Dmitry Pavlovich Sanin (landowner, fifty-two years old) is sorting through old letters in the table. Suddenly he finds a case with a garnet cross and is plunged into memories.

I. In the summer of 1840, young Sanin returned to Russia from Italy. He planned the trip so that he could spend one day in Frankfurt and then move on in the evening. After wandering around the city, Dmitry enters an Italian pastry shop.

II. Suddenly, a beautiful girl runs out of the interior. She asks for help. Sanin follows her and sees the teenager fainting. The girl is afraid for her brother; she doesn’t know what to do. Dmitry advises rubbing the boy with brushes. Together with an old servant, he tries to help the sick man.

III. Soon the teenager comes to his senses. The doctor and the boy's mother appear. Dmitry leaves, but the girl asks him to return in an hour to thank him for his help.

IV. Sanin enters the pastry shop again. Here he is accepted as family. Dmitry meets the Roselli family: the widow Lenore, her daughter Gemma and son Emilio, as well as the old servant Pantaleone.

V. The ladies know practically nothing about Russia and ask Dmitry for a long time about his country. Sanin even performs several folk songs and romances that delight listeners.

VI. Old man Pantaleone was a famous singer in his younger years. He is asked to perform some song, but the poor guy can’t really do anything. To make up for the awkwardness, Emilio invites his sister to read humorous plays for the guest.

VII. Gemma reads beautifully. Sanin is so carried away by her voice that he is late for the evening stagecoach on which he was supposed to leave. The ladies invite Dmitry to visit again and promise to introduce him to Gemma's fiancé.

VIII. Sanin wants to stay in Frankfurt for a few days. Emilio and the young German Karl Kluber, Gemma’s fiancé, come to his hotel. He thanks Emilio for saving him and invites him for a country walk.

IX. Emilio chats with Dmitry for a long time. He says that his mother, under the influence of Kluber, wants to make him a merchant, and he himself dreams of becoming an artist. Then the new friends go to a pastry shop for breakfast.

X. After breakfast, Sanin has a long conversation with Gemma and her mother, admiring the beauty of the young Italian. Lenore doesn't feel entirely healthy, she complains of a headache and falls asleep in Gemma's arms.

XI. A customer enters the candy store. Sanin is forced to serve him because Gemma does not want to wake up Frau Lenore. The young people quietly laugh at Dmitry's inexperience as a salesman.

XII. Sanin discusses her musical and literary passions with Gemma. Emilio runs in and then Lenore wakes up. Dmitry stays for lunch at the pastry shop.

XIII. As a result, Sanin spends the entire day with the Roselli family. Everyone is very happy with his presence, the time passes happily. Returning to the hotel late at night, Dmitry thinks only about Gemma.

XIV. In the morning, Emilio and Kluber pick up Sanin to go for a walk together in an open carriage. Gemma's mother complains of a headache again and chooses to stay home.

XV. The walk is somewhat strenuous. Kluber treats his companions condescendingly and patronizingly. Gemma is unusually thoughtful and cold, everyone feels constrained.

XVI. During lunch at a tavern, a drunken officer approaches Gemma and snatches a rose that the girl picked on the way. He showers Gemma with vulgar compliments. Kluber is indignant and hurries to take the bride away. Sanin calls the officer a boor and leaves his business card to challenge him to a duel. He takes the rose and returns it to Gemma. All the way home, Kluber rants about the decline of morals. Gemma winces and turns away from him.

XVII. In the morning, the officer’s second comes to Sanin. Gemma's abuser is Baron von Dongof. Dmitry promises to send his second to him. At this time, Pantaleone brings a note from Gemma. She asks Sanin for a meeting. Dmitry invites Pantaleone to become his second. The old man is unusually touched and inspired by this request.

XVIII. The seconds agree on a duel in a small forest. The duel is to take place tomorrow at 10 am from a distance of twenty paces. Each participant has the right to two shots. Then Sanin and Pantaleone go to the candy store.

XIX. Gemma is very worried, but does not talk about anything with Sanin. Dmitry spends the whole day in the pastry shop. Emilio is privy to the secret. He looks at Dmitry with undisguised delight.

XX. In the evening Sanin does not want to go to his room. He wanders near Gemma's house. Suddenly the window opens, the girl looks out into the street and asks Sanin to come into her room. Gemma gives Dmitry a rose, which he won from the officer.

XXI. Early in the morning Pantaleone comes for Sanin, they go to the place of the fight. On the way, Dmitry notices Emilio, who asks to take him with him. The old man admits that he blabbed to the boy about his important mission.

