The image of Olesya makes the reader remember amazing fairy-tale beauties who, in addition to their beauty, had many talents. This amazing character combines intelligence, beauty, responsiveness, selflessness and willpower. The image of the forest witch is shrouded in mystery. Her fate is unusual, life away from people in an abandoned forest hut. The poetic nature of Polesie has a beneficial influence on the girl. Isolation from civilization allows her to preserve the integrity and purity of nature. On the one hand, she is naive because she does not know basic things, inferior in this to the intelligent and educated Ivan Timofeevich. But on the other hand, Olesya has some kind of highest knowledge , which is inaccessible to an ordinary person. .Olesya compares favorably with local village girls. This is how the author says about it: “There was nothing in her like the local “girls”, whose faces, under ugly bandages covering the forehead on top, and the mouth and chin below, wear such a monotonous, frightened expression. My stranger, a tall brunette of about twenty to twenty-five years old, carried herself easily and slenderly. A spacious white shirt hung freely and beautifully around her young, healthy breasts. The original beauty of her face, once seen, could not be forgotten...” Olesya grew up away from society, so lies, hypocrisy, and hypocrisy are alien to her. Local residents consider Olesya a witch, but how ignoble, cruel and heartless they themselves are compared to her! The main character of the story, upon closer acquaintance with Olesya, becomes convinced of how pure, sublime, and kind the girl is. She has an amazing gift, but she would never use it for evil. The girl is as pure as the nature around her, Olesya says that she and her grandmother do not maintain relationships with the people around her at all. Thus, the girl kind of draws the line between themselves and others. The hostile wariness of others towards the “witchers” leads to such withdrawal. Olesya and her grandmother agree not to maintain relationships with anyone at all, just to remain free and independent of the will of others. Olesya is very smart. Despite the fact that she received virtually no education, she is very knowledgeable about life. She is very inquisitive, she is interested in everything that a new acquaintance can tell her. The love that arose between Ivan Timofeevich and Olesya is a sincere, pure and beautiful phenomenon. The girl is truly worthy of love. She is a completely special creature, full of life, tenderness, compassion. Olesya gives all of herself to her beloved, without demanding anything in return. In the love of the “savage” and the civilized hero, from the very beginning there is a sense of doom that permeates the story with sadness and hopelessness. The ideas and views of lovers turn out to be too different, which lead to separation, despite the strength and sincerity of their feelings. When the urban intellectual Ivan Timofeevich, who got lost in the forest while hunting, saw Olesya for the first time, he was struck not only by the bright and original beauty of the girl. He unconsciously felt her unusualness, her difference from the other village girls. There is something magical in Olesya’s appearance, her speech, and behavior that cannot be explained logically. She willingly sacrifices herself in order to fulfill his absurd, in general, demand - to attend church. Olesya commits this act, which entails such tragic consequences. Local residents were hostile to the “witch” because she dared to appear in a holy place. Olesya's random threat is taken too seriously by local residents. And now, as soon as something bad happens, Olesya and her grandmother will be to blame.
The girl sacrifices herself even when she decides to suddenly leave without telling her beloved anything. This also reveals the nobility of her character. The whole image of Olesya testifies to her purity, kindness and nobility. This is why it becomes so difficult when you find out that a girl has separated from her lover. Nevertheless, this ending is the pattern. The love between Olesya and the young master has no future, the girl understands this perfectly and does not want to be an obstacle to the well-being of her loved one.
History of creation
A. Kuprin’s story “Olesya” was first published in 1898 in the newspaper “Kievlyanin” and was accompanied by a subtitle. "From memories of Volyn." It is curious that the writer first sent the manuscript to the magazine “Russian Wealth”, since before this the magazine had already published Kuprin’s story “Forest Wilderness”, also dedicated to Polesie. Thus, the author hoped to create a continuation effect. However, “Russian Wealth” for some reason refused to publish “Olesya” (perhaps the publishers were not satisfied with the size of the story, because by that time it was the author’s largest work), and the cycle planned by the author did not work out. But later, in 1905, “Olesya” was published in an independent publication, accompanied by an introduction from the author, which told the story of the creation of the work. Later, the full-fledged “Polessia Cycle” was released, the pinnacle and decoration of which was “Olesya”.
The author's introduction is preserved only in the archives. In it, Kuprin said that while visiting a friend of the landowner Poroshin in Polesie, he heard from him many legends and fairy tales related to local beliefs. Among other things, Poroshin said that he himself was in love with a local witch. Kuprin will later tell this story in the story, at the same time including in it all the mysticism of local legends, the mysterious mystical atmosphere and piercing realism of the situation surrounding him, the difficult fate of the Polesie inhabitants.
Analysis of the work
Plot of the story
Compositionally, “Olesya” is a retrospective story, that is, the author-narrator returns in memories to the events that took place in his life many years ago.
The basis of the plot and the leading theme of the story is the love between the city nobleman (panych) Ivan Timofeevich and the young resident of Polesie, Olesya. Love is bright, but tragic, since its death is inevitable due to a number of circumstances - social inequality, the gap between the heroes.
According to the plot, the hero of the story, Ivan Timofeevich, spends several months in a remote village, on the edge of Volyn Polesie (the territory called Little Russia in tsarist times, today the west of the Pripyat Lowland, in northern Ukraine). A city dweller, he first tries to instill culture in the local peasants, treats them, teaches them to read, but his studies are unsuccessful, since people are overcome by worries and are not interested in either enlightenment or development. Ivan Timofeevich increasingly goes into the forest to hunt, admires the local landscapes, and sometimes listens to the stories of his servant Yarmola, who talks about witches and sorcerers.
Having gotten lost one day while hunting, Ivan ends up in a forest hut - the same witch from Yarmola’s stories lives here - Manuilikha and her granddaughter Olesya.
The second time the hero comes to the inhabitants of the hut is in the spring. Olesya tells fortunes for him, predicting a quick, unhappy love and adversity, even a suicide attempt. The girl also shows mystical abilities - she can influence a person, instilling her will or fear, and stop bleeding. Panych falls in love with Olesya, but she herself remains distinctly cold towards him. She is especially angry that the gentleman stands up for her and her grandmother in front of the local police officer, who threatened to disperse the inhabitants of the forest hut for their alleged sorcery and harm to people.
Ivan falls ill and does not come to the forest hut for a week, but when he comes, it is noticeable that Olesya is happy to see him, and the feelings of both of them flare up. A month of secret dates and quiet, bright happiness passes. Despite the obvious and realized inequality of lovers by Ivan, he proposes to Olesya. She refuses, citing the fact that she, a servant of the devil, cannot go into church, and therefore, get married, entering into a marriage union. Nevertheless, the girl decides to go to church to please the gentleman. Local residents, however, did not appreciate Olesya’s impulse and attacked her, beating her severely.
Ivan hurries to the forest house, where the beaten, defeated and morally crushed Olesya tells him that her fears about the impossibility of their union have been confirmed - they cannot be together, so she and her grandmother will leave their home. Now the village is even more hostile towards Olesya and Ivan - any whim of nature will be associated with its sabotage and sooner or later they will kill.
Before leaving for the city, Ivan goes into the forest again, but in the hut he finds only red beads from olesin.
Heroes of the story
Olesya
The main character of the story is the forest witch Olesya (her real name is Alena - says grandmother Manuilikha, and Olesya is the local version of the name). A beautiful, tall brunette with intelligent dark eyes immediately attracts Ivan's attention. Natural beauty the girl is combined with a natural intelligence - despite the fact that the girl does not even know how to read, she has, perhaps, more tact and depth than the city girl.
Olesya is sure that she is “not like everyone else” and soberly understands that for this dissimilarity she can suffer from the people. Ivan doesn’t really believe in Olesya’s unusual abilities, believing that there is more to it than a centuries-old superstition. However, he cannot deny the mysticism of Olesya’s image.
