Main characters: Belkin's Tales. Characteristics of the main characters
It is strange that the Jester turns out to be the hero who overcomes the difficult path, isn't it? For us today, the hero is a creature of a completely different kind. The hero is brave, strong, he never makes mistakes, thinks faster than others and is surrounded by the aura of a constant winner. But if we turn to history, it turns out that such a victorious hero is a relatively late image, even if his first examples, like Gilgamesh, Hercules, Orion or Perseus, are already three or four thousand years old. All these heroes are men, they arose in the era of early patriarchy and are very different from their predecessors, also known to us. Their images are preserved in the oral tradition, in fairy tales and legends. In them, the hero, at least at the beginning, is not distinguished by any special courage, strength or quick wits. On the contrary, he is always the youngest, the most inexperienced, the most stupid. However, oddly enough, it is he, this "fool", who manages to accomplish the feat. The script for all these legends is the same. Most often, it refers to a once flourishing kingdom-state on which the black shadow of a threat suddenly fell. The king rushes in search of a hero who is ready to risk his life and save the state. Usually the king himself has three sons, and the two elders are the first to take up the matter - sometimes in good faith, sometimes not very much, but always unsuccessfully. When the youngest sets off, everyone laughs at him, believing that his idea is obviously doomed to failure. Yes, he himself knows that so far he has not distinguished himself in any way, neither in intelligence, nor in strength. And yet he gets down to business. And after many trials, meetings and miraculous events, he gets an inaccessible treasure, brings it home and saves the state from destruction. The king, on the other hand, expects victory from anyone, first of all, of course, from his eldest sons, who are almost as smart and courageous as he himself once was, but not from a foolish younger one.
This story also has, of course, “feminine” versions, where the youngest daughter becomes the heroine, and not her older (often evil) sisters. Think, for example, Cinderella, Psyche or the youngest daughter of King Lear.
However, this is precisely the salt of most fairy tales of all times and peoples. They teach that the solution to the biggest problem ends up being found where you least expect it. Here is how Marie-Louise von Franz explains it: “The fool,” she writes, “symbolizes the purity and integrity of the individual. This is more important than intelligence, self-discipline and all the rest. It is thanks to these qualities that he is so lucky in all fairy tales. That is why in the story that the Tarot tells us, the hero is the Jester. However, it by no means follows from this that it is about the jester's journey. A really foolish jester sets off, but very soon he grows up and gets smarter. True, by the end of the story he will again become a jester, but this is already a jester-sage, whose simplicity and modesty are not at all the same as at the beginning. Like Parsifal, who appeared in the light in the dress of a jester, and at the end of the legend, thanks to his purity, found the Holy Grail, our Jester at the beginning of the story appears to us in the guise of a simple-minded fool, but in the messenger he acquires the highest simplicity of the soul, that is, wisdom.
The jester on the map is accompanied by a dog, symbolizing natural instincts that help a person and protect him on a difficult path. Unaware of the danger, he walks along the very edge of the abyss, but we know that he will not break. The dog will warn him with his bark - or, more likely, divert him in another direction, and the Fool will never know that he was on the verge of death. The snowy peaks in the background represent the heights that the Jester will have to conquer on his way. These are mountains, on one of which a hermit lives, personifying the goal of the first part of the path according to unambiguous maps. The goal is knowledge, more precisely, self-knowledge. Everything that the Fool needs on this journey is stored in his knapsack, the contents of which are also much speculated. Sheldom Kopp put it best. He called the Jester's knapsack "a storehouse of unclaimed knowledge."
Such a state is not only typical for the fairy-tale Jester, but also very important for us and them. This is a person who either simply does not know, or knows, but does not use this knowledge. In any case, the knowledge that seems to be necessary in this or that given situation does not prevent him from approaching it with an open mind. In a sense, the Jester personifies our "inner child", and children, as you know, love to experience everything new and, while playing, discover the next America. It is clear that such openness and openness is the best way to learn and realize something new. No wonder Waite called this card: "The Spirit in search of knowledge."