XXII. Sanin asks Pantaleone to return the rose to Gemma if he is killed in a duel. Dmitry shoots first and misses. The Baron shoots into the air. Sanin refuses the second shot. Dongof does the same and admits his guilt. Young people shake hands. Dmitry returns to the hotel.

XXIII. Suddenly Lenore comes to him. She admits that she knows everything about the duel and is grateful to Sanin for his courageous act. But Gemma refused her fiancé, and now the Roselle family faces ruin. Therefore, Dmitry must persuade Gemma to marry Kluber. Lenore sobs and falls to her knees. Sanin agrees to talk to the girl.

XXIV. Dmitry finds Gemma in the garden. She thanks the young man for his courage and protection. Sanin talks about Madame Lenore’s request. Gemma promises that she will listen to his advice. Dmitry asks her to change her mind. From such words the girl turns very pale, so Dmitry hastily whispers to Gemma so that she does not rush into making a decision.

XXV. Returning to the hotel, Sanin writes a letter to Gemma declaring his love. In her response letter, the girl asks not to come to them tomorrow. Sanin invites Emilio to take a walk outside the city. The boy enthusiastically agrees.

XXVI. The whole next day the young people walk merrily. In the evening, Sanin receives a note from Gemma in which she makes an appointment for him in the city garden. Dmitry is very excited about this offer.

XXVII. Sanin is languishing, barely waiting for the meeting. Gemma reports that yesterday she finally refused Kluber and invites Dmitry to her home.

XXVIII. On the way, Sanin and Gemma meet Kluber. He grins contemptuously and passes by. Entering the room where Mrs. Lenore is sitting, the girl tells her mother that she has brought her real groom.

XXIX. Lenore cries bitterly and seeks to drive Dmitry out. Then, hearing about the marriage, he gradually calms down and gives his blessing.

XXX. Dmitry promises to sell the family estate and donate the money to set up a confectionery shop. Gemma gives her garnet cross to her lover as a sign that their different religions cannot be an obstacle to marriage.

XXXI. In the morning, Sanin accidentally meets his childhood friend Ippolit Polozov. He is married to a very rich woman who has an estate next to the land of Sanin. In order to quickly sell his inheritance, Dmitry agrees to go with Polozov to his wife in Wiesbaden. Only she can make the decision to buy.

XXXII. Dmitry hurries to Gemma to explain his unexpected departure to the bride. He promises to return in two days.

XXXIII. In Wiesbaden, Polozov invites Sanin to have lunch. At the table, Dmitry meets his friend’s wife, whose name is Marya Nikolaevna. This woman is inferior to Gemma in beauty, but is very smart and charming.

XXXIV. Polozov’s wife liked Dmitry, she is trying in every possible way to attract the attention of the young man. Marya Nikolaevna asks Sanin to stay for two days in order to calmly make a decision about purchasing his estate.

XXXV. The next morning, Sanin, walking in the park, meets Marya Nikolaevna. The young people walk for a long time, and then go to the hotel to drink coffee and discuss the purchase of an estate.

XXXVI. They bring a poster along with the coffee. Marya Nikolaevna invites Dmitry to the theater. She cleverly persuades her husband to stay at home.

XXXVII. Polozova questions Sanin in detail about the estate. This conversation turns into a real exam, which Dmitry fails miserably. He can’t really explain anything because he doesn’t understand the economy well.

XXXVIII. Sanin is slightly perplexed by Polozova’s behavior, but he has to endure it. He does not know that Marya Nikolaevna made a bet with her husband. She promised to seduce Dmitry in these two days.

XXXIX. At the theater, Polozova is not so much watching a boring play as talking with Sanin. She tells him that she values ​​freedom above all else, which is why she married Hippolytus. Marya Nikolaevna knew in advance that she would be able to completely command him.

XL. Leaving the theater, the couple meets Baron Dongof. Marya Nikolaevna laughs that the baron and Sanin will fight again, but because of her. Polozova invites Dmitry for a horse ride and promises to sign a deed of sale for the estate after it.

XLI. While riding a horse, Sanin falls even more under the spell of his companion. He cannot take his eyes off the fearless and agile rider. Marya Nikolaevna takes Dmitry further into the forest.

XLII. Young people wait out the rain in a tiny guardhouse. Polozov lost the bet. When Marya Nikolaevna asks where Sanin will go tomorrow, Dmitry replies that he is going with her to Paris.

XLIII. Sanin recalls with bitterness the days of “slavery” with Marya Nikolaevna. When Dmitry got tired of the powerful woman, he was simply thrown out. Then there was a return to their homeland, loneliness and hopeless melancholy. Dmitry decides to go to the place where he was happy for the only time.

XLIV. Sanin arrives in Frankfurt. He is trying to find traces of the Roselli family. Dmitry finds Dongof and learns from him that Gemma married a rich American and then went with him to New York. The baron has an acquaintance who can give Gemma's address. Sanin writes a letter to America and waits for an answer.

The letter from Gemma is full of quiet sadness. She forgave Sanin and is even grateful to him. If it weren’t for Dmitry, she would have married Kluber and would have missed out on her feminine happiness. Gemma gave birth to four sons and a daughter, Marianne, whose photograph she included in the envelope. Sanin is shocked. The girl is very similar to his beloved. Gemma reports that Pantaleone died before leaving for America, and Lenore died in New York. Emilio fought in Garibaldi's troops and died heroically.

INTRODUCTION

CHAPTER 1. IDEATORICAL AND THEMATIC CONTENT OF THE STORY BY I.S. TURGENEV “SPRING WATER”

CHAPTER 2. IMAGES OF MAIN AND SECONDARY CHARACTERS IN THE STORY

2.2 Female images in the story

2.3 Minor characters

CONCLUSION

LITERATURE

INTRODUCTION

At the end of the 1860s and the first half of the 1870s, Turgenev wrote a number of stories that belonged to the category of memories of the distant past (“Brigadier”, “The Story of Lieutenant Ergunov”, “The Unfortunate”, “Strange Story”, “King of the Steppes Lear”, “Knock, knock, knock”, “Spring Waters”, “Punin and Baburin”, “Knocking”, etc.). Of these, the story “Spring Waters,” the hero of which is another interesting addition to Turgenev’s gallery of weak-willed people, became the most significant work of this period.

The story appeared in the "Bulletin of Europe" in 1872 and was close in content to the stories "Asya" and "First Love", written earlier: the same weak-willed, reflective hero, reminiscent of "superfluous people" (Sanin), the same Turgenev girl (Gemma ), experiencing the drama of failed love. Turgenev admitted that in his youth he “experienced and felt the content of the story personally.” But unlike their tragic endings, “Spring Waters” ends in a less dramatic plot. Deep and moving lyricism permeates the story.

In this work, Turgenev created images of the outgoing noble culture and new heroes of the era - commoners and democrats, images of selfless Russian women. And although the characters in the story are typical Turgenev heroes, they still display interesting psychological traits, recreated by the author with incredible skill, allowing the reader to penetrate into the depths of various human feelings, to experience or remember them himself. Therefore, it is necessary to consider the figurative system of a small story with a small set of characters very carefully, relying on the text, without missing a single detail.

Consequently, the goal of our course work is to study in detail the text of the story to characterize its figurative system.

The object of study is, therefore, the main and minor characters of “Spring Waters”.

The purpose, object and subject determine the following research tasks in our course work:

Consider the ideological and thematic content of the story;

Identify the main plot lines;

Consider the images of the main and minor characters of the story, based on textual characteristics;

Draw a conclusion about Turgenev’s artistic skill in depicting the heroes of “Spring Waters.”

The theoretical significance of this work is determined by the fact that in criticism the story “External Waters” is mainly considered from the standpoint of problem-thematic analysis, and from the entire figurative system the line Sanin – Gemma – Polozov is analyzed, in our work we attempted a holistic figurative analysis of the work.

The practical significance of our work lies in the fact that the material presented in it can be used in the study of Turgenev’s work in general, as well as for the preparation of special courses and elective courses, for example, “The Tale of I.S. Turgenev about love (“Spring Waters”, “Asya”, “First Love”, etc.) or “Tales of Russian Writers of the Second Half of the 19th Century”, and when studying the general university course “History of Russian Literature of the 19th Century”.

CHAPTER 1. IDEATORICAL AND THEMATIC CONTENT OF THE STORY

I.S. TURGENEV “SPRING WATER”

The figurative system of a work directly depends on its ideological and thematic content: the author creates and develops characters in order to convey some idea to the reader in order to make it “alive,” “real,” “close” to the reader. The more successfully the images of the heroes are created, the easier it is for the reader to perceive the author’s thoughts.

Therefore, before proceeding directly to the analysis of the images of the heroes, we need to briefly consider the content of the story, in particular, why the author chose these particular characters and not other characters.

The ideological and artistic concept of this work determined the originality of the conflict and special system underlying it, the special relationship of characters.

The conflict on which the story is based is a clash between a young man, not entirely ordinary, not stupid, undoubtedly cultured, but indecisive, weak-willed, and a young girl, deep, strong-willed, integral and strong-willed.