Olesya is well aware of the impossibility of her happiness with Ivan, even if he makes a strong-willed decision and marries her, so it is she who boldly and simply manages their relationship: firstly, she exercises self-control, trying not to impose herself on the gentleman, and secondly, she decides to separate , seeing that they are not a couple. Social life would be unacceptable for Olesya; her husband would inevitably become burdened by it after the lack of common interests became clear. Olesya does not want to be a burden, to tie Ivan hand and foot and leaves on her own - this is the heroism and strength of the girl.
Ivan Timofeevich
Ivan is a poor, educated nobleman. City boredom leads him to Polesie, where at first he tries to do some business, but in the end the only activity left is hunting. He treats legends about witches as fairy tales - a healthy skepticism is justified by his education.
(Ivan and Olesya)
Ivan Timofeevich is a sincere and kind person, he is able to feel the beauty of nature, and therefore Olesya at first interests him not as a beautiful girl, but as a interesting personality. He wonders how it happened that nature itself raised her, and she came out so gentle and delicate, unlike the rude, uncouth peasants. How did it happen that they, religious, although superstitious, are ruder and tougher than Olesya, although she should be the embodiment of evil. For Ivan, meeting Olesya is not a lordly pastime or a difficult summer love adventure, although he understands that they are not a couple - society in any case will be stronger than their love and will destroy their happiness. The personification of society in this case is unimportant - be it a blind and stupid peasant force, be it city residents, Ivan’s colleagues. When he thinks of Olesya as his future wife, in a city dress, trying to carry on small talk with his colleagues, he simply comes to a dead end. The loss of Olesya for Ivan is as much a tragedy as finding her as a wife. This remains outside the scope of the story, but most likely Olesya’s prediction came true in full - after her departure he felt bad, even to the point of thinking about intentionally leaving this life.
Final conclusion
The culmination of events in the story occurs on a big holiday - Trinity. This non-random coincidence, it emphasizes and intensifies the tragedy with which Olesya’s bright fairy tale is trampled by people who hate her. There is a sarcastic paradox in this: the servant of the devil, Olesya, the witch, turns out to be more open to love than the crowd of people whose religion fits into the thesis “God is Love.”
The author's conclusions sound tragic - it is impossible for two people to be happy together when the happiness for each of them individually is different. For Ivan, happiness is impossible apart from civilization. For Olesya - in isolation from nature. But at the same time, the author claims, civilization is cruel, society can poison relations between people, destroy them morally and physically, but nature cannot.
Oorzhak Dayana
Kuprin was always amazed by the combination of “childish purity of hearts with cold-blooded courage; he admired the refinement of the soul, capable of recognizing and appreciating his feelings. All these qualities are inherent in the heroine of the story about love, from whom the light of “quivering and life-giving love” emanates.
The eternal insecurity of a true sublime feeling in front of the world, all the values of the Kuprin world of love, conceals within itself high suffering, and the tragic, uncompromising outcome serves as a true measure of the depth and strength of love, which is so rare and turns out to be stronger than death.
During research work we got acquainted with scientific works, dedicated to the biography of the creative heritage of A. I. Kuprin, such authors as V. N. Afanasyev, A. A. Volkov, A. A. Kachaeva, F. I. Kuleshov, O. N. Mikhailov, L. A. Smirnova and others.
As additional material textbooks on the history and theory of Russian literature were used, by such authors as L. I. Levina, A. G. Sokolov, M. B. Kharpchenko, L. I. Timofeev, V. E. Khalizev, as well as articles. Posted on the Internet site.
Relevance of the study. The inexhaustible love that sounds so clearly in A. I. Kuprin’s story “Olesya” is characterized by an insoluble artistic conflict, accompanied by suffering.
Novelty of the research. In an attempt to identify and substantiate what is inherent only to the heroines of Kuprin’s work about love, external and internal qualities as characteristic of realistic and romantic female images, captivating with the touching purity of their feelings.
Object of study. Female images of A.I. Kuprin about love.
Subject of research. Portrait and psychological characteristics female image in the story “Olesya” by A.I. Kuprin.
Purpose of the study. To study techniques for depicting the external and internal appearance of A. I. Kuprin’s heroine “Olesya”.
In accordance with the set goal, the following must be solved: tasks:
To identify the fundamental features of the external and internal appearance of the heroine of the story by A.I. Kuprin "Olesya";
Analyze the main artistic techniques that allow the author to most accurately show the emotional experiences of the characters, in which they are revealed individual characteristics their personalities, their worldviews;
Show effective, creative power love as a feeling that is absolutized in one soul and becomes a symbol for the rebirth or rebirth of another.
Research methods: descriptive, comparative, philological.
Practical significance: work can be used on practical exercises and at seminars on Kuprin’s work, in elective classes at school.
Work structure: the work consists of an introduction to one chapter, a conclusion and a list of references.
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Introduction………………………………………………………………………………3
Chapter 1 Portrait characteristics and psychology of female characters in the romantic story by A. I. Kuprin “Olesya”………………………………………………………………………………6
- Portrait details in the romantic story by A. I. Kuprin “Olesya”………………………………………………………….8
- Artistic techniques for depicting the inner world of the heroine of the story “Olesya”……………………………………………………………….15
Conclusion……………………………………………………………23
Literature……………………………………………………………………………….25
Introduction.
Already earlier, the work of A. I. Kuprin, in its main vein, continues the traditions of critical realism: Kuprin depicts his heroes in typical circumstances, exposing a social structure that suppresses sincere feelings in a person, contrary to the natural human right to happiness.
Limitless human capabilities and man’s inability to realize them - that’s what worried the writer most of all. In Kuprin's prose there are many stories and love - the writer. There are many stories about love in Kuprin’s prose - the writer created very different love stories, depicting intimate experiences as a natural, uninhibited manifestation of a person’s spiritual essence. The solution to unexpected psychological shifts has always attracted Kuprin. At the center of his works are not just events or heroes, but an explosive collision that reveals hidden spiritual movements.
Having chosen the theme of love as one of the main themes of his work, A. I. Kuprina created a whole gallery of living images. Having discovered a great ability for artistic transformation and entering into an image, which allowed him to create surprisingly lively characters and convey with great truthfulness the complex train of thoughts and experiences of his heroes. Kuprin's strengths as an artist and psychologist were revealed in the psychologist's disclosure of female images. The heroines of his stories are most often placed in such life situations in which their courage, nobility, purity of spirit and selflessness appear.
The theme of love became for the writer a kind of refuge from everything base, cynical, and mercantile. A work dedicated to love is not only not fascinating in plot, but also dramatically rich and possesses psychological truth.
The discrepancy, the conflict between the real and the desired, was overcome by the author in an original way- he simply refused the option of happy and perfect love, realizing that one cannot expect passions in a dull everyday life, but their strength is equal to the legendary ones. Hence the tragic concept of the story, and the tragic female image, are most reliably and vividly presented in the story of love: “Olesya” (1989)
The sublime and heroic in the female image are inseparable from the idea of the dignity and greatness of man, manifested in his suffering.
The topic of my research work is formulated as follows: “Female images of A. I. Kuprin’s story “Olesya”
Self-affirmation of the personality of its spiritual principles is accomplished at the cost of giving up one’s own happiness (“Olesya”) or at the cost of one’s own life.
Kuprin was always amazed by the combination of “childish purity of hearts with cold-blooded courage; he admired the refinement of the soul, capable of recognizing and appreciating his feelings. All these qualities are inherent in the heroine of the story about love, from whom the light of “quivering and life-giving love” emanates.
The eternal insecurity of a true sublime feeling in front of the world, all the values of the Kuprin world of love, conceals within itself high suffering, and the tragic, uncompromising outcome serves as a true measure of the depth and strength of love, which is so rare and turns out to be stronger than death.
During the research work, we became acquainted with scientific works devoted to the biography of the creative heritage of A. I. Kuprin, such authors as V. N. Afanasyev, A. A. Volkov, A. A. Kachaeva, F. I. Kuleshov, O N. Mikhailov, L. A. Smirnova and others.
Textbooks on the history and theory of Russian literature by such authors as L. I. Levina, A. G. Sokolov, M. B. Kharpchenko, L. I. Timofeev, V. E. Khalizev, as well as articles were used as additional material . Posted on the Internet site.
Relevance of the study.The inexhaustible love that sounds so clearly in A. I. Kuprin’s story “Olesya” is characterized by an insoluble artistic conflict, accompanied by suffering.
Novelty of the research.In an attempt to identify and substantiate the external and internal qualities inherent only to the heroines of Kuprin’s work about love as characteristic of realistic and romantic female images, captivating with the touching purity of their feelings.
Object of study.Female images of A.I. Kuprin about love.
Subject of research.Portrait and psychological characteristics of the female image in the story “Olesya” by A. I. Kuprin.
Purpose of the study.To study techniques for depicting the external and internal appearance of A. I. Kuprin’s heroine “Olesya”.
In accordance with the set goal, the following must be solved: tasks:
To identify the fundamental features of the external and internal appearance of the heroine of the story by A.I. Kuprin "Olesya";
Analyze the main artistic techniques that allow the author to most accurately show the emotional experiences of the characters, in which the individual characteristics of their personality and their worldview are revealed;
Show the effective, creative power of love as a feeling that is absolutized in one soul and becomes a symbol for the rebirth or rebirth of another.
Research methods:descriptive, comparative, philological.
Practical significance:The work can be used in practical classes and seminars on Kuprin’s work, and in elective classes at school.
Work structure:the work consists of an introduction to one chapter, a conclusion and a list of references.
Chapter 1.
Portrait characteristics and psychology of female images in
Romantic story "Olesya".
The basis of the creative quest of A. I. Kuprin lies in the endless comprehension of the essence human personality, especially a bright, extraordinary personality, capable of sincere emotional outbursts.
Kuprin considered human abilities and hidden possibilities to be limitless and sought to prove this with his works.
Kuprin is called a writer, a psychologist, an expert on the human soul, who can acutely sense the whole range of feelings experienced by his heroes.
The writer achieved such mastery thanks to his inexhaustible desire to comprehend life in all its contradictions and complexity, to reveal all the smallest details of human evolution in accordance with the world around him, which is so far from perfect.
The inner appearance of a person in Kuprin’s work is always correlated with the objective content of a holistic life. And the life experience of the writer himself was extremely rich and varied. All his works are his own artistically generalized impressions. Kuprin's prose reflected the writer's enduring need to see beauty and perfection in the world, and in man, in addition to these two qualities that attracted the writer so much, strength of spirit and nobility, sublimity of feelings.
And the bearers of all these human qualities that attracted the writer’s attention are female images, striking in their realism and expressiveness and drawn with extraordinary skill.
Among the numerous female images created by A. I. Kuprin, there are many bright, strong, extraordinary personalities who are capable of loving selflessly, courageously and unselfishly, finding happiness in her very ability to love.
Selflessly, bravely and unselfishly, finding happiness in her very opportunity to love.
Internal dynamism, psychological truth Kuprin's early works about love were already distinguished, in which the reader is presented with a whole gallery of female images. By various means the writer creates a poetic, although by no means idealized, atmosphere of worship for the heroines of his stories, who commit self-sacrifice in the name of their love.”
The writer was always amazed by the combination of “childish purity of hearts with cold-blooded courage”, a quality that he brilliantly expressed in female images (“Shulamith”, “Olesya”). Many stories about the death of love and beauty have one thing in common - they are all about the impossibility of finding happiness and realizing spiritual needs in a monstrously imperfect world.
Whoever these women are, whose images are embodied in Kuprin’s prose, they are a truthful reproduction of typical characters in typical circumstances.
1.1. Portrait details in a romantic
The story “Olesya” by A.I. Kuprin.
Kuprin highly valued the beautiful in life and bowed before beauty, be it the beauty of nature, the beauty of the human spirit or body. The writer had refined souls, their deep understanding of life and was saddened by the realization that so often the spiritual and beautiful remains unclaimed.
The image of Olesya is one of the most romantic in the rich gallery of female images of Kuprin’s works. Nature generously rewarded the girl with beauty and proud strength.
Having not yet seen the girl, Ivan Timofeevich experiences excitement when he hears “fresh, strong and ringing female voice”, singing a graceful Little Russian song. And then a “tall, laughing girl” appears in the doorway, carefully holding the edges of her apron. From which finch chicks peek out and laugh loudly.
Kuprin does not seek to frame Olesya’s appearance in any way external effects. True to himself, he prefers details that convey the mood of people, their psychology. Before us is a young, healthy girl who has just returned from the forest, the path and all its inhabitants explored to the last. From a few words spoken to her grandmother, we learn that the finches are completely tame and themselves “tagged along” with Olesya, that she often feeds them in the forest.
The author is in no hurry to show us the external portrait of the heroine; Ivan Timofeevich and Ivan Timofeevich did not immediately see what the young Polesie witch was like. Only after leaving the dim hut on the street, he “involuntarily admired her: “There was nothing in her like the local “girls”, whose faces, under ugly bandages covering the forehead on top, and the mouth and chin below, wear such a frightened and monotonous expression. My
the stranger, a tall brunette of about twenty to twenty-five years old, carried herself lightly and gracefully. A spacious white shirt hugged her young breasts freely and beautifully. The original beauty of her face, once seen by her, could not be forgotten, but it was difficult, even after getting used to it, to describe it. His charm lay in those large, shiny, dark eyes, to which his thin eyebrows, broken in the middle, gave an elusive shade of slyness, power and naivety; in the dark-pink tone of the skin, in the willful curve of the lips, of which the lower, somewhat fuller one protruded forward with a decisive and capricious look.” .
Having grown up far from a “poor civilization”, burdened with petty vanity and convention, Olesya was healthy both morally and physically. She gives herself entirely to the wonderful, soul-refreshing communication with nature and knows nothing about cities, cars, technical progress, “maiming and disfiguring” the souls of people.
The previously presented portrait of Olesya’s grandmother, the Prinovskaya witch Manuilikha, is a striking contrast to the girl’s appearance.
“All the features of Baba Yaga... were evident: thin cheeks, drawn inward, turning below into a sharp, long, flabby chin. Almost touching the nose hanging down; the sunken toothless mouth moved incessantly, as if chewing something, faded, once Blue eyes, cold, bulging, with very short red eyelids, like the eyes of an unseen ominous bird.” .
Something wheezes and bubbles in the old woman’s chest, strange sounds come out of her “Toothless, muttering mouth,” similar “to the gasping croak of an old crow...” Before us appears an old, probably very sick woman, who once lived among people, but is now afraid all kinds of meetings with them and protecting her granddaughter from communicating with people.
The old woman has lived a difficult life, suffered a lot from human malice, and now she is most afraid that Olesya, who does not know people, due to her gullibility, will become a victim of human hatred.
The extraordinary excitement of the old woman who heard the voice of the approaching Olesya, expressed in her movements and speech, is masterfully conveyed by the author and, as it were, prepares the reader for the tragic outcome of the forest fairy tale.
Well, go, go now, falcon,” the old woman fidgeted anxiously, pushing me away from the table. “There’s no point in you hanging around other people’s houses.” Go where you were going...
She even grabbed me by the sleeve of my jacket and pulled me towards the door. Her face expressed some kind of animal anxiety” [20.90].
Olesya also experiences fear of people and hostility towards them, who met Ivan Timofeevich with obvious dissatisfaction, which can be traced both in her behavior and in her speech:
Are these all your tame birds? - I asked...
“Tame,” she answered abruptly and without even looking at me.” .
Only a soft, pleading tone and assurances from Ivan Timofeevich that he was “neither a policeman, nor a clerk, nor an excise officer” and allowed him to talk a little to Olesya, who was looking at him with “testing distrust,” but the first meeting did not last long and, it seemed that she did not leave any feelings in the souls of young people.
The first impression Ivan Timofeevich made from his meeting with the mysterious Polless witch was admiration for the external beauty of the girl, her independent behavior, free judgment, bordering on amazement, where did she come from in this half-wild woman who had not received any education.
The girl has so many extraordinary qualities that have long been lost by city dwellers: purity, sincerity, proud strength?
Kuprin is in no hurry to develop events, he only instills the idea that something is about to happen. The sudden appearance of a girl in a rickety hut, next to the ugly Manuilikha in her old age, gives the writer the opportunity, through the lips of his hero, to most vividly and excitedly describe the original charm of the “forest girl”, who grew up in a natural environment of beautiful and powerful nature.
Throughout the story, the writer adds external characteristics the heroine with ever new details, touches, creating a poetic image of a truly beautiful person who preserves truly human qualities in any, even the most dramatic circumstances of life.
The author gives a detailed, detailed portrait of the heroine in order to show not only the charming beauty of a young, healthy, strong girl, but also the life-giving power of nature, among which this distinctive and original beauty blossomed. Having grown up far from the harmful influence of a “poor civilization” in all respects, Olesya seemed to have absorbed the life-giving juices of Mother Nature herself. In the beauty of Olesya, in the proud strength emanating from her, the writer embodies the beauty and proud strength of nature, which shaped man in his own image.
Describing Olesya’s appearance, her gestures, facial expressions, and manner of speaking, the writer uses vivid epithets and comparisons to create a colorful, lively and at the same time romantic image.
Initially, we see a cheerfully laughing, strong, slender girl.
Kuprin uses contrasts to emphasize and highlight the beautiful.
In Oles there is nothing like the local “girls”, whose gloomy faces are hidden with “ugly bandages” and always wear such a monotonous, frightened expression.”
Olesya is also dressed in a village style, but rough and simple clothes do not spoil her appearance at all, but only emphasize the slenderness and flexibility of the young and strong body. Olesya does not know how to pretend at all, and all the shades of the feelings she experiences are immediately reflected on her face, giving it even greater charm. “She laughed, and - how strange, how unexpectedly her beautiful face... it suddenly became bright, shy, childish.”
Throughout the entire narrative, the writer will supplement the description of Olesya’s external appearance with new details and touches, creating a poetic image of a truly beautiful person who retains truly human qualities in any, even the most dramatic circumstances of Echina.
The author notes swiftness and ease of movementOlesya: “she easily and quickly ran into the hut”; “Olesya quickly twisted the white... tow... then she let the spindle fall, then she picked it up... the work was in full swing in her hands.” ;nobility and innate graceful moderation,expressed in her movements and speech. So she “with sweet simplicity” invites Ivan Timofeevich to dine with her and the old woman, and, watching her while eating, the hero notes that “even in the manner of eating, Olesya had some kind of innate decency.” , even in her speech, her hero notes “an expression of proud confidence in his strength.” .
Olesya’s sonorous and fresh voice, her sly smile or loud laugh, her swift, dexterous and graceful movements, her sweet face with charming features, on which, as in a mirror, all the shades of the girl’s moods and experiences are reflected, innate tact and noble
Moderation in the expression of feelings is the main component of the appearance of the heroine of the story and naive and bright love.
Joyful light tones, colors and intonations prevail in the description of Olesya’s appearance, as she appears at the moment of our acquaintance with her and as the plot develops.
Love made Olesya even more beautiful. Now her face lights up with a “tender radiant smile of love”, her voice sounds “like sweet music”, “with an indescribable expression of tender affection and touching courage.” Love brought the beauty of femininity and the touching charm of sincerity of feelings to Olesya’s appearance.
“I tried to take the hawthorn flower from her. Resisting, she fell to the ground and carried me away with her, laughing joyfully and holding out to me her wet, sweet lips, open with rapid breathing.” [12.56].
Only at the end of the story, when the “naive fairy tale of love” turns into tragedy, will we see a different Olesya. Olesya with eyes “full of large, unshed tears”, then “without a scarf, in clothes torn into rags” and with a “pale, scratched, bloody face”, loudly and with “passionate hatred” shouting threats to the crowd who violated her.
Animal savagery and meanness burst into the bright world of Olesya, and the bright, warm, light colors go out, for a moment the ugly, terrible celebrates triumph. Joy gives way to fear, melancholy, and a feeling of helplessness. The theme of unattainable happiness, constantly heard in Kuprin’s work, takes on particular relevance in Olesya’s story.
The characters in the story are constrained by the laws of a certain social environment, which they perceive as necessary and requiring fulfillment.
Only Olesya, who grew up far from false social foundations, retains the original inherent in man capabilities. Her
the image is the ideal of a person in which external beauty and internal beauty are combined, manifesting in the rare and highly valued by the writer the ability to love sincerely, unselfishly and sacrificially.
The beautiful appearance of Olesya is presented in a mysterious and majestic frame of no less beautiful nature with its “mysteriously colored forests”, trees dressed in “silver, transparent covers”, paths and paths covered with a “plush carpet” of moss, so “light, elegant and charming, like an alley decorated by the elves for the solemn procession of Oberon and Titania.” . Only here, in the primordial kingdom, “among this smiling legend” could and did the extraordinary beauty of Olesya bloom. It is not for nothing that the hero remembers “the most beautiful appearance of Olesya”, inseparably with the glowing evening dawns, dewy, fragrant “lily of the valley and honey”, mornings full of cheerful freshness and ringing bird noise... hot June days.”
Here, in this wonderful kingdom of nature, Olesya’s big dark eyes sparkled so cheerfully, her happy laughter merged with the sonorous chirping of birds; here, under these “tall, slender pines,” Olesya first uttered words of love, and passionately kissed her lover, and here, for almost a whole month, a naive, charming fairy tale continued... of love, which “like a precious frame was decorated with the majestic green beauty of the pine forest.” .
In the pristine and chaste kingdom of nature, Olesya appears before us like a jewel in a magnificent frame.
Her first attempt to get closer to the external, obviously hostile world turns into a tragedy.
There, in the square, which “teemed with drunken, noisy people”, where “the unbearably hot air seemed to be completely saturated with the disgusting mixed smell of burnt vodka, onions, sheepskin
Tulupov, strong monarchy - bakun and dirty fumes human bodies", a wild ignorant crowd, with hatred towards everything new, unusual, unlike itself, tried to literally mix the helpless girl into the dirt, mutilating her beautiful body and deeply wounding her soul, defenseless in its naive purity.
Olesya appears completely different to us in last date with Ivan Timofeevich:
“Olesya’s face glowed with a feverish blush, her dark eyes shone unnaturally brightly, her dry lips trembled nervously. Long red abrasions marked her forehead, cheeks and neck.” . But this is not what the author focuses on. Bruises and abrasions will heal. But before us is another Olesya. She speaks in a “weak, barely audible voice,” in which one can hear “piteous prayer and suffering,” and only occasionally does a “sweet smile” appear on her unusually serious face.
Feelings of melancholy and anxiety are growing, parting with the surprisingly bright and joyful atmosphere of pure and sublime feelings, which have been touched and threaten to be destroyed by ignorance, rudeness and evil.
But this doesn't happen. Olesya is gifted with the ability to love not only sincerely and reverently, but also sacrificially. The power of her love, as it were, lifts the heroes above gossip and gossip, wild violence, above everything small and insignificant, not allowing the bright fairy-tale atmosphere to fade completely. Love triumphs over everything unworthy of it and evil, leaving “light and joyful” memories of itself devoid of bitterness.
1.2. Artistic image techniques
the inner world of the heroine of the story “Olesya”
The story “Olesya” is often called Kuprin’s artistic discovery - so freely, easily, without any tricks, the writer managed to create a surprisingly realistic realistic image of the Polesie beauty, striking in its poetry, perfection, and richness of shades of a complex spiritual world.
A true artistic instinct helps the writer to fully reveal the beauty and originality of the girl’s inner world, to show her naivety and power, femininity and proud independence, “flexible active mind”, “primitive and vivid imagination”, spiritual generosity and touching courage, delicacy and innate tact, involvement in modern mysteries nature.
Beautiful, like the nature of the woodland itself, Olesya appears before us as if coming out of a fairy tale. But the writer shrouds both the origin of the girl and the process of formation of her character in mystery. We learn nothing about her parents, about where she lived with her grandmother before they settled in Polesie. The writer himself, emphasizing that Olesya was raised by a dark, illiterate old woman, convinces the reader that the girl turned out to be so wonderful precisely because she grew up in the forest, not knowing the corrupting influence of civilization.
Revealing the girl’s inner world, the writer uses the technique of comparing two natures, two worldviews. On the one hand, Olesya is charming in her naivety, proud self-confidence, sincerity and purity, on the other hand, Ivan Timofeevich is an educated intellectual, humanist, representative of urban culture. The ratio speaks for itself. Over the kind, but weak and “lazy” heart of Ivan Timofeevich, Olesya rises above her nobility, integrity, self-confidence, ability to sacrifice, and confidence.
Greater power artistic expression acquires the portrait features of a girl, barely indicated at the beginning of the story, conveying the slightest shades of her feelings and experiences.
Out of curiosity, Ivan Timofeevich, radio-searching for the home of the “witches,” could hardly have thought that in the wilderness of Polesie loess he would encounter such original beauty, such a strong and original nature.
Olesya, raised from an early age to distrust people, does not even feel curiosity at the sight of a stranger and behaves unfriendly, not hiding her desire to quickly get rid of uninvited guest. The writer conveys her state mainly with verbs in combination with adverbs: “black eyebrows knitted together with displeasure,” she left silently,” “she answered abruptly,” “she shrugged her shoulders indifferently,” “she waved her hand dismissively,” “she asked anxiously,” “she looked with searching disbelief,” and etc.
The expression on Olesya’s face and her gestures and speech convincingly convey the experiences of a girl who is accustomed to expecting only bad things from people. It is clear that she was alarmed by the appearance of a new man, she does not trust him and, perhaps, takes him for a representative of the authorities from whom she and her grandmother “suffered enough.”
“Well, now tell me, why are you afraid of people?” - asks Ivan Timofeevich, misunderstanding Olesya’s alarm. “Then she spoke with increasing excitement:
It’s bad for us because of them...” The constant extortions of the policeman and the police officer, the mockery of the old woman - they call her “a witch, a devil, a convict” outrage Olesya, who sincerely does not understand why people are so merciless:
“Are we touching anyone? We don’t even need people... even if we don’t see anyone at all.” Polessky Bor is also home, and the whole world for Olesya, her kingdom, which she owns and which she protects from the invasion of outsiders. Having allowed Ivan Timofeevich to come here, she asks not to take a gun:
“Why beat the birds or the hares too. They do no harm to anyone, but they want to live, just like you and me. Do I love them? They are small and stupid,” she explains to the hero as if he were a small child, rightly believing that nature is only a source of prey for him.
Kuprin skillfully uses details to most fully show the psychology of people, their internal state, reflected in facial expressions, gestures, words and actions.
Landscapes in the work are also created with the aim of emphasizing one or another state of mind of the characters, their mood.
Winter, with its blizzards and the slow passage of time, causing melancholy in the hero, force him to try many activities: he re-reads books, tries to make acquaintance with the “local intelligentsia”, tries to treat Perebrod residents, teaches Yarmol to read and write, hunts, but does not complete a single task to the end and cannot do anything to dispel boredom and drive away “an vague, soul-corroding melancholy.”
All these feelings are completely unfamiliar to Olesya, who loudly sings songs in the snowy forest wilderness, where active life does not stop for a minute: “Life away from civilization is ensured by everyday hard work, and Olesya spends all her free time walking in the forest, caring for its inhabitants.
The hero's first, fleeting meeting with Olesya takes place in the winter, the subsequent ones in the spring. Increasingly remembering the image of the girl, Ivan Timofeevich experiences “spring sadness, filled with restless expectations and vague forebodings.” Trying to sort out his feelings, he admits to himself that he is not only attracted to Oles.
“a face shining with a gentle smile”, a slender young body, but also an innate graceful moderation”, visible in words and movements, “the halo of mystery surrounding her, the superstitious reputation of a witch, life in the thicket of a forest among a swamp and, in particular, this proud confidence in one’s abilities ..."
Revealing the originality and talent of Olesya, Kuprin touches those mysterious phenomenon psyche, which science cannot unravel today, and explains them from a realistic position: “... Olesya had access to those unconscious, instinctive, extracted random experience, strange knowledge, which, having preceded exact science by a whole century, lives, mixed with wild beliefs, in the dark, closed masses of the people, transmitted as greatest secret from generation to generation."
This forest girl is endowed with unusual qualities, some special power of intuition, insight, those heightened senses that city dwellers have long lost.
With amazing insight, she will reveal to the hero his own own character, having discerned in him a weak nature, easily influenced, unsure of his abilities.
Olesya's fortune-telling is not at all similar to her grandmother's fortune-telling, since it is based on a peculiar psychological analysis. Olesya avoids the cliché phrases that fortune tellers usually use, such as “you are in some trouble,” “great interest comes to you through a long road,” etc.
“Okay, I guess I’ll tell you,” Olesya finally agreed... What happened to you is this: although you are a kind person, you are only weak... Your kindness is not good, not heartfelt. You are not master of your word. You love to have the upper hand over people, but although you don’t want to, you obey them.”
The girl reveals not the best character traits, exposes the weaknesses of the person she is ready to love. At the end of the fortune telling, she predicts her own fate:
“It’s not going well for this lady of clubs, worse than death. She will accept shame through you, such that she cannot forget for the rest of her life, the sadness that comes out of her is long-lasting...”
Olesya firmly believes that you cannot escape fate, but she makes an attempt to overcome the nascent feeling.
After a whole series of walks through the spring forest with Ivan Timofeevich, during which Olesya either works “miracles, charming the blood on her hand, making him fall out of the blue, promising to make him fear, or falls asleep with questions, trying to find out more” about countries and peoples , about natural phenomena, about the structure of the universe...”, the girl suddenly, in one of the meetings, clearly reluctantly talks to Ivan Timofeevich and coldly says goodbye to him.
Alarmed by this change in attitude towards him, the hero attributes this to the wounded pride of the proud girl, who was forced to accept her help. But Olesya, sensing that love will bring her more suffering, tries to drown out the feeling that is increasingly asserting itself:
“Oh, Olesya, if you only knew how much pain you caused me... I waited so, so waited every evening, that you would go with me again... And you used to always be so inattentive, boring, angry... I’m not I suspected, Olesya, that all this was coming from my grandmother...” [20.120].
Olesya's answer was unexpected for the hero. She admitted that she herself wanted to distance herself, to forget, because “I was afraid, I thought that I could escape fate...”. But after surviving several days of separation, Olesya realized that she was unable to give up her love.
In his descriptions of love scenes, the writer again shows himself to be a deep psychologist and a great artist, depicting the experiences of lovers with deep tact:
“I remember, I remember very clearly only that Olesya’s pale face quickly turned towards me and that on this lovely, new face for me, in an instant, bewilderment and fear, anxiety and a tender, radiant smile of love were reflected, replacing each other... And how much I read in Olesya’s big, dark eyes: the excitement of the meeting, and the reproach for my long absence, and the ardent declaration of love... I felt that along with this look Olesya was giving me joyfully, without any conditions or hesitation, her entire being " .
And again Kuprin turns to the technique of contrast, comparing the internal experiences of the two characters. Deciding for herself that she is unable to give up her love, Olesya, pure and sincere in her spiritual manifestations, surrenders to her feelings joyfully and completely. Her love is undemanding and generous.
The hero sincerely and deeply loves Olesya, but doubt and anxiety do not leave him in the happiest moments. Thoughts about marrying Olesya are invariably intertwined with thoughts about how this community, whose opinion he cannot help but take into account, will look at this community, how will a girl who grew up among nature, free from any conventions, feel in a fashionable dress in the living room of a city house? Finally, what should one do with an old woman who doesn’t evoke any sympathy?
The hero's love for Olesya is sincere and deep, he has enough mind and heart to try to overcome his doubts, but still, carried away by his feeling, he closes his eyes to the future, fully aware that he can cause Olesya pain. Olesya is different. Her love is sacrificial and generous; most of all she is afraid of causing grief to her beloved.
“Your wife?... No, no... you yourself understand that it’s funny to even think about it. Well, what kind of wife am I to you, really? You are a gentleman, you are smart, educated, and me? I can’t read and I don’t know where to step...”
Olesya, with her characteristic insight, foresees that such an unequal marriage cannot complicate the hero’s life or make him unhappy:
“You are young, free... Would I really have the courage to tie you hand and foot for the rest of my life? Well, what if you like someone else later? After all, you will hate me then, you will curse that day and hour when I agreed to marry you... Don’t be angry, my dear!... I don’t want to offend you. I only think about your happiness.” .
These words contain all of Olesya, with her innate intelligence, pure soul, and generous heart.
In her desire to do something especially pleasant for her beloved, Olesya decided to go to church, despite her fear of God and confidence in her mysterious and fatal calling.
The hero’s timid feelings, constrained and inconsistent movements of his soul, indecision expressed in “fearful expectation”, “petty apprehension”, set off Olesya’s unfettered, sublime and sacrificial feeling - evidence of wealth, courage and purity of soul.
In love, in its happy and tragic moments, the character of the heroine, her feelings, and worldview are revealed.
Olesya’s love is free, unfettered, that same “tender, fragrant” feeling that Kuprin dreamed of seeing in life. This is “pagan” love, bashfully – chaste, simple and deep, sensitive, like nature itself, love – a fairy tale that blossoms in the frame of pristine nature, purifying and beneficially affecting the soul and feelings of a person.
For A. I. Kuprin, love is the most significant form of affirmation and identification personal beginning in man. And he, creating dozens of very different, often romantic love stories, was guided by more than just the desire to intrigue the reader. The writer portrayed intimate experiences as a natural, uninhibited manifestation of a person’s spiritual essence. The writer associated the death of spiritual purity in people, their loss of the ability to love “tenderly, chastely, reverently” with the harmful influence of “iron” civilization. Thus he comes to worship an exceptional personality, the so-called “natural man.” This image of a “natural man” is embodied in the story “Olesya”.
Olesya, nurtured by her mother - nature, raised far from false social foundations, retains in its pure form from birth the qualities and abilities inherent in a person. Her behavior is psychologically subtly motivated. Endowed with unprecedented power, the soul brings harmony into the obviously contradictory relationships of people. And this rare gift is expressed in the girl’s love for Ivan Timofeevich. With the strength of her feelings, Olesya, unfortunately, does not last long, but returns to the hero the naturalness of his experience that he had lost:
“The naive, charming fairy tale of our love continued for almost a whole month, and to this day, together with the beautiful appearance of Olesya, these glowing evening dawns, these dewy mornings fragrant with lilies of the valley and honey live in my soul with unfading force. Full of cheerful freshness and the ringing noise of birds, and hot, languid, lazy June days... not once did boredom, fatigue, or the eternal passion for a wandering life stir in my soul during this time. I, like a pagan god or like a young, strong animal, enjoyed light, warmth, the conscious joy of life and calm, healthy, sensual love.”
Depicting the internal state of the characters and their experiences, Kuprin often uses parallels with the state of nature. This is both descriptive and symbolic parallelism.
Here he stands at the edge of the forest coniferous forest with lush lumps of snow hanging “on the branches,” the lost Ivan Timofeevich listens enchanted to the “cold silence” and feels how “time slowly and silently passes” through him. . Very soon this winter's tale will introduce him to absolutely fabulous characters - the woman-like Yaga Manuilikha and the kind and sorceress Olesya, with whom finches can “keep up”, and “respectable starlings” live in her house.
The fairytale motif, once sounded, does not disappear.
The fabulous winter landscape will soon be replaced by an equally fabulous spring landscape with magical aromas, colors and sounds that can revive the soul for love and joy. The whole atmosphere of the story is imbued with fabulousness, which the author directly calls: “And this whole night merged into some kind of magical, enchanting fairy tale.” . Or “the naive, charming fairy tale of our love continued for almost a whole month.”
Emphasizing the fabulous atmosphere surrounding the lovers, the author seeks to express the main idea: only in such a pristine environment can a person as chaste and pure as Olesya grow up. One who knows how to accept the gift of love as priceless, to enjoy his feeling, surrendering to it, without a shadow of a doubt, without fear or hesitation.
Comparing the characters of the two main characters in the story, Kuprin shows us the difference between the selfless love of Olesya and the sincere, but not devoid of selfishness, feeling of Ivan Timofeevich. Olesya not only bewitched the hero, she gave him the opportunity to feel like a “pagan god”, enjoy light, warmth, conscious joy of life and calm, healthy, sensual love. .
Undemanding in love, Olesya tried not to offend or upset her loved one in any way. Even in the most tragic moments of her life, she thought only about not causing him pain and suffering.
When this charming fairy tale of love was still only, Olesya said: “No matter what happens, I will not regret it.”
And indeed, even in the most difficult moments, Olesya did not regret that she did not give up her love, which was obviously doomed to misfortune.
At the moment of parting, when shocked by what happened, confused and depressed Ivan Timofeevich cannot hold back his tears, the beaten, feverish Olesya consoles him, and surprise, tenderness and suffering are heard in her voice: “Don’t torture yourself, my dear... After all, I feel so good with you. Let’s not cry while we’re together.” .
Olesya disappeared from the hero’s life as mysteriously as she appeared in it. She left without leaving any resentment or disappointment in his soul. Olesya’s last gift was a string of coral beads - a reminder of Olesya’s tender, generous love, of her pure and sensitive heart.
Conclusion
The image of Olesya is one of the most poetic images in Kuprin’s work on the theme of love. It embodied the writer’s dream of a perfect man, in whom both soul and body are beautiful. The author clearly romanticizes the image of the daughter of the forests, but this does not in any way harm his integrity and originality.
The heroine’s beauty, not only physical, but also spiritual, reaches unprecedented flourishing and harmony in the conditions of Polesie, far from the corrupting influence of civilization.
In describing Olesya’s appearance, the writer uses expressively colored epithets and comparisons, in which bright, warm, shiny colors, and delicate tones predominate: when describing the girl’s facial features, the author uses epithets such as: “brilliant” (eyes), “thin” (eyebrows) , “willful” curve (of the lips), “dark-pink skin tone.” The facial expression itself is “light,” “shy,” “childish,” “gentle,” “cute”; smile – “affectionate”, “shining”, “sly”. Her body is as slender as young fir trees that have grown in the open spaces of an old forest; it is “strong”, “dexterous”, “strong”, “hot”. Olesya’s “clean,” “fresh,” “ringing” voice sounds either “with a soft apology” or “with an indescribable expression of tender affection and touching courage.”
Olesya’s original beauty becomes even brighter amid the riot of joyful colors of summer: “young foliage, young grass,” “delicate green lilacs,” “fragrant with lilies of the valley and honey, full of cheerful freshness and ringing bird noise,” dawns, “blazing evening dawns.” Olesya’s external beauty is similar to the eternal, unfading beauty of nature, giving life itself, light and warmth, bringing harmony to souls.
Searching for an answer to the question of where to look for real, not physically and spiritually disfigured people, in which Kuprin became the image of a “daughter of nature” - a beautiful, pure and wise “savage”.
Olesya is not only beautiful and charming. She has a decisive and proud disposition, combined with amazing responsiveness, sensitivity, selflessness and purity of soul. These character traits are especially clearly visible against the background of mental laziness, indecision and directly the character of Ivan Timofeevich.
The contrast between these two characters allows the writer to show the subtlest shades of the heroine’s feelings and thoughts, the motives for her actions and behavior.
Nature in the story actively influences the thoughts and feelings of the characters: a winter landscape, a fabulous summer night, a severe thunderstorm are associated with the most significant events in the development of the plot, with the most sincere happy and dramatic experiences of the characters.
Before us is an amazingly integral, original, free “nature”, in which childish naivety is combined with uncompromisingness and pride, gentleness and innate tact with determination, a clear mind and fresh imagination with unshakable hereditary superstition.
The amazing selflessness and responsiveness of Olesya’s soul is manifested in her desire not to overshadow the happy moments of love and her ability to catch every thought, every movement of the soul of a loved one even in the most tragic moments. Olesya’s love is that same “tender, tremulous, fragrant feeling” that the writer so dreamed of seeing in real life. Olesya sacrifices her dream of happiness to the well-being and tranquility of the hero, consciously and with amazing courage refusing to prolong the “charming fairy tale of love.”
“I only think about your happiness!” - these words expressed all the generosity of a sincere, sensitive and selfless soul.
Literature
1. Kuprin A. I. “Olesya”. Novels and short stories - M. Fiction, 1984. -
2. Kuprin A.I. Novels and stories - M.: Olympus; AST Publishing House, 1997-p 688 (Articles:
Krutikova L. V. Kuprin A. I.; Paustovsky K. G. Flow of life. Notes on prose).
3. Makarova S. A. Study of A. I. Kuprin’s story “Olesya” // Literature at school. – 2007.
- No. 7.-s. 22-27.
4. Martsenyuk S.F. "Hallowed be it your name" //Russian language and literature in secondary educational institutions Ukrainian SSR. – 1990. - No. 9 – P. 56-57.
5. Petrova T. A. The birth of a lesson. //Literature at school. – 1998. - No. 3. - With. 135.
6. Rasskazova L.V. The semantic and compositional role of Beethoven’s sonata in A.I. Kuprin’s story “Olesya” // Literature at school. – 2007. - No. 7. - With. 8-11.
7. Shekhanova T. “Olesya” in questions and answers. // Literature. – 2007. - No. 5. - With. 22-23.
Preview:
MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION
SECONDARY SCHOOL No. 3 of Ak-Dovurak
Section: literary studies
Research work for the city research and production complex “Step into the Future”
on the topic:
“Female images of the story by A.I. Kuprin "Olesya"
Completed by: 9th grade student
MBOU secondary school No. 3
Scientific supervisor: Oorzhak A.B.
teacher of Russian language and literature
MBOU secondary school No. 3
Ak-Dovurak 2013
Preview:
My stranger, a tall brunette of about twenty to twenty-five years old, carried herself lightly and slenderly. A spacious white shirt hung loosely and beautifully around her young, healthy breasts. The original beauty of her face, once seen, could not be forgotten... its charm lay in those large, shiny, dark eyes, to which thin eyebrows, broken in the middle, gave an elusive shade of slyness, power and naivety; in the dark-pink tone of the skin, in the willful curve of the lips, of which the lower one, somewhat fuller, stuck out in front with a decisive and capricious look...”[p.93-4]
"Olesya" [p.284]
“Her thin eyebrows suddenly knitted together, her eyes focused on me with a menacing and attractive expression, her pupils enlarged and turned blue... Under this gaze, a strange gaze, I was seized by the cold horror of the supernatural.”
"Olesya"
“I involuntarily drew attention to her hands: they were roughened and blackened from work, but they were not big and so beautiful shape that many well-bred girls would envy them"
"Olesya"
The detail is a description of the heroine’s hands as a touch to her appearance.
“She stopped spinning and sat with her head bowed, her hands quietly placed along her knees. Her motionless eyes with dilated pupils reflected some kind of dark horror, some kind of involuntary submission to the mysterious forces and supernatural knowledge that overshadowed her soul.”
"Olesya"
Description of the heroine's pose as a method of depicting her internal state.
“I remember, very clearly, only that Olesya’s pale face quickly turned towards me and that on this lovely, new face for me, in an instant, bewilderment, fear, anxiety and a tender radiant smile of love were reflected in succession... Olesya’s voice reached me like sweet music."
"Olesya"
“The snow began to fall... A light steam curled over the black fields, filling the air with the smell of thawed earth, that fresh, insinuating and powerful drunken smell of spring, which even in the city you recognize among hundreds of other smells. It seemed to me that along with this aroma spring sadness poured into the soul, making all women pretty in our eyes ... "
"Olesya"
Parallelism: awakening nature - awakening the hero’s feelings.
“In some places the light did not penetrate at all under the thick canopy of pine branches. There was complete, impenetrable darkness, and only in the very middle of it, a ray gliding out of nowhere suddenly brightly illuminated a long row of trees and cast a narrow regular path on the ground - so light, elegant and charming, like an alley decorated by the elves for the solemn procession of Oberon and Titania . And we walked, hugging, among this smiling living legend, without a single word, overwhelmed by our happiness and the eerie silence of the forest...”
"Olesya"
Landscape as a means of representation psychological state heroes.
“I looked at her from the side, so that I could see the pure, gentle profile of her slightly tilted head. Only now I noticed that Olesya herself had lost weight during this time and there were bluish shadows around her eyes. Feeling my gaze, Olesya raised her eyes to me, then immediately lowered them and turned away with a shy smile.”
"Olesya."
The appearance of the heroine and emotional reaction on the situation as a way of depicting the complexity and depth of nature, the chastity of the soul.
“With arrogant self-confidence, she moved her head from bottom to top, and an evil triumph flashed in her narrowed eyes...
They don’t touch me... Once some surveyor poked his head in my direction... You see, he wanted to caress me... That’s how it should be, and I still haven’t forgotten how I caressed him.”
"Olesya."
Slide captions:
Topic of the research work: The female image of A. I. Kuprin’s story “Olesya”
Theme - love The idea - love makes it possible to realize the most intimate beginning of the human personality.
Relevance of the study: The inexhaustible love in A.I. Kuprin’s story “Olesya” is characterized by an insoluble artistic conflict, accompanied by the suffering of a rich and spiritually gifted personality.
Novelty of the research: In an attempt to identify and substantiate the external and internal qualities inherent only to the heroines of Kuprin’s works about love as characteristic of realistic and romantic female images, captivating with the touching purity of their feelings.
Object of study: The female image in A. I. Kuprin’s story about love
Subject of research: Portraits and psychological characteristics female image, presented in the work of A. I. Kuprin “Olesya”
Purpose of the study: To study the techniques of depicting the external and internal appearance of the heroine of the story “Olesya”, which allows the writer to create a highly artistic and holistic female image
Practical significance: The work can be used in practical classes and seminars on Kuprin’s work, in elective classes at school.
Structure of the work: The work consists of an introduction, one chapter, a conclusion and a list of references... Research methods: descriptive, comparative and philological.
A writer is someone who is able to understand the innermost essence of phenomena, to see and hear what is not given to others. Ivan Timofeevich Russian form of the Hebrew name “Mercy of God” In this name the Russian people put into their entire self-image, with all the contradictions, and lamentations and dreams, and the middle name is an intellectual (a different upbringing, a different life, different morals) City dweller “stranger” to everyone Dreams of becoming a writer Timofey
Fortune telling - predicting the future This year After many years, “great love will fall on you” “great shame will come through you” “long sadness will come to her” “all this trouble will happen through you” - “your life will be sad” “who will love you, you will bring a lot of grief” “you will never get married, and you will die single” “there will be a lot of boredom and hardship in life” “you will want to lay hands on yourself - but if you don’t dare, you will bear it” “you will endure severe need”
Symptoms of “laziness of the heart” At the decisive moments of the hero’s life, he is overcome by a strange reluctance to finish what he has started: to think it through, to finish it, to finish it. Life taught Ivan Timofeevich to control his emotional impulses in order to maintain internal balance.
The strength of Olesya and the weakness of Ivan T. She is not afraid to live in harmony with her heart, so she sees further, knows more and feels more subtly - Courage, independence and independence - Realizes unbreakable ties surrounding nature with the wisdom of life - Running away from trials, pain, risk and responsibility - Consciously destroying himself, culturally helpless Mistaken Olesya’s bright talent for “black art” Overlooked his love!
CONCLUSIONS: The meaning of human existence is the pursuit of love, goodness and purity. Degree of kindness - most important quality in man. The story “Olesya” is a hymn to female beauty and love, a hymn to a woman who is spiritually pure and wise, a hymn to a sublime, primordial feeling!
Completed by: student of grade 9 “b” of MBOU secondary school No. 3 in Ak - Dovuraka Oorzhak Dayana Thank you for your attention*
There is nothing more mysterious than the human soul. In my opinion, S. N. Bulgakov’s statement could not be more suitable for A. I. Kuprin’s story “”. This work was created in 1898 and refers to early creativity writer. It deserves the closest attention. The author puts complex problem, and the bright characters of the characters make the story exciting and memorable.
Olesya is very similar to folklore characters. She has amazing beauty, in addition, she is characterized by extraordinary talents. The girl is shown in close connection with nature. Even at the very first moment of meeting Olesya, she brings birds into the house. Forest wild birds become “tame” for her. Olesya is a real savage, but this is what makes her so attractive. Simple village girls are noticeably inferior compared to Pei. Olesya herself, natural and amazing, from the point of view of the villagers is clear evidence of her “witchcraft”.
It is not difficult to imagine how much admiration Olesya’s appearance evokes in the protagonist. After all, the fairy-tale beauty seems to be the living embodiment of folklore heroines: “There was nothing in her like the local “girls”, whose faces, under ugly bandages covering the forehead on top, and the mouth and chin below, wear such a monotonous, frightened expression. My stranger, a tall brunette of about twenty to twenty-five years old, carried herself easily and slenderly. A spacious white shirt hung freely and beautifully around her young, healthy breasts. The original beauty of her face, once seen, could not be forgotten..."
The “witchcraft” abilities of Olesya and her grandmother cannot be perceived by the reader as dangerous. After all, Olesya’s moral purity, which becomes obvious from the moment we meet, cannot allow these amazing abilities were intended to harm. But in the village Olesya is perceived as a witch.
However, how much more noble and pure Olesya looks compared to the village residents. The stupidity, malice, and narrow-mindedness of the villagers make them disgusting, and the reader involuntarily gets into this feeling. As for Olesya, one cannot help but admire her. She is mysterious, but so beautiful and attractive.
Olesya and her grandmother try not to communicate with residents of the nearby area. With her story about the position of neutrality, the girl seems to be trying to isolate herself from those around her, to protect herself from their stupid malice and hatred: “Are we really touching anyone! We don't even need people. Once a year I just go to a place to buy soap and salt... And I also give my grandmother tea - she loves tea from me. Otherwise you might as well not see anyone at all.” Ordinary people cruel in their desire to register everyone who is not like them as “witchers”. And Olesya first of all strives to escape from this uncontrollable anger.
Olesya's intelligence is obvious. A simple, uneducated girl has amazing intuition, is well versed in everything that is in one way or another connected with human relations. She understands that she has no future with Ivan Timofeevich. This hurts her, but she can’t change anything. The master cannot connect his life with a forest savage, no matter how beautiful she is.
The girl sacrifices herself. The demand of her beloved to attend church was dangerous for Olesya. She was well aware of this. Local residents would not forgive the “witch” for daring to visit the church. Olesya's random threat is perceived by local residents as clear evidence of her witchcraft power. And now the girl and her grandmother have no opportunity to stay in the same place. They need to run away again, look for a new refuge. Who is to blame for this? Olesya doesn’t blame anyone. She does not perceive her love for Ivan Timofeevich as a punishment; she is grateful to him for those wonderful minutes that she gave her.
The savage girl greatly benefits from the educated Ivan Timofeevich. He could not feel the danger that threatened his beloved. He looks selfish person thinking only about themselves. Without meaning to, he brought trouble to his beloved. And he doesn’t have the strength to protect her. We understand how difficult the separation was for Olesya. After all, she is forced to run away without even saying goodbye to her lover. She thereby saves him, because the local residents, suspecting Ivan Timofeevich of communicating with witches, could be dangerous for him. Olesya's nobility is manifested in everything. She has amazing kindness, wisdom, and purity.
Kuprin's story "Olesya" makes you think about the complex relationships between people. In addition, this story once again proves how mysterious and incomprehensible the human soul can be.
In the touching story “Olesya” by Alexander Ivanovich Kuprin, the main characters are Ivan Timofeevich and Olesya. Minor characters - Yarmola, Manuilikha, Evpsikhy Afrikanovich and others, less significant. This mystical story O pure love and cruel human ignorance, capable of destroying a bright feeling.
Olesya
A young girl, about twenty-four, stately, tall and beautiful. She was raised by her grandmother and grew up in the forest. But, despite the fact that she is not taught to read and write, she does not know how to write and read - she has the natural wisdom of centuries, deep knowledge human nature and curiosity. She calls herself a witch, has supernatural powers and predicts a person's imminent death by looking at a person's face.
Olesya realizes her destiny and is ashamed of it. She does not go to church in the belief that all her powers are from the unclean. She bizarrely combines modesty and timidity with independence and self-sufficiency. But behind the witch’s bravado, you can guess a gentle, dreamy girl who is afraid of people and, at the same time, dreams of love.
Ivan Timofeevich
An aspiring writer, in search of inspiration, came from the city to the village on official business. He is young, educated and smart. In the village he has fun hunting and getting to know the locals, who soon bored him with their serf ways. Panych is from a good family, but, despite his origins, he behaves simply and without pathos. Ivan is a kind and sympathetic young man, noble and soft-spoken.
Getting lost in the forest, he meets Olesya, which greatly enlivens his dull stay in the village of Perebrod. A man of a dreamy nature, he quickly becomes attached and then falls in love with a girl who predicted a joyless and dull life for him. He is honest and sincere, loves and has the courage to confess his feelings to Olesya. But with all his love, it is difficult for him to accept his beloved for who she is.
How can I tell you, Olesya? - I began hesitantly. - Well, yes, perhaps I would be pleased. I’ve told you many times that a man can not believe, doubt, even laugh at last. But a woman... a woman should be pious without reasoning. In the simple and tender trust with which she places herself under the protection of God, I always feel something touching, feminine and beautiful.
Manuilikha
Olesya's grandmother, angry with people elderly woman, who is forced to live and raise her granddaughter in the forest. Manuilikha has the same abilities as her granddaughter, for which she paid quiet life. Rude, unrestrained in language, but sincerely loving and protecting her granddaughter.
Grandmother is old, strict and grumpy. He doesn’t trust people, he’s always waiting for a trick and he curses his difficult fate. When she sees that Olesya has seriously fallen in love, she tries with all her might to prevent the union, foreseeing how it will all end. But at the end of the story she still shows her soft, suffering nature.
Yarmola
A narrow-minded, uneducated simple man, Ivan's servant. Yarmola is reputed to be the laziest drinker in the village. But at the same time, he is an excellent hunter who knows the area and has deep knowledge of nature, the forest and its inhabitants.
He becomes very attached to Ivan, although he is taciturn and gloomy. Yarmola insists on spelling lessons with the gentleman, which shows his contradictory nature. On the one hand, he is a lazy person and a drunkard, on the other, he is an experienced and inquisitive person.
Evpsikhy Afrikanovich
Local police officer, guardian of order and the threat of the entire Polesie. A typical "boss", impudent and important. Not averse to bribes, but cowardly man. He insists on evicting Manuilikha and her granddaughter from their house, but when Ivan tries to convince him to wait, he agrees only through expensive gifts.
Inflated with awareness of his own importance, a rude and arrogant nobleman. And, at the same time, a caring husband. Which clearly shows the gap in his consciousness between him, and people like him, and commoners.