The further we grow up, the more we get used to once learned ideas and patterns embedded in us. This gives us (illusory) confidence in our own rightness and in the infallibility of our ideas about the world around us, that is,; simply put, in its immutability. What this world really is and how it changes, we are less and less interested every year. And the further we go, the more we begin to live in the world of our own ideas, proudly calling it “experience”, which actually gets in our way every now and then when we once again encounter something new. Of course, it's always easier to go back to the old templates, because they helped us out so many times in the distant and not even very distant past. But the result of this is also natural: life more and more satisfies us with its monotony, there is nothing to rejoice in it, and boredom becomes the main among all our sensations. And the second result: a new, real life now and then breaks into the world of our usual ideas, forcing us to experience another crisis and break the framework of old patterns that do not fit into this new life.
The snowy peaks in the background of the Jester's card are the far away world of the Hermit for him. They personify the heights that the Hermit has already conquered on the path of knowledge, while the Jester has yet to overcome them.
The jester, on the contrary, personifies the simplest and most cheerful side of our soul, which does not think about whether it is doing this or not, but simply experiences another new sensation, rejoicing and not being afraid to make mistakes, shame and seem ridiculous. It didn’t work out - let’s try again, and so on until the thing works out, or until the soul loses interest in it. The jester knows how to rejoice with all his heart and be surprised both at every new miracle that life gives him, and at life itself, full of such miracles.
Key words for the Jester's card
Archetype - child, naive fool
The task is an unbiased perception of the new, knowledge through the game stranded is the joy of life, the accumulation of experience "easily"
The risk is to remain uncouth, inept, frivolous, stupid
Feeling of life - enterprise, the habit of trusting instinct, amazing openness, unclouded joy of life, curiosity, the desire to experience everything for yourself
HEAVENLY PARENTS
The classical hero usually has two pairs of parents - earthly parents and heavenly ones. In many myths, heroes are born from the supreme deities, but are brought up in a human family, albeit in a royal one. At the same time, the hero himself usually does not know about his origin, at least at first. In principle, any fairy tale that begins with a message about a stepmother or stepfather implies that the hero has a “second pair” of parents. In the Tarot, both parent pairs are represented by the first four Arcana (I-IV).
The Magician and the Priestess are the hero's heavenly parents. They personify the polarity of the male and female principles at the cosmic level, in the world of ideas. Wherever hereinafter it will be said about “male” or “female”, this should be understood not as a distribution of social roles and not as a set of male or female qualities, but as a purely symbolic division into yang and yin. And, like yang and yin, the masculine principle is inconceivable without the feminine and contains it in itself, just as the feminine contains the masculine, forming a single whole. These are the two poles of the duality that underlies our worldview. Here are her examples:
male - female
activity - activity
right - left
top bottom
day Night
Sun moon
high tide - low tide
conscious - unconscious
spirit - soul
logic - feelings
feeling - intuition
quantity - quality
to have - to be
insight - permeability
intervention - non-intervention
conception - perception
tension - relaxation
update - save
action - reaction
extrovert - introvert
voluntarily - involuntarily
concept - image
logos - eros
causality - analogy
abstract - concrete
analysis - synthesis
This duality is also found in both paths leading man to knowledge, the magical path and the mystical path. They, in turn, correspond to the two main modes of coexistence with Nature: interference and adaptation. The path of the Magician is the path of Faust, interfering in Nature in search of knowledge, penetrating into her secrets in order to understand her, and then to master her. The man of the West went this way - and came to his current standard of living with all the pluses and minuses of technical civilization. This is an active path of power that transforms the outside world “in every possible way”, and when something goes wrong or interferes, it is dealt with in the same ways. This is the energy of the Magician, which implies active action, in contrast to the Priestess, who follows the mystical path of non-intervention, the very non-action that we find today in the East as a fundamental life position. The mystical path means training, patience and a willingness to hear the divine call, receive a command from above and fulfill it. To put it simply, the magician seeks and the mystic waits to be found. Both paths are a blur of knowledge, but each of them corresponds to one of the two poles of both cosmic and human duality, which manifests itself in everything, starting with the different roles of the two hemispheres of our brain. At the same time, none of the paths is more important, not “more correct” or better than the other. It is bad if a person goes only to them alone, And it is good if a person observes the right measure in relation to him. Therefore, the hero of our story, like each of us, must go through both paths in order to achieve the goal.