The central part of the plot is the origin, development and tragic ending of love. It is to this side of the story that Turgenev’s main attention, as a writer-psychologist, is directed; in revealing these intimate experiences, his artistic skill is predominantly manifested.

The story also contains a connection to a specific historical period of time. Thus, the author dates Sanin’s meeting with Gemma to 1840. In addition, in “Spring Waters” there are a number of everyday details characteristic of the first half of the 19th century (Sanin is going to travel from Germany to Russia in a stagecoach, mail carriage, etc.).

If we turn to the figurative system, we should immediately note that along with the main storyline - the love of Sanin and Gemma - additional storylines of the same personal order are given, but according to the principle of contrast with the main plot: the dramatic end of the story of Gemma's love for Sanin becomes clearer from comparison with side episodes concerning the history of Sanin and Polozova.

The main plot line in the story is revealed in the usual dramatic way for such works by Turgenev: first, a brief exposition is given, depicting the environment in which the heroes must act, then there is a plot (the reader learns about the love of the hero and heroine), then the action develops, sometimes meeting along the way obstacles, finally comes the moment of highest tension of the action (explanation of the heroes), followed by a catastrophe, and then an epilogue.

The main narrative unfolds as the memoirs of a 52-year-old nobleman and landowner Sanin about the events of 30 years ago that happened in his life when he was traveling in Germany. One day, while passing through Frankfurt, Sanin went into a pastry shop, where he helped the young daughter of the owner with her younger brother who had fainted. The family took a liking to Sanin and, unexpectedly for himself, he spent several days with them. When he was on a walk with Gemma and her fiancé, one of the young German officers sitting at the next table in the tavern allowed himself to be rudely behaved and Sanin challenged him to a duel. The duel ended happily for both participants. However, this incident greatly shook up the girl’s measured life. She refused the groom, who could not protect her dignity. Sanin suddenly realized that he loved her. The love that gripped them led Sanin to the idea of ​​marriage. Even Gemma’s mother, who was initially horrified by Gemma’s breakup with her fiancé, gradually calmed down and began to make plans for their future life. To sell his estate and get money for living together, Sanin went to Weisbaden to visit the rich wife of his boarding house friend Polozov, whom he accidentally meets in Frankfurt. However, the rich and young Russian beauty Marya Nikolaevna, on her whim, lured Sanin and made him one of her lovers. Unable to resist Marya Nikolaevna’s strong nature, Sanin follows her to Paris, but soon turns out to be unnecessary and returns to Russia with shame, where his life passes sluggishly in the bustle of society. Only 30 years later, he accidentally finds a miraculously preserved dried flower, which became the cause of that duel and was given to him by Gemma. He rushes to Frankfurt, where he finds out that Gemma got married two years after those events and lives happily in New York with her husband and five children. Her daughter in the photograph looks like that young Italian girl, her mother, to whom Sanin once proposed marriage.

As we can see, the number of characters in the story is relatively small, so we can list them (as they appear in the text)

· Dmitry Pavlovich Sanin - Russian landowner

· Gemma is the daughter of the owner of the pastry shop

· Emil is the son of the owner of the pastry shop

· Pantaleone – old servant

· Louise – maid

· Leonora Roselli – pastry shop owner

· Karl Kluber - Gemma's fiance

· Baron Dönhof – German officer, later – general

· von Richter – second of Baron Dönhof

· Ippolit Sidorovich Polozov – Sanin’s boarding comrade

· Marya Nikolaevna Polozova - Polozov’s wife

Naturally, the heroes can be divided into main and secondary. We will consider images of both of them in the second chapter of our work.

CHAPTER 2. IMAGES OF MAIN AND SECONDARY

CHARACTERS IN THE STORY

2.1 Sanin – the main character of “Spring Waters”

First, let us note once again that the conflict in the story, the selection of characteristic episodes, and the relationship of the characters - everything is subordinated to one main task of Turgenev: the analysis of the psychology of the noble intelligentsia in the field of personal, intimate life. The reader sees how the main characters meet, love each other and then separate, and what part other characters take in their love story.

The main character of the story is Dmitry Pavlovich Sanin, at the beginning of the story we see him already 52 years old, remembering his youth, his love for the girl Dzhema and his unfulfilled happiness.

We immediately learn a lot about him, the author tells us everything without hiding: “Sanin was 22 years old, and he was in Frankfurt, on his way back from Italy to Russia. He was a man with a small fortune, but independent, almost without a family. After the death of a distant relative, he ended up with several thousand rubles - and he decided to live them abroad, before entering the service, before finally taking upon himself that government yoke, without which a secure existence had become unthinkable for him.” In the first part of the story, Turgenev shows the best that was in Sanin’s character and what captivated Gemma in him. In two episodes (Sanin helps Gemma’s brother, Emil, who has fallen into a deep faint, and then, defending Gemma’s honor, fights a duel with the German officer Döngof), such traits of Sanin as nobility, straightforwardness, and courage are revealed. The author describes the appearance of the main character: “Firstly, he was very, very handsome. Stately, slender stature, pleasant, slightly blurry features, affectionate bluish eyes, golden hair, whiteness and blush of the skin - and most importantly: that ingenuously cheerful, trusting, frank, at first somewhat stupid expression, by which in former times one could immediately recognize children of sedate noble families, “father’s” sons, good noblemen, born and fattened in our free semi-steppe regions; a stuttering gait, a whispered voice, a smile like a child’s, as soon as you look at him... finally, freshness, health - and softness, softness, softness - that’s all Sanin for you. And secondly, he was not stupid and learned a thing or two. He remained fresh, despite his trip abroad: the anxious feelings that overwhelmed the best part of the youth of that time were little known to him.” The unique artistic means that Turgenev uses to convey intimate emotional experiences deserve special attention. Usually this is not a characteristic of the author, not statements of the characters about themselves - these are mainly external manifestations of their thoughts and feelings: facial expression, voice, posture, movements, style of singing, performance of favorite musical works, reading of favorite poems. For example, the scene before Sanin’s duel with an officer: “One day a thought came over him: he came across a young linden tree, broken, in all likelihood, by yesterday’s squall. She was positively dying... all the leaves on her were dying. "What is this? an omen?" - flashed through his head; but he immediately whistled, jumped over that same linden tree, and walked along the path.” Here the hero’s state of mind is conveyed through the landscape.

Naturally, the hero of the story is not unique among other Turgenev characters of this type. One can compare “Spring Waters”, for example, with the novel “Smoke”, where researchers note the similarity of plot lines and images: Irina - Litvinov - Tatyana and Polozova - Sanin - Gemma. Indeed, Turgenev in the story seemed to change the novel's ending: Sanin did not find the strength to abandon the role of a slave, as was the case with Litvinov, and followed Marya Nikolaevna everywhere. This change in the ending was not random and arbitrary, but was precisely determined by the logic of the genre. The genre also updated the prevailing dominants in the development of the characters’ characters. Sanin, just like Litvinov, is given the opportunity to “build” himself: and he, outwardly weak-willed and characterless, surprising himself, suddenly begins to commit actions, sacrifices himself for the sake of another - when he meets Gemma. But the story is not dominated by this quixotic trait; in the novel it dominates, as in the case of Litvinov. In the “characterless” Litvinov, it is precisely character and inner strength that are actualized, which are realized, among other things, in the idea of ​​social service. But Sanin turns out to be full of doubts and self-contempt; he, like Hamlet, is “a sensual and voluptuous man” - it is Hamlet’s passion that wins in him. He is also crushed by the general flow of life, unable to resist it. Sanin's life revelation is consonant with the thoughts of the heroes of many of the writer's stories. Its essence lies in the fact that the happiness of love is as tragically instantaneous as human life, but it is the only meaning and content of this life. Thus, the heroes of the novel and story, who initially display common character traits, in different genres realize different dominant principles - either quixotic or Hamletian. The ambivalence of qualities is complemented by the dominance of one of them.

Current page: 1 (book has 12 pages in total)

Ivan Sergeevich Turgenev

Spring waters

Happy years

Happy days -

Like spring waters

They rushed by!

From an old romance

...At one o'clock in the morning he returned to his office. He sent out a servant, who lit the candles, and, throwing himself into a chair near the fireplace, covered his face with both hands.

Never before had he felt such fatigue - physical and mental. He spent the whole evening with pleasant ladies and educated men; some of the ladies were beautiful, almost all the men were distinguished by their intelligence and talents - he himself spoke very successfully and even brilliantly... and, with all that, never before that “taedium vitae”, which the Romans already spoke about, that “disgust for life” - with such irresistible force did not take possession of him, did not choke him. If he had been a little younger, he would have cried from melancholy, from boredom, from irritation: an acrid and burning bitterness, like the bitterness of wormwood, filled his entire soul. Something persistently hateful, disgustingly heavy surrounded him on all sides, like a dark autumn night; and he did not know how to get rid of this darkness, this bitterness. There was no hope of sleep: he knew that he would not fall asleep.

He began to think... slowly, sluggishly and angrily.

He thought about the vanity, the uselessness, the vulgar falsehood of everything human. All ages gradually passed before his mind's eye (he himself had recently passed his 52nd year) - and not one found mercy in front of him. Everywhere there is the same eternal pouring from empty to empty, the same pounding of water, the same half conscientious, half conscious self-delusion - no matter what the child enjoys, as long as he doesn’t cry - and then suddenly, out of the blue, it will come old age - and with it that constantly growing, all-corroding and undermining fear of death... and crash into the abyss! It’s good if life plays out like this! Otherwise, perhaps, before the end, weakness and suffering will follow, like rust on iron... Covered with stormy waves, as the poets describe, he imagined the sea of ​​life; No; he imagined this sea to be imperturbably smooth, motionless and transparent to the very dark bottom; he himself sits in a small, rickety boat - and there, on this dark, muddy bottom, like huge fish, ugly monsters are barely visible: all everyday ailments, illnesses, sorrows, madness, poverty, blindness... He looks - and here is one of the monsters stands out from the darkness, rises higher and higher, becomes more and more clearly, more and more disgustingly clearly... Another minute - and the boat propped up by him will capsize! But then it seems to fade again, it moves away, sinks to the bottom - and it lies there, slightly moving its reach... But the appointed day will come - and it will capsize the boat.

He shook his head, jumped up from his chair, walked around the room a couple of times, sat down at the desk and, opening one drawer after another, began rummaging through his papers, old letters, mostly from women. He himself did not know why he was doing this, he was not looking for anything - he just wanted to get rid of the thoughts that were tormenting him through some external activity. Having opened several letters at random (one of them contained a dried flower tied with a faded ribbon), he just shrugged his shoulders and, looking at the fireplace, threw them aside, probably intending to burn all this unnecessary trash. Hastily thrusting his hands into one box and then into another, he suddenly opened his eyes wide and, slowly pulling out a small octagonal box of an antique cut, slowly lifted its lid. In the box, under a double layer of yellowed cotton paper, was a small garnet cross.

For several moments he looked at this cross in bewilderment - and suddenly he cried out weakly... Either regret or joy portrayed his features. A similar expression appears on a person’s face when he suddenly meets another person whom he has long lost sight of, whom he once loved dearly and who now unexpectedly appears before his eyes, still the same - and completely changed over the years.

He got up and, returning to the fireplace, sat down again in the chair - and again covered his face with his hands... “Why today? today?" - he thought - and he remembered a lot of things that had happened long ago.

This is what he remembered...

But you must first say his first name, patronymic and last name. His name was Sanin, Dmitry Pavlovich.

Here's what he remembered:

It was the summer of 1840. Sanin was twenty-two years old, and he was in Frankfurt, on his way back from Italy to Russia. He was a man with a small fortune, but independent, almost without a family. After the death of a distant relative, he ended up with several thousand rubles - and he decided to live them abroad, before entering the service, before finally taking upon himself that government yoke, without which a secure existence had become unthinkable for him. Sanin carried out his intention exactly and managed it so skillfully that on the day of his arrival in Frankfurt he had exactly enough money to get to St. Petersburg. In 1840 there were very few railways; tourists rode around in stagecoaches. Sanin took a seat in the Beywagen; but the stagecoach did not leave until eleven o'clock in the evening. There was a lot of time left. Fortunately, the weather was fine - and Sanin, having had lunch at the then famous White Swan Hotel, went to wander around the city. He went to see Dannecker’s Ariadne, which he liked little, visited Goethe’s house, of whose works he, however, read only “Werther” - and that in a French translation; I walked along the banks of the Main, got bored, as a respectable traveler should; Finally, at six o'clock in the evening, tired, with dusty feet, I found myself in one of the most insignificant streets of Frankfurt. He could not forget this street for a long time. On one of its few houses he saw a sign: “Giovanni Roselli’s Italian Pastry Shop” announcing itself to passers-by. Sanin went in to drink a glass of lemonade; but in the first room, where, behind a modest counter, on the shelves of a painted cabinet, reminiscent of a pharmacy, there were several bottles with gold labels and the same number of glass jars with crackers, chocolate cakes and candies - there was not a soul in this room; only the gray cat squinted and purred, moving its paws on a high wicker chair near the window, and, blushing brightly in the slanting ray of the evening sun, a large ball of red wool lay on the floor next to an overturned carved wooden basket. A vague noise was heard in the next room. Sanin stood there and, letting the bell on the door ring until the end, said, raising his voice: “Is there no one here?” At the same instant, the door from the next room opened - and Sanin had to be amazed.

A girl of about nineteen rushed into the pastry shop, with her dark curls scattered over her bare shoulders, with her bare arms outstretched, and, seeing Sanin, immediately rushed to him, grabbed his hand and pulled him along, saying in a breathless voice: “Hurry, hurry, come here, save me!” Not out of unwillingness to obey, but simply from an excess of amazement, Sanin did not immediately follow the girl - and seemed to stop in his tracks: he had never seen such a beauty in his life. She turned around - and with such despair in her voice, in her gaze, in the movement of her clenched hand, convulsively raised to her pale cheek, she said: “Yes, go, go!” - that he immediately rushed after her through the open door.

In the room into which he ran after the girl, on an old-fashioned horsehair sofa lay, all white - white with yellowish tints, like wax or like ancient marble - a boy of about fourteen, strikingly similar to the girl, obviously her brother. His eyes were closed, the shadow of his thick black hair fell like a spot on his petrified forehead, on his motionless thin eyebrows; Clenched teeth were visible from under his blue lips. He didn't seem to be breathing; one hand fell to the floor, he threw the other behind his head. The boy was dressed and buttoned up; a tight tie squeezed his neck.

The girl screamed and rushed towards him.

- He died, he died! - she cried, - now he was sitting here, talking to me - and suddenly he fell and became motionless... My God! can't you help? And no mother! Pantaleone, Pantaleone, what about the doctor? “- she suddenly added in Italian: “Have you gone to see the doctor?”

“Signora, I didn’t go, I sent Louise,” a hoarse voice came from behind the door, “and a little old man in a purple tailcoat with black buttons, a high white tie, short nankeen trousers and blue woolen stockings entered the room, hobbling on crooked legs. His tiny face completely disappeared under a whole mass of gray, iron-colored hair. Rising steeply upward on all sides and falling back in disheveled braids, they gave the old man’s figure a resemblance to a tufted hen - a resemblance all the more striking because under their dark gray mass all that could be seen was a pointed nose and round yellow eyes.

“Louise is quickly running away, but I can’t run,” the old man continued in Italian, one by one raising his flat, gouty legs, shod in high shoes with bows, “but I brought water.”

With his dry, gnarled fingers he squeezed the long neck of the bottle.

- But Emil will die for now! – the girl exclaimed and extended her hands to Sanin. - Oh my lord, oh mein Herr! Can't you help?

“We need to let him bleed - this is a blow,” remarked the old man, who bore the name Pantaleone.

Although Sanin did not have the slightest idea about medicine, he knew one thing for sure: blows do not happen to fourteen-year-old boys.

“It’s a fainting spell, not a blow,” he said, turning to Pantaleone. - Do you have brushes?

The old man raised his face.

“Brushes, brushes,” Sanin repeated in German and French. “Brushes,” he added, pretending to be cleaning his dress.

The old man finally understood him.

- Ah, brushes! Spazzette! How not to have brushes!

- Let's get them here; We will take off his coat and begin to rub it.

- Okay... Benone! Shouldn't you pour water on your head?

- No... after; Now go quickly and get the brushes.

Pantaleone put the bottle on the floor, ran out and immediately returned with two brushes, one head brush and one clothes brush. A curly poodle accompanied him and, vigorously wagging its tail, looked with curiosity at the old man, the girl and even Sanin - as if wanting to know what all this anxiety meant?

Sanin quickly took off the coat from the lying boy, unbuttoned the collar, rolled up the sleeves of his shirt - and, armed with a brush, began scrubbing his chest and arms with all his might. Pantaleone just as diligently rubbed his other head brush over his boots and trousers. The girl threw herself on her knees near the sofa and, grabbing her head with both hands, without blinking a single eyelid, she glared at her brother’s face. Sanin rubbed it himself - and he himself looked sideways at her. My God! what a beauty she was!

Her nose was somewhat large, but beautiful, aquiline, and her upper lip was slightly shaded by fluff; but the complexion, even and matte, almost ivory or milky amber, the wavy gloss of hair, like Allori’s Judith in the Palazzo Pitti - and especially the eyes, dark gray, with a black border around the pupils, magnificent, triumphant eyes , - even now, when fear and grief darkened their shine... Sanin involuntarily remembered the wonderful land from which he was returning... Yes, he had never seen anything like it in Italy! The girl was breathing rarely and unevenly; It seemed that every time she waited, would her brother start breathing for her?

Sanin continued to rub him; but he was looking at more than one girl. Pantaleone's original figure also attracted his attention. The old man was completely weak and out of breath; with each blow of the brush he jumped up and groaned shrilly, and the huge tufts of hair, wet with sweat, swayed heavily from side to side, like the roots of a large plant washed away by water.

“At least take off his boots,” Sanin wanted to tell him...

The poodle, probably excited by the unusualness of everything that was happening, suddenly fell on its front paws and began to bark.

– Tartaglia – canaglia! - the old man hissed at him...

But at that moment the girl’s face changed. Her eyebrows raised, her eyes became even larger and shone with joy...

Sanin looked around... Color appeared on the young man’s face; the eyelids moved... the nostrils twitched. He sucked in air through his still clenched teeth and sighed...

“Emil!..” the girl shouted. - Emilio mio!

Large black eyes slowly opened. They still looked blankly, but were already smiling—weakly; the same weak smile descended on the pale lips. Then he moved his dangling hand and placed it on his chest with a flourish.

- Emilio! – the girl repeated and stood up. The expression on her face was so strong and bright that it seemed that now either tears would flow from her, or laughter would burst out.

- Emil! What's happened? Emil! – was heard behind the door – and a neatly dressed lady with silver-gray hair and a dark face entered the room with nimble steps. An elderly man followed her; the maid's head flashed behind his shoulders.

The girl ran towards them.

“He’s saved, mom, he’s alive!” - she exclaimed, frantically hugging the lady who entered.

- What is it? - she repeated. – I’m returning... and suddenly I meet Mr. Doctor and Louise...

The girl began to tell what had happened, and the doctor approached the patient, who was more and more coming to his senses - and still continued to smile: it was as if he was beginning to be ashamed of the alarm he had caused.

“I see, you rubbed him with brushes,” the doctor turned to Sanin and Pantaleone, “and did a great job... A very good idea... but now we’ll see what other means...” He felt the young man’s pulse. - Hm! Show me your tongue!

The lady leaned towards him carefully. He smiled even more openly, rolled his eyes at her - and blushed...

It occurred to Sanin that he was becoming superfluous; he went out to the candy store. But before he had time to grab the handle of the street door, the girl again appeared in front of him and stopped him.

“You are leaving,” she began, looking affectionately into his face, “I’m not stopping you, but you must definitely come to us this evening, we are so obliged to you - you may have saved your brother - we want to thank you - mom wants . You must tell us who you are, you must rejoice with us...

“But I’m leaving for Berlin today,” Sanin began to stutter.

“You’ll still have time,” the girl objected briskly. – Come to us in an hour for a cup of chocolate. Are you promising? And I need to see him again! Will you come?

What could Sanin do?

“I’ll come,” he answered.

The beauty quickly shook his hand, fluttered out - and he found himself on the street.

When Sanin returned to Roselli's pastry shop an hour and a half later, he was received there like family. Emilio sat on the same sofa on which he had been rubbed; the doctor prescribed him medicine and recommended “great caution in experiencing sensations,” since the subject was of a nervous temperament and prone to heart disease. He had fainted before; but never had the attack been so long and strong. However, the doctor announced that all danger had passed. Emil was dressed, as befits a convalescent, in a spacious dressing gown; his mother wrapped a blue woolen scarf around his neck; but he looked cheerful, almost festive; and everything around had a festive look. In front of the sofa, on a round table covered with a clean tablecloth, stood a huge porcelain coffee pot filled with fragrant chocolate, surrounded by cups, decanters of syrup, biscuits and rolls, even flowers; six thin wax candles burned in two antique silver candlesticks; on one side of the sofa, the Voltaire chair opened its soft embrace - and Sanin was seated in this very chair. All the inhabitants of the pastry shop with whom he had to meet that day were present, not excluding the poodle Tartaglia and the cat; everyone seemed incredibly happy; the poodle even sneezed with pleasure; one cat was still coy and squinting. Sanin was forced to explain who he was from, where he came from, and what his name was; when he said that he was Russian, both ladies were a little surprised and even gasped - and then, with one voice, they announced that he spoke German perfectly; but that if it is more convenient for him to express himself in French, then he can use this language too, since they both understand it well and express themselves in it. Sanin immediately took advantage of this offer. “Sanin! Sanin! The ladies never expected that a Russian surname could be so easily pronounced. I also really liked his name: “Dimitri”. The older lady remarked that in her youth she had heard a wonderful opera: “Demetrio e Polibio” - but that “Dimitri” was much better than “Demetrio”. Sanin talked in this manner for about an hour. For their part, the ladies initiated him into all the details of their own lives. It was the mother, the lady with gray hair, who spoke most. Sanin learned from her that her name was Leonora Roselli; that she was left a widow by her husband, Giovanni Battista Roselli, who settled in Frankfurt twenty-five years ago as a pastry chef; that Giovanni Battista was from Vicenza, and a very good, although a little hot-tempered and arrogant man, and a Republican at that! At these words, Mrs. Roselli pointed to his portrