Peasant Young Lady” is a story that parodies the “cross-cutting” plots known to many. First of all, this is a theme of two warring families, going back to the work of Shakespeare. However, Pushkin rethought the plot, and his story ends with reconciliation and a happy union of young people.
There is another cross-cutting theme: “The Young Peasant Lady” also raises social problems. Karamzin wrote about such unequal love in his famous “Poor Liza.” However, Pushkin again plays with the plot, and his narrative does not end with a tragic break based on differences in the origins of the heroes. The title and epigraph to the story are not accidental: they indicate that apart from the dress, village and landowner, nothing else distinguishes Liza from Akulina - the social line has been erased.
The genre of “The Young Lady-Peasant Woman” is a story. Let's prove it. There are two main characters, united by one storyline, and their characters remain unchanged throughout the work (unlike, for example, a novel).
Something else is important here: Pushkin contrasts real life with the romantic attitude towards it, glorified by previous authors. He tries to convey to the reader the idea of the unpredictability of life, the impossibility of driving it into a certain framework. Hence the sometimes open ridicule of the features of romantic works.
A striking example of this is the young Berestov - a mysterious, secluded lifestyle, corresponding with a stranger from Moscow. However, he turns out to be an ardent, sincere young man, with a tan appearing on his face (this ironic detail emphasizes the falsity of the reader’s initial judgments).
As for the use of means of expression, Pushkin is very stingy here. In order to achieve simplicity of prose and not overload the narrative with unnecessary details, the author does not use poetic embellishments. He himself spoke about this: “Prose should not sing, but speak.”
Pushkin abandoned exclamations, lush metaphors, passionate comparisons, as was the case, for example, with Karamzin. That is why the work “The Young Lady-Peasant Woman,” as well as the entire cycle of “Belkin’s Tales,” is distinguished by the stinginess of artistic means. Getting to know the characters occurs without unnecessary preludes - the reader is immediately immersed in the story.
The writer places the main emphasis not on a detailed description of the appearance and psychological portrait of the characters, but on their actions, which characterize the character much better than simple words.
“The Peasant Young Lady” ends “Belkin’s Tale” not by chance. It is a kind of point in all these plots, complementing them, instilling in the reader hope for the best.
Unlike “The Station Agent,” parents and children are reunited, and fate does not interfere with the course of life - Lisa creates it herself, dressing up and playing a role.
Lesson summary on the topic: “Everything about it was easy and simple”
(The image of Lisa Muromskaya in the story “The Young Lady-Peasant”)
Compiled by a teacher of Russian language and literature
Lesson objectives:
Using the example of the image of the main character of the story “The Peasant Young Lady” by Liza Muromskaya, to identify the “character features” and “originality” of provincial (district) young ladies;
Pay special attention to Lisa’s naturalness, simplicity and spiritual purity;
Develop skills in comparative analysis, working with keywords, annotated reading;
Nurturing an original personality focused on naturalness and simplicity in communication.
Literature
1. , Sheshunova “Belkin’s Stories” // Moscow, “Higher School”, 1989.
2. Reznik young ladies at Pushkin // “Literature at school”, 2006, No. 3, pp. 16-19.
3. “Everything about her was easy and simple.” "The young lady-peasants-
ka" // "Literature at school", 2006, No. 10, pp. 33-34.
4. ,Petrovich. Lesson planning. 7th grade // Saratov, 2013.
During the classes:
1. Org. moment
2. Teacher's opening remarks:
Bare haired head
The smile of azure eyes,
And a wayward trick
And a whim of intricate pranks;
Everything about her is so young, so alive,
So unlike others
So poetically playful
Like this funny verse of mine.
What heroine did he write about with such tenderness?
About Lisa Muromskaya.
Indeed, we are talking about the provincial young lady Liza Muromskaya - the main character of the story “The Young Lady-Peasant Woman”.
3. Goal setting (students try to formulate the goals of the lesson)
4. Work on the topic of the lesson.
Teacher's word: - Provincial young ladies who grew up in the lap of nature, in the world of books, are Pushkin's favorite heroines. They are practically unaffected by secular conventions. They are shaped not so much by society as by nature, not so much by the simple stories of mothers and aunts, but by books.
What attracts Pushkin to the district young ladies?
4.1 “Character features” and “originality” of county young ladies.- expressive reading of a passage about county young ladies (p. 62);
Working with key words (in this passage, students must find key words with which the author characterizes county young ladies and society women)
county ladies secular women
raised in the fresh air, absent-minded beauties;
in the shade of their garden apple trees; monotonous souls;
privacy; light skill smoothes
Liberty; character.
character trait;
originality(vocabulary work, see Appendix 2)
What do you think is the main difference between county young ladies and secular women? Who is more sympathetic to the author and why do you think?
secular ladies are not in favor of the latter,
thereby emphasizing the soullessness of secular
beauties
Of course, the author’s slight irony is felt in the description of the provincial young ladies, but what he values in provincial girls is, first of all, “originality” and “character features.” The character of the provincial young lady Liza Muromskaya, the main character of the story “The Young Lady - Peasant Woman,” is peculiar.
4.2 Characteristics of Lisa Muromskaya.
How do we see Lisa at the beginning of the story?
(Students, using the table (see Appendix 1), which they compiled at home, characterize this heroine).
During the course of the story, Lisa changes clothes several times. Remember in what image the heroine appears before Alexei Berestov?
In the role of a peasant woman.
Why do you think Lisa chooses this particular image to meet a young man?
She doesn't want to be recognized, and at the same time she
an image is needed in which she will feel
present yourself at ease and naturally.
She tries on a peasant woman's outfit because she
Russian peasant life is close, no matter how
her father built her life according to the English model.
Find a passage in the text that describes Lisa’s preparation for a date, comment on the heroine’s behavior and state of mind.
“Lisa tried on a new thing and confessed to
mirror, that she has never been so sweet to herself
didn’t seem like it.”
Indeed, the “theatrical” peasant outfit is more in keeping with Lisa’s soul than the young lady’s outfit. Lisa, albeit unconsciously, strives to live the life of the people. It is no coincidence that Nastya, and not Miss Jackson, becomes her closest friend, and it is also no coincidence that in her new outfit she appears against the backdrop of rural nature. She does not appear in such clothes at a noble estate. In the lap of nature she meets Alexei.
Watching an excerpt from the feature film “The Peasant Young Lady”), which describes Lisa’s first date with Alexei;
Conversation on questions:
How can you characterize Lisa-Akulina’s behavior? Why do you think Akulina attracted Alexey’s attention? Find evidence in the text.
“All this, of course, was said on the cross -
Tian dialect; but thoughts and feelings,
extraordinary in a simple girl,
hit him."
“They separated, and Alexey, remaining
alone, could not understand how
simple village girl on two dates
"Niya managed to take true power over him"
“The fact is that Alexey,..., was kind
and an ardent guy and had a pure heart,
capable of feeling pleasure
innocence"
Naturalness and ease of communication attract Alexey to Akulin. The affectation belongs to another heroine, Betsy, the image of a society woman with all the attributes of unnaturalness.
4.4 Characteristics of Betsy.
(Using the table, students talk about the appearance, manners and behavior of Lisa-Betsy).
How did Alexey perceive the daughter of Muromsky's neighbor Betsy?
“She’s a freak in front of you.”
“...began to describe her mistress like this
funny words that made Lisa laugh
Who do you think is more in Lisa, Betsy or Akulina? Why?
What do you think is the meaning of the title?
The peasant young lady is a kind of Pushkin’s ideal. In a young lady, education and love of books are valued; in a peasant woman, naturalness, ease of communication, ease, and spiritual purity are valued. It is the purity of Lisa’s soul that attracts Alexei and touches the author.
How does the story end? (Retelling).
5. Lesson conclusion:
- “The Young Lady - Peasant Woman” is a light story, built on a realistic everyday basis with a simple plot and a happy ending. Some critics, Pushkin's contemporaries, considered the story frivolous. But they did not notice the positive, creative beginning in it.
The author tried to present to the reader the image of a provincial girl Lisa, “raised in the fresh air, in the shade of her garden apple trees,” who captivates primarily with her simplicity, naturalness, unspoiled by light, and purity of soul.
The purity of the soul of the heroines attracts the heroes of other works and influences their actions. An example is the image of Masha Troekurova from the novel “Dubrovsky”. But more on this in the next lessons.
6. Reflection
7. Homework: preparation for an essay on the topic “Characteristics of Lisa of Muromskaya.”
Annex 1
Lisa, Akulina, Betsy
Appearance | 17 years old, black eyes enlivened her dark and very pleasant face | Lisa tried on a new thing and admitted in front of the mirror that she had never seemed so cute to herself | 1.Liza, his dark-skinned Liza, was whitened up to her ears, with fake curls, the waist was cinched like the letter X; 2.Funny and brilliant young lady. 3. Little white fingers were shaking |
Behavior, | 1. Her playfulness and minute-by-minute pranks delighted her father and drove Madame Jackson, the flighty one, into despair; 2. She tried to walk across the yard barefoot, but the turf pricked her tender feet, and the sand and pebbles seemed unbearable to her. | She repeated her role, bowed low as she walked and then shook her head several times. | Lisa was cutesy |
“And I can speak the local language perfectly well” | 1. She spoke a peasant dialect. 2. All this was said in the peasant dialect; but thoughts and feelings, unusual in a simple girl, struck Alexey | spoke through clenched teeth, in a sing-song voice, and only in French |
|
Relation to Alexey | 1. I was the busiest with him. 2. According to Nastya, amazingly good, handsome, slender, tall, blush all over his cheek, a spoiler, a wonderful gentleman, kind and cheerful, loves to chase girls. 3. “I wish I could see him!” 4. “He might think I’m chasing him.” 5. She repeated in her thoughts all the circumstances of the morning meeting, and her conscience began to torment her (p. 68) | 1. ...pretending to be half-scared, half-shy. 2. Lisa jumped away from him and suddenly assumed a stern and cold look; she said with importance. 3. ...answered Lisa, trying to free her fingers from Alekseeva’s hand. 4. I couldn’t understand how a simple village girl of two Denmark managed to take true power over him. 5. And my Alexey was already madly in love, and Lisa was no more indifferent, although more silent than him. Both of them were happy in the present and thought little about the future. 6. ... her pride was secretly incited by the dark, romantic hope of finally seeing the Tugilov landowner at the feet of the daughter of the Priluchinsky blacksmith | Lisa was delighted with the success of her invention |
Appendix 2
Vocabulary work
Original - original, not like others,
going his own way, independent
in its development.
(“Dictionary of the Russian language”)
Original - existing by itself or from itself, by its own
by forces; independent in a person
his personality and properties, in contrast
everything imitative.
(“Explanatory Dictionary of the Living Great Russian Language”
A person’s character is not determined at birth; it develops on the basis of natural data under the influence of the environment and society, manifesting itself especially clearly at turning points in life.
Pushkin does not give evaluative definitions to the characters of Berestov and Muromsky, Alexei and Liza.
A confidently outlined life story of the heroes, laconic lines of portraits, brief and succinct speech characteristics, including improperly direct speech, the very behavior of the heroes in the current situation - all these are artistic means of creating characters in the story.
In fact, the time limits of the action of “The Young Lady-Peasant Woman” are defined. This is two to three months, starting from Nastya’s visit to the chef’s wife and to the recognition scene. However, the boundaries are pushed back when we restore the biographies of Muromsky and Berestov and, looking ahead, we see how two estates, two families merge into one - one rich, the other noble, and old men babysitting their grandchildren.
in his youth he served in the guard. Under Catherine II, service in the guard was a privilege for wealthy noble families. The guards have always been the Empress's support. It is no coincidence that Berestov retired at the beginning of 1797, when, after the death of Catherine II, Paul I, who imposed Prussian orders in Russia, came to the throne. A young, ardent guardsman, Berestov, like most Russian people, does not want to obey Paul I, and his protest against the new order is expressed by his resignation. Berestov was about 30 years old at that time, that is, he was born around 1767.
In 1801, Alexander I became emperor. Serfdom seemed unshakable. The nobility enjoyed all the privileges. The nobles understood that manufactories and factories were a profitable business, so the number of industrial enterprises in Russia increased significantly. Having become the sole owner of the estate, Berestov was not satisfied with his parents’ house, but decided to build his own, according to his own plan (he had something to compare with - he served in St. Petersburg!). The money invested in the construction of the factory was quickly returned, and income tripled. Serfs did not have to be paid like hired workers. Berestov became one of the richest landowners in the province, sent his son, who had grown up by that time, to study in the capitals, and then to the university (the University of Göttingen was the most popular among Russian students), he himself received guests, took care of horses and dogs, did not read anything, except for the Senate Gazette, and recorded the expenses himself.
Out of affection for everything homemade, Russian - or out of economy bordering on stinginess, he wore a frock coat made of homemade cloth, but on weekdays he wore a corduroy jacket. It seemed that he was a hospitable host, but for the treat the neighbors paid him with loud praises about his household management, agreed that he was the smartest person, did not interfere with his narcissism, feigned humility, and then went to tell Muromsky about Berestov and were amused by the rage of Grigory Ivanovich.
Of course, Berestov was a good host. Russian people said about such people: “The arrogance is noble, but the mind is peasant.” (V.I. Dal). He knew the value of work and time, he knew the value of money, and therefore could not understand Muromsky’s extravagance. Self-confidence allowed Ivan Petrovich to feel at home everywhere. He was used to people around him listening to him, and he didn’t think much about people’s moods.
In the first place in Berestov’s value chain was wealth and property. He does not miss an opportunity to emphasize his wealth: to travel three miles, he harnesses six horses; stubborn Alexei, who does not want to marry Liza Muromskaya, is threatened with deprivation of his inheritance. He looks at his son’s marriage as a profitable deal: “Grigory Ivanovich was a close relative of Count Pronsky, a noble and strong man; The count could be very useful to Alexei...”
From the image of Berestov there are only a few steps to the image of Kirila Petrovich Troekurov. The main, most prominent, prominent character trait of both is self-love.
If we conditionally divide the story, like a play, into five acts, then in the first two acts we see supposedly a pronounced conflict between Berestov and Muromsky.
was a close relative of Count Pronsky and had a significant fortune. It is possible that he was born in Moscow and, if he visited his estate as a child, he visited it extremely rarely. It was precisely these people, who did not know the value of labor and the time spent on work, who had no idea how bread would be born, who carelessly squandered their fortune in the capitals, lost at cards, and held balls (remember Eugene Onegin’s father). Muromsky served, but probably not for long (“the old men remembered the old times and the anecdotes of their service”). Perhaps he traveled abroad, where he became infected with Anglomania, that is, he became a passionate supporter of everything English.
In Moscow, his daughter was born and grew up. After the death of his wife, Muromsky left with his daughter to his village. His “pranks” - the English garden, the costumes of English jockeys on grooms, the maintenance of “Madame Miss Jackson”, who “received ... two thousand rubles and died of boredom in this barbaric Russia,” all this turned into new debts, moreover, the peasants of the estate pledged by Grigory Ivanovich to the Guardian Council had to pay interest on the amount that the landowner had successfully spent. The peasants went bankrupt, and the neighbors admired how Muromsky loved and pampered his daughter, whom he left without an inheritance, in fact with only debts (“... all her mother’s diamonds, not yet pawned, shone on her fingers, neck and ears” ). Moreover, he never tried to penetrate her inner world. He interpreted all actions that were incomprehensible to him in a way convenient for himself: after Lisa’s first early walk, he talks about “the principles of human longevity, gleaned from English magazines”; after dressing Lisa for dinner, he asks her a question and, without waiting for an answer, advises his daughter to use whitewash.
Just as Berestov does not see and does not understand his son, so Muromsky sees in Liza only the prankster and minx Betsy. But if Berestov is like Krylov’s hardworking Ant, then his neighbor glides through life like a Moth. This slippage, the habit of avoiding serious solutions to problems, carelessness and irresponsibility are also manifested in his speech. (“Are you crazy?” the father objected, “how long ago have you become so shy, or do you have a hereditary hatred of them, like a novel heroine?”)
We see the same thoughts of Muromsky about Lisa’s marriage: “...after the death of Ivan Petrovich, all his estate will pass into the hands of Alexei Ivanovich; that in this case Alexey Ivanovich will be one of the richest landowners of that province and that there is no reason for him not to marry Liza.” Muromsky's thought about of death neighbor contributed to the transformation of acquaintance into friendship!
Just as easily as he approaches financial matters, Muromsky treats matters of the heart: “... if Alexey is with me every day, then Betsy will have to fall in love with him. This is par for the course. Time will sort everything out." Grigory Ivanovich wants to get rid of his daughter as quickly as possible, because the heaviest burden is the burden of responsibility.
Pushkin himself, thanks to the narrator - Belkin, does not give a direct assessment of the life of an "educated European", only once with sober eyes - the eyes of Alexei - we see Muromsky simply as a "narcissistic Anglomaniac", and Berestov as a "calculating landowner".
So, the life positions of Berestov and Muromsky are built on the same platform - on pride. It was this, and not the “timidity of the short filly,” that became the reason for the cessation of the “ancient and deeply rooted” enmity. Was there any hostility? It could not be ancient, Muromsky did not live in Priluchin for so long, and the neighbors portrayed its depth, zealous in conveying the words of one landowner to another.
The author parodies the theme of the enmity of fathers, popular thanks to W. Shakespeare, which is why he uses so many words suddenly, unexpectedly, hatred, enemy and the promising “suddenly found himself within pistol shot distance.” But the enmity is inflated by the neighbors and bursts like a soap bubble at the very first meeting of the two landowners.
It should be noted that in “Dubrovsky” the conflict is already real, it is based on the independence of one neighbor and the lust for power of another neighbor.
Berestov and Muromsky are two typical representatives of the nobility of the early 19th century, their images will be continued in the heroes of I. S. Turgenev, L. N. Tolstoy, I. A. Goncharov and I. A. Bunin.
In the 19th century, the relative speed of the passage of time intensified even more, and long before I. S. Turgenev, A. S. Pushkin outlined the theme of the conflict between fathers and children. Ivan Petrovich Berestov, reading the Senate Gazette on his estate, has no idea what the life of a university student is filled with. The father is a monolithic figure, frozen in his habits. In Alexey we can distinguish and highlight several subpersonalities, each of which lives its own life, as it were, at the same time they form a single whole.
Alexey the Hussar. His father does not allow him to serve in the military, but Alexey grows a mustache just in case. “Alexey was really great. It would really be a pity if his slender figure was never pulled together by a military uniform and if, instead of showing off on a horse, he spent his youth bent over office papers.”
Alexey is a mysterious melancholic, brought new fashion from the capitals to the provinces. “He was the first to appear before them, gloomy and disappointed, the first to tell them about lost joys and about his faded youth; Moreover, he wore a black ring with the image of a death’s head.”
How similar:
Lensky was sincere in his songs. Alexey chose this role for himself only when it seemed necessary to him: “He decided that cold absent-mindedness was, in any case, the most decent thing.”
Alexey the master.“Amazingly good,” Nastya says about him, “handsome, one might say. Slender, tall, blush all over his cheek...” With peasant women and courtyard girls, he is “used to not standing on ceremony” and behaves not like a gentleman, but like a spoiled barchuk.
Alexey-son knows well the disposition of his father, who if he “gets into his head, then, in the words of Taras Skotinin, you can’t knock him out with a nail,” therefore, in a conversation with his father, he takes the pose of a respectful son and prefers to look obedient to his father’s will until he They don’t take you alive.
Alexey the Göttingener. In Germany, at the University of Göttingen, the flower of the Russian nobility was studying at that time. There they talked about philosophy, about freedom and enlightenment of the people, read progressive literature, and thought about duty and honor. Alexey, starting to teach Akulina to read and write, was surprised: “Yes, our learning proceeds faster than according to the Lancastrian system.” The Bell-Lancaster system of peer education, when older successful students (monitors), under the guidance of a teacher, taught classes to other students, became known in Russia since 1818.
This system was considered progressive, and it was used by the Decembrists to spread literacy among soldiers. Alexei's acquaintance with this system speaks of his connection with the advanced, educated nobility.
For the third lesson, Alexey brings Akulina “Natalia, the Boyar’s Daughter” by N. M. Karamzin. This is a historical idyll in a sentimental-romantic spirit - a story about two lovers, whose lives are inextricably linked with the fate of the state. The books of N. M. Karamzin were hardly kept in the library of old Berestov. Karamzin was an entire era of Russian literature, an idol of young poets. The idea of his work was “to elevate the rank of man in our fatherland” (“Once upon a time there was a good king”).
Alexey (the main character of “Natalia, the Boyar’s Daughter” is also Alexey) and Lisa read about the movements of the human heart. Lisa may have already been familiar with the book and thought a lot about it, because her comments “truly” amaze Alexey.
The subtext of the story is the connection between the relationship between Alexei and Akulina with the plot of “Poor Liza” by Karamzin, where the nobleman Erast seduces the pure-hearted peasant woman Liza. At some moments, Erast strives to go beyond the feudal morality of the society around him. Alexey finds satisfaction in the fact that his relationship with Akulina does not look like seduction, that he has never broken his word, that he is engaged in educating his beloved: “Akulina apparently got used to the best way of speaking, and her mind noticeably developed and formed.”
Alexey is still free to take on any of his roles. Not a single mask had yet grown on him, he “...was a kind and ardent fellow and had a pure heart, capable of feeling the pleasures of innocence.”
Alexey appears before us sincerely and amazed after his father’s words about marriage. The state of shock passes, and during several subsequent remarks, Alexey begins to choose a role, an option of behavior. He has not yet completely left the image of an obedient son and cannot motivate his refusal, but in his room, reflecting “on the limits of parental power,” he makes an attempt to understand his feelings and decides to explain himself to Muromsky and marry a peasant woman. And the feeling of satisfaction brings him not so much the idea as the very fact of making a decision. But the decision to marry a peasant woman is not subject to a life test, since the peasant woman turns out to be imaginary. The conflict with the father also loses its basis.
Why does Pushkin the psychologist give us a string of Alexei’s subpersonalities? Alexey is a hussar, a fashionable melancholic, a young gentleman, an obedient son, a kind fellow, an educated Göttingener. To this list we can also add the potentially present image of an official, a person in the civil service, about whom we know that he will not “jump headlong.”
Aleksey potentially contains the beginnings of all the paths that the Russian nobility will follow in the future. Pushkin leaves the ending of the story open: we do not know which road Alexey will take. We can safely say that “The Peasant Young Lady” is in fact a story filled with epoch-making life content. By placing this story at the end of the entire cycle of “Belkin’s Tales,” Pushkin seems to be asking a question to Russian society: where will we go? What will we be like? What kind of life will we make?
Few contemporaries understood the depth of the story, and the answer to Pushkin’s questions was the history of Russia.
has always attracted researchers. Attention was paid to the number of masks being replaced: Lisa, Betsy, Akulina.
A masquerade is a place where everyone can show their essence without fear of being recognized. People participate in masquerade in order to have the opportunity to be themselves, if the circumstances of everyday life do not provide the opportunity to realize their human essence.
Throughout the story, Alexey does not change his appearance, but appears to us in different guises. Lisa, changing masks, does not betray the main idea - the idea of \u200b\u200btrusting and tender - female - love.
Lisa - noblewoman, but there is no aristocratic arrogance in her, as in Marya Kirilovna Troekurova. She talks with Nastya with pleasure, enters into the affairs and concerns of the village girls, knows how to speak the local dialect and does not consider it shameful for herself to wear a thick shirt and a blue Chinese sundress.
Lisa is an orphan. Her mother will not help her with advice. The father, having hired Miss Jackson, believes that he did everything for her upbringing. Miss Jackson, in turn, does not bother her with her instructions. Thus, her life, like a river, flows whimsically and freely, not driven into the granite banks of secular conventions. She is a local young lady, but she does not blindly follow the fashion of metropolitan magazines. The county news was too simple and vain; they could not occupy all of Lisa’s leisure time.
And Lisa read quite thoughtfully.
Among N. M. Karamzin’s stories, “Poor Liza” was the most popular. Pushkin's Liza knows this story quite well and completely agrees with the idea that “even peasant women know how to love.” Thinking about deceived love and the melodramatic death of poor Liza, Liza Muromskaya wants to establish justice, “to see the Tugilov landowner at the feet of the daughter of the Priluchinsky blacksmith.” It was important that a woman triumph over a man, it was important that unshakable class prejudices crumble to dust before love. “...The ways to please a man depend on fashion, on momentary opinion, but in women they are based on feelings and nature, which are eternal,” wrote A. S. Pushkin in “A Novel in Letters.”
Perhaps the issue of fidelity in love is especially painful for a man. As a girl in the capital, Lisa saw a lot that she was able to comprehend when left alone with herself in Priluchina.
For Lisa, Alexei’s loyalty to the peasant woman Akulina was very significant. She was smart, she saw life as real, without powder and languid passion, and she wanted a man for her husband who would love her and remain faithful to her.
The first change of clothes was caused by natural female curiosity. Dressing up is a favorite technique in the comedy tradition. But curiosity is also the main feature of a provincial girl. The second change of clothes was necessary to maintain the existing relationship. Thoughts about the morality of her meetings with Alexey worried her, but not for long: youth and love triumphed, Alexey and Akulina were quite happy that day.
Nowadays, at the beginning of the 21st century, the ability to be happy is very rare. The reason for this is increased anxiety, uncertainty about the future, resulting in a constant state of aggression. Aggression is incompatible with the state of happiness, that is, acceptance of the world as it is, awareness of oneself as a part of this world. Happiness is integrity, harmony with oneself and the world. Few people know this condition now. It was available to Lisa and Alexey.
In conversations with Alexei, Lisa honestly tries to play the role of a peasant woman. She speaks the local dialect, but uses expressions that were characteristic only of the speech of people of the noble class, sometimes she speaks as, in the opinion of N.M. Karamzin, a peasant woman should speak. “I don’t need an oath,” the imaginary Akulina repeats after poor Liza, Karamzin’s heroine. And just like Karamzin’s Liza, Akulina complains about her illiteracy.
Contemporaries of A. S. Pushkin, who knew well the then few works of Russian literature, perfectly heard the author’s hidden ironic polemic with sentimentalists regarding how the people should be portrayed.
N. M. Karamzin’s Liza says to Erast: “Oh, why can’t I read or write! You would notify me about everything that happens to you, and I would write to you about my tears!”
A. S. Pushkin’s Lisa is real and concrete: “However,” she said with a sigh, “even though the young lady may be funny, I’m still an illiterate fool in front of her.”
In the cycle of Belkin's Tales, A. S. Pushkin more than once addresses the issue of women's right to an independent choice of life path. In the time of Pushkin, there was no opportunity for a woman to get an education; only men were accepted into universities, although women had already proven that they were not to occupy their minds. Princess E.R. Dashkova, Catherine II and even Pushkin’s heroine Liza amazes the Göttingener Alexei with the subtlety of her remarks!
Men dominated in literature and art. The appearance of a woman in public office was virtually impossible, and being an entrepreneur... It was unthinkable!
The young lady had only one path, approved by society: to get married and become a mother.
The wedding of Lisa and Alexei, decided in advance by their fathers, turned out to be desirable for the children - a rare coincidence.
In “The Peasant Young Lady”, in the subtle parody, in the fascinating masquerade, in the dynamics of the scenes, plots are hidden that could become the beginning of tragedies. If the enmity of the fathers had been ineradicable, the fathers would not have made peace, a story would have arisen based on the great tragedy of W. Shakespeare, similar in plot to “Dubrovsky”. If young people did not have strong feelings for each other and their fathers would marry them by force, then plots similar to “Anna Karenina” by L.N. Tolstoy would arise. If Alexey turned out to be a seducer like Erast, and Akulina really was a peasant woman, then collisions similar to L. N. Tolstoy’s “Resurrection” would arise.
A. S. Pushkin masterfully completes the story, but the happy ending does not remove the question posed by N. M. Karamzin. From now on—and forever—Russian writers write about the Russian woman, whose soul is based on love.
Another Pushkin Liza (“Novel in Letters”) writes to her friend about a mutual friend: “Let him embroider new patterns on the old canvas and present to us in a small frame a picture of the world and the people he knows so well.” Alexander Sergeevich Pushkin in “The Young Peasant Lady” embroidered new patterns on the old canvas and in a small frame presented a picture of the great world and the people whom he knew and loved so well.
LISA MUROMSKAYA
LISA MUROMSKAYA(Betsy, Akulina) is the seventeen-year-old daughter of the Russian Anglomaniac gentleman Grigory Ivanovich, who has squandered himself and lives far from the capitals on the Priluchino estate. By creating the image of Tatyana Larina, Pushkin introduced the type of county young lady into Russian literature. Liza Muromskaya belongs to this type. She also draws knowledge about social life (and about life in general) from books, but her feelings are fresh, her experiences are sharp, and her character is clear and strong.
Her father calls her Betsy; Madame Miss Jackson is assigned to her (a play on the French-English tautology); but she feels like the Russian Liza of Muromskaya, just as her future lover, the son of the emphatically Russian landowner Berestov, Alexey (see article), feels like a character in the latest English literature. At the same time, they are built into the frame of a “Shakespearean” plot - the parents of young people are at odds, like the families of Romeo and Juliet. This means that Liza is separated in advance from Alexei, who has just arrived at his father’s estate, by two “borders”. The rules of decency do not allow meeting a stranger; the conflict between the fathers excludes the possibility of a “legal” meeting. The game helps; Having learned that her maid Nastya easily goes to Berestovsky Tugilovo (“the gentlemen are in a quarrel, and the servants treat each other”), Liza Muromskaya immediately comes up with a move that allows her to escape from the confines of the “Shakespearean” plot into the space of the pastoral plot. The fact that this “move,” in turn, repeats the traditional comedic dressing up of a young lady as a peasant woman (the closest source is Marivaux’s comedy “The Game of Love and Chance” and Ms. Montolier’s story “A Lesson of Love”, tailored according to its plot pattern), does not matter changes; Pushkin embroiders his own “patterns” on someone else’s “canvas” - just as life itself every time embroiders new “patterns” of human feelings on the canvas of familiar circumstances.
Disguised as a peasant woman, Lisa appears in the Tugilov grove, where a young gentleman is walking with his dog; her natural darkness is akin to a common people's tan; Alexey believes that in front of him is Akulina, the daughter of “Vasily the Blacksmith.” (The name Akulina is not only parodically contrasted with the home nickname “Betsy,” but also alludes to the mysterious “Akulina Petrovna Kurochkina,” to whom Alexey writes “romantic” letters.) Liza easily copes with the role (she even forces Berestov to “teach” her to read and write), for with all the conventionality, all the theatricality of dressing up, this role is akin to her. The difference between a Russian peasant woman and a Russian district young lady is purely class; both are nourished by the juices of national life. The role of the “disguised noblewoman” itself is of European origin (see above for sources). But it is not important; It is no accident that Pushkin disguises “foreign” sources, pointing the reader to the closest Russian parallels. The very name of the heroine suggests a “peasant” twist in the plot: “even peasant women know how to love” (N. M. Karamzin. “Poor Liza”). This is not enough; the writer forces the imaginary peasant woman Liza to read to Alexey another story by N. M. Karamzin - “Natalya, the Boyar’s Daughter”; he chuckles quietly at the ambiguity that arises.
But it’s not for nothing that the story is preceded by an epigraph from the poem “Darling” by I. F. Bogdanovich: “You, Darling, are good in all your outfits.” Circumstances (the parents of the young people suddenly reconciled; the elder Berestov and his son are visiting Priluchino; Alexey must not recognize Liza of Muromskaya - otherwise the intrigue will self-destruct) force Liza to play a completely different role. The young lady, who until now played the role of a lively Russian peasant woman, takes on a “foreign” appearance in the style of the French 18th century. (the darkness is hidden by whitewash; the curls are fluffed up like the wig of Louis XIV, the sleeves are like m-me de Pompadour’s hoops). Her goal is to remain unrecognized and not to please Alexei, and this goal has been fully achieved. However, the author (and the reader!) still likes it; any disguises, any play masks only highlight the unchanging beauty of her soul. Russian soul, simple, open and strong.
The plot quickly moves towards a happy ending: the parents lead the matter towards the wedding; frightened Alexey is ready to ignore the class difference and marry a “peasant woman.” In the last scene, he bursts into the room of the “young lady” Lisa Muromskaya to explain to her why he cannot and should not become her husband. He bursts in and finds “his” Akulina, “dressed up” in a noble dress and reading his own letter. The boundaries of the game and life shift, everything gets confused, the situation in the story “Blizzard” is repeated (see article): the hero must announce to the heroine the reasons that make their marriage impossible - and he finds himself at the feet of his bride. (It is no coincidence that both stories were told to Belkin by “the girl K.I.T.”)
“The travestied situation (a young lady dressed as a peasant) is travestied a second time: Alexey behaves with Akulina as a “young lady,” and she answers him with a French phrase. All this is almost a parody - and at the same time serious, because the socially familiar language of genuine feelings speaks here.” (V. E. Watsuro). Epigraph prefixed to the entire cycle (“<…>Mitrofan for me") and at first associated only with the image of the simple-minded narrator Ivan Petrovich Belkin, finally extends to all the characters in the “Boldino fables,” excluding Silvio from “The Shot.”
Literature:
Altman M. S.“The young lady is a peasant woman”: Pushkin and Karamzin // Slavia. 1931. Roc. 10.
Vatsuro V. E. Belkin's stories // Vatsuro V. E.
Literature (to the section “Tales of the late Ivan Petrovich Belkin”):
Berkovsky N. Ya. About “Belkin’s stories”: (Pushkin of the 30s and issues of nationality and realism) // Berkovsky N. Ya. Articles about literature. M., 1962.
Vatsuro V. E."Belkin's Tales" // Vatsuro V. E. Commentator's notes. St. Petersburg, 1994.
Vinogradov V.V. Pushkin's style. M., 1941.
Gippius V.V. Belkin's stories // Gippius V.V. From Pushkin to Blok. M.; L., 1966.
Petrunina N. N. Pushkin's prose: Paths of evolution / Ed. D. S. Likhacheva. L., 1987.
Khalizev V. E., Sheshunova S. V. Literary reminiscences in “Belkin’s Tales” // Boldin Readings. Gorky, 1985.
Schmid V., Chudakov A. P. Prose and poetry in “Belkin’s Tales” // Izvestia / USSR Academy of Sciences. Ser. lit. and language 1989. No. 4.
Schmid V. Prose and poetry in "Belkin's Tales" // Schmid V. Prose as poetry: Art. about storytelling in Russian. lit. St. Petersburg, 1994.
Yakubovich D. P. Reminiscences from Walter Scott in Belkin's Tales // Pushkin and his contemporaries. L., 1928. Issue. 37.
Schmid W. Prosa in poetischer Lekt?re: Die Erz?hlungen Belkins. Munich, 1991.
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