How does the feeling of falling in love manifest itself in the heroine of the story "Asya"? Write fragments of the text that would characterize Asya's experiences from different angles. ANDif possible with a conclusion. thanks in advance
1. Genre "Words about Igor's Campaign" is:1) life; 2) military story; 3) word; 4) chronicle?
2. Which principle is "superfluous" for classicism:
1) unity of place; 2) unity of time; 3) unity of action; 4) unity of language?
4. The line "The abyss has opened, the stars are full ..." belongs to:
1) Fonvizin; 2) Trediakovsky; 3) Sumarokov; 4) Lomonosov?
5. Match works and literary trends:
A) "Poor Lisa"; b) "Felitsa"; Vasya"; t) Svetlana.
6. In what literary direction was a peaceful idyllic life in the bosom of nature portrayed as an ideal:
7. In which work is the "Tale of Lomonosov" included:
1) “Journey from St. Petersburg to Moscow” by A.N. Radishchev; 2) "Monument" GR. Derzhavin; 3) "History of the Russian State" N.M. Karamzin; 4) "Captain's daughter" A.S. Pushkin?
8. Which characteristic does not apply to romanticism:
The division of genres into high and low;
contradiction between ideal and reality;
desire for freedom;
conflict between the individual and society?
9. The genre of what literary movement is elegy:
10. Which of the heroes of A. S. Griboedov’s comedy “Woe from Wit” owns the phrase: “He fell painfully - he got up great”:
1) Lisa; 2) Chatsky; 3) Famusov; 4) Sophia?
11. Who wrote that in the comedy "Woe from Wit" by A.S. Griboyedov "25 fools for one healthy
thinking person, and this person, of course, in contradiction with the societies, his
Surrounding":
1) IA. Goncharov; 2) A.S. Griboedov; 3) A.S. Pushkin; 4) V.G. Belinsky.
1) G.R. Derzhavin; 2) N.M. Karamzin; 3) V.A. Zhukovsky; 4) A.N. Radishchev?
13. From which country did the hero of A. S. Pushkin's novel "Eugene Onegin" return to his estate?
Vladimir Lensky:
1) Germany; 2) Italy; 3) England; 4) France?
What is the poetic size of the novel by A.S. Pushkin "Eugene Onegin"
1) anapaest; 2) trochee; 3) dactyl; 4) iambic?
What was the name of the estate where M.Yu. Lermontov spent his childhood?
1) Lermontov; 2) Tarkhany; 3) Boldino; 4) Streshnevo?
16. What is the story of M.Yu. Lermontov "A Hero of Our Time"
is the latest chronologically:
1) "Bela"; 2) "Maxim Maksimych"; 3) "Fatalist"; 4) "Princess Mary"?
17. Which epigraph was taken by N.V. Gogol for the comedy "The Government Inspector":
1) "Oh rus ... Oh Rus'!";
"Take care of the dress again, and honor from a young age *"
“There is nothing to blame on the mirror if the face is crooked”;
"And the smoke of the fatherland is sweet and pleasant to us"?
18. What work is not included in the St. Petersburg stories of N.V. Gogol:
1) "Portrait"; 2) "Marriage"; 3) "Overcoat"; 4), "Carriage"?
19. Match the titles of the works and their authors:
“Russia cannot be understood with the mind...”;
"Poet and Citizen";
"No, I'm not Byron...";
"I came to you with greetings...";
a) M.Yu. Lermontov; b) F.I. Tyutchev; c) N.A. Nekrasov; d) A.A. Fet.
What was the name of the heroine of the story by I.S. Turgenev "First Love":
1) Anastasia; 2) Zinaida; 3) Elena; 4) Tatyana?
Which writer was called "Columbus of Zamoskvorechye":
1) A.P. Chekhov; 2) N.V. Gogol;
3) A.N. Ostrovsky; 4) I.S. Turgenev?
22. As determined by the FA/. Dostoevsky genre of "White Nights":
Which work is “superfluous” for A.P. Chekhov’s “little trilogy”:
1) "Gooseberry"; 2) "Ionych"; 3) "About love"; 4) "Man in a case"?
illustrations for individual descriptions. 2) How is the attitude of a person of Ancient Rus' to God, faith, divine commandments shown in the story? 3) What brings together the images of the snake and the images of the boyars and their wives? How are these images different? 4) Find in the story: (a) features of legend and tradition; (b) features of folklore genres (fairy tales, riddles). 5) Prepare an exhibition of the Legend of Kitezh in the visual arts using reproductions of paintings by N.K. Roerich, A.M. Vasnetsov, M.V. Nesterov, I.S. Glazunov and other artists. Please help me, I always understood everything, but I can’t please, I beg you. I will be very grateful.
Composition
The central character of the story is the driver Ivan Petrovich Egorov. But reality itself can be called the main character: both the long-suffering land on which Sosnovka stands, and the stupid, temporary, and therefore initially doomed Sosnovka, and Yegorov himself as an integral part of this village, this land - also suffering, doubting, looking for an answer. He was tired of disbelief, he suddenly realized that he could not change anything: he saw that everything was going wrong, that the foundations were crumbling, and he could not save, support. More than twenty years have passed since Yegorov arrived here, in Sosnovka, from his native flooded Yegorovka, which he now remembers every day. Over the years, before his eyes, as never before, drunkenness developed, the former communal ties almost broke up, people became, as if strangers to each other, embittered.
Ivan Petrovich tried to resist this - he himself almost lost his life. And so he filed a letter of resignation from work, decided to leave these places, so as not to poison the soul, not to overshadow the remaining years with daily grief. The fire could spread to the huts and burn the village; Yegorov thought of this first of all, rushing to the warehouses. But there were other thoughts in other minds. If anyone had told Ivan Petrovich about them a decade and a half ago, he would not have believed it. It would not fit in his mind that people in trouble can cash in without fear of losing themselves, their face. He still didn't want to believe it. But already - could. Because everything was leading up to it. Sosnovka itself, no longer resembling the old Yegorovka, disposed to this.
The food warehouse was burning with might and main, "almost the entire village fled, but it seems that no one has yet been found who could organize it into one reasonable solid force capable of stopping the fire." It's as if no one needs anything at all. Ivan Petrovich, and his friend from Yegorovka, Afonya Bronnikov, and the tractor driver Semyon Koltsov - that's almost all who came running to put out the fire. The rest - as if to extinguish, but more helped the fire, because they also destroyed, finding their pleasure and self-interest in this. The internal fire in the hero's soul, invisible to anyone around him, is more terrible than the one that destroys warehouses. Clothes, food, jewelry, and other goods can then be replenished, reproduced, but it is unlikely that faded hopes will ever come to life, the scorched fields of former kindness and justice will begin to bear fruit again with the same generosity. Ivan Petrovich feels a terrible ruin in himself because he could not realize the creative energy given to him - there was no need for it, contrary to logic, it ran into a blank wall that turned out to receive it. Therefore, he is overcome by a destructive discord with himself, that his soul longed for certainty, and he could not answer her, what is now true for him, what is conscience, for he himself, against his will, is uprooted, uprooted from the microcosm of Yegorovka. While Ivan Petrovich and Afonya were trying to save flour, cereals, butter, the Arkharovites first of all attacked vodka. Someone ran in new boots taken from the warehouse, someone pulled on new clothes; Klavka Strigunova steals jewelry. "What's going on, Ivan? What is being done?! They're dragging everything!" - Yegorov's wife, Alena, exclaims in fright, not understanding how, along with the fire, such human qualities as decency, conscience, honesty can burn to the ground.
And if only the Arkharovtsy dragged everything that caught their eye, but after all, their own, Sosnovskaya, too: “The old woman, for whom nothing like it had ever been, picked up bottles thrown from the yard - and, of course, not empty”; one-armed Saveliy dragged sacks of flour straight to his own bathhouse. What is being done? Why are we like this? - after Alena, Uncle Misha Khampo could have exclaimed, if he could speak. He seemed to have moved into "Fire" from "Farewell to Matyora" - there he was called Bogodul. No wonder the author emphasizes this, calling the old man "Egorov's spirit." He, just like Bogodul, hardly spoke, was just as uncompromising and extremely honest. He was considered a born watchman - not because he loved work, but simply "that's how he cut himself out, such from hundreds of hundreds of charters that were inaccessible to his head, he made the first charter: do not touch someone else." Alas, even Uncle Misha, who perceived theft as the biggest misfortune, had to put up with it: he guarded alone, and almost everyone was dragging. In a duel with the Arkharovites, Uncle Misha strangled one of them, Sonya, but he himself was killed with a mallet. Alena, the wife of Ivan Petrovich, is, in fact, the only female character in the story. This woman embodies the best, with the disappearance of which the world loses its strength. The ability to live life in harmony with oneself, seeing its meaning in work, in the family, in caring for loved ones. Throughout the story, we will never find Alena thinking about something lofty - she does not say, but does, and it turns out that her small, habitual business is still more significant than the most beautiful speeches. The image of Alena is one of the secondary images of "Fire", and this is true, especially when you consider that in most of Rasputin's stories it is women who are the main characters (Anna in "Farewell to Matyora", Nastya in "Live and Remember").
But even in the "Fire" the heroine is given a whole chapter, containing a kind of mini-set of philosophical views of the prose writer on the subject of research. In "Fire" the landscape does not play such a significant role as in Rasputin's previous stories, although here one can feel the writer's desire to introduce him into the world of heroes, and to show heroes through nature. But the fact of the matter is that nature is disappearing before our eyes: forests are being cut down to the root, and the same devastation occurs in the souls of the heroes. This story, like no other by Rasputin, is publicistic, and this is explained by the writer's concern not only for the fate of the natural resources of Siberia, but, above all, for the fate of the person who lives here, losing his roots. Valentin Rasputin speaks of “Fire” as follows: “The story is small in size, but I wanted to contain a lot ... But I did not consider myself entitled to stretch the narrative, it should have been enough for as long as the warehouses were burning. For me, this matters - the correlation of the duration of the story with the duration of the event. Thus, the writer recognizes the adherence to certain laws of journalistic genres. But the formal approach in this case does not give anything, because before us is, first of all, an artistically completed work, and only then - with elements of publicism, in turn dictated by time, the author's pain, which should have immediately, at that very time, resulted in a warning, warning.
In The Fire, Rasputin for the first time singled out marital relations as an independent line, giving them special attention to them. At the same time, the theme of the modern family, the upbringing of children, responsibility to each other is also heard in his newspaper publications. However, by the very fact of the uniqueness of Alena as a positive female image in the story, Rasputin speaks of the fading in the modern guardians of the hearth of feminine principles, without which life loses harmony, the fortress decreases in the soul. A strong connection, the closest interweaving of biography and creativity, specific realities and artistic images. This is typical for Rasputin, just like the fact that the artistic fabric is so dense, the situation is so dramatic and psychological that it seems that if he had just taken a fact from life, everything would have been dimmer. Rasputin from chapter to chapter will force the reader to shift his anxious gaze from one fire (in Yegorov's soul) to another (in warehouses) and until the last page, until the final line, he will not give a break, he will not reduce tension, because everything is important.
In this article, we will consider the famous cycle of A. S. Pushkin - "The Tales of the Late Ivan Petrovich Belkin." Let's talk in particular detail about the images of the main characters and their significance for understanding the whole work.
About the work
“The Tales of the Late Ivan Petrovich Belkin” (the main characters will be discussed below) were written by Pushkin in 1830 in the village of Bolshoe Boldino. Everything in the cycle included 5 stories, starting with "The Shot" and ending with "The Young Lady-Peasant Woman".
The cycle begins with the preface "From the Publisher", the writing of which dates back to October-November 1830. The work was first published in its entirety in 1831.
The main character ("Tales of the late Ivan Petrovich Belkin")
Strictly speaking, it is impossible to determine any one main character in all the stories, since in each story he has his own. However, there is a character who directly or indirectly combines these stories - this is Ivan Petrovich Belkin himself.
He is a character-narrator, a landowner in the village of Goryukhin. The reader knows that he was born in 1789, his father was a second major. He was taught by a village deacon, and through him the hero became addicted to writing. From 1815 to 1823 Belkin served in the Jaeger regiment. He died of a fever in 1828, before the publication of "his" stories.
Pushkin creates this hero using the following set of literary techniques: we learn the story of Belkin's life from a letter from a certain "honorable husband", to whom Maria Alekseevna, the closest relative of the deceased Trafilin, sends the publisher; the characterization of the hero also includes an epigraph to the entire cycle - the words of mother about her son Mitrofanushka from the comedy "Undergrowth" by Fonvizin.
Silvio
Pushkin's main characters are very different from each other. "Belkin's Tale" in this respect is simply full of dissimilar and original characters. The clearest example is Silvio, the protagonist of the story "The Shot". He is 35 years old, he is a duelist officer who is obsessed with revenge.
Colonel I.L.P. tells Belkin about him, he is the narrator and the story is being told on his behalf. First, the colonel describes his personal impressions of meeting Silvio, then retells the episode from the words of Count R. This way of narrating gives the reader the opportunity to see the main character through the eyes of different people. Despite the fact that the points of view are different, the very perception of Silvio does not change much. Its immutability is specially emphasized by Pushkin, as well as the desire to appear strange and ambivalent.
Silvio deliberately tries to confuse his actions and frustrate his motives. But the more he does it, the easier his character is seen. It is no coincidence that Pushkin also emphasizes the hero's love for novels. It is from here and his frantic desire for revenge. And the fact that in the end Silvio does not shoot at the enemy, but at the picture does not change the general situation at all. The hero remains a restless romantic who no longer has a place in life.
Maria Gavrilovna
Maria Gavrilovna is the protagonist of Belkin's story "The Snowstorm". This story was told to Belkin by K.I.T.
The main character is a 17-year-old pale and slender girl, the daughter of the landowner of the village of Nenaradov Gavrila Gavrilovich R. Maria Gavrilovna is endowed with a romantic imagination, that is, she perceives life like a literary work. She is a typical lover of French novels and Russian ballads that have recently appeared in literature.
The main characters of Belkin's story "The Snowstorm", however, like the heroes of other stories and the narrator himself, are infected with a romantic worldview. They constantly try to stage a romance in life, but invariably fail.
So, Maria Gavrilovna is plotting something romantic out of her love. Her parents do not like her chosen army ensign. Then the heroine decides to secretly marry him. After that, she sees how the parents will be angry at first, but then they will forgive and call the children to them. But something goes wrong. And the next day after the escape, the heroine finds herself in her own bed, after which she falls ill.
Life makes its own adjustments to romantic dreams. A snowstorm knocks Vladimir astray. And the girl is married to an unknown man. Only in the final it turns out who he is. However, Pushkin makes it very clear how unsustainable romantic dreams turn out to be.
Adrian Prokhorov
Prokhorov is the protagonist of Belkin's story "The Undertaker". He serves in Moscow as an undertaker. His story is told by the clerk B.V. Adrian is a gloomy character, nothing pleases him, even the fulfillment of a lifelong dream - the family moving with Basmanna to his house on Nikitskaya. But this is not surprising, because Prokhorov is tormented by an almost Hamletian question - to be or not to be, the merchant Tryukhina, who is near death. And if she dies, they will send for him or not, because his new house is very far from the place where the dying woman lives.
In this story, Pushkin's voice is heard most strongly. We hear Pushkin's ridicule in the description of the life and thoughts of the protagonist. And it soon becomes clear that the sadness and gloom of Adrian is not in the fact that he constantly sees death, but in the fact that he reduces everything in his life to one thing - whether he will benefit from it or not. So, rain for him is only a source of ruin, and a person is a potential client. Horror helps him to be reborn, which will make him sleepy, where former "clients" come to him. Waking up after a nightmare, he realizes that now he can rejoice.
Samson Vyrin
Samson Vyrin is completely different from the rest of the main characters ("Tales of Belkin"). In his description, we do not hear Pushkin's ridicule and irony. This is an unfortunate man, a stationmaster, an official of the last class, a real martyr. He has a daughter, Dunya, whom a passing hussar took with him to Petersburg.
The story that happened to Vyrin is told by the titular adviser A.G.N. "The Stationmaster" is the key story in the cycle, which confirms the mention of it in the preface. In addition, Vyrin is the most difficult of all the heroes of the work.
The plot of the life of a stationmaster is very simple. After the death of his wife, the care of the house and household falls on the shoulders of Dunya. The traveling hussar Minsky, struck by the beauty of the girl, fakes his illness in order to stay longer in Vyrin's house, and then takes her daughter away. The father goes for the daughter, but it has no result. Minsky first tries to give Vyrin money, and after the appearance of Dunya and her fainting, he kicks him out. Abandoned father becomes an inveterate drunkard and dies. Dunya comes to his grave to cry in a gilded carriage.
Berestov Alexey Ivanovich
The characters of The Young Lady-Peasant Woman are subject to romantic dreams, like almost all the main characters. Belkin's Tales is a rather ironic work in this respect. The only exception is the story of the stationmaster.
So, Alexey Berestov comes to his native village of Tugilovo. Here he falls in love with Liza Muromskaya, who lives next door. The hero's father, a Russophile and the owner of a cloth factory, cannot stand Muromsky's neighbor, a passionate Angloman. Alexey himself also strives for everything European and behaves like a dandy. Pushkin comically describes the enmity of neighbors, clearly making references to the war of the Scarlet and White Roses and to the enmity of the Capulets and Montagues.
Nevertheless, despite the Englishness of Alexei, under his pallor "a healthy blush appears", which fully describes his character. Under the feigned romanticism hides a truly Russian person.
Liza Muromskaya
Lisa is the 17-year-old daughter of an English lover who squandered all his fortune in the capital, and therefore now lives in the village without leaving anywhere. Makes a county lady Pushkin out of his heroine. "Tales of Belkin" (the main characters are considered by us) are inhabited by heroes who later turn into literary types. So, Lisa is the prototype of a county young lady, and Samson Vyrin is a small person.
Lisa's knowledge about the life of the world is gleaned from books, nevertheless her feelings are fresh, and her feelings are sharp. In addition, the girl is endowed with a strong and clear character. Despite her English upbringing, she feels Russian. It is Lisa who finds a way out of the conflict - the children of warring parents cannot meet and communicate. The girl disguises herself as a peasant woman, which allows her to see Alexei. The reader sees that Lisa's character is much stronger than that of her lover. It is thanks to her that they end up together at the end of the story.
conclusions
Thus, Pushkin shows the reader an incredible variety of characters. Its main characters are amazing and unlike each other. "Tales of Belkin" that is why they were such a great success. The work was ahead of its time in many ways and has many innovative elements.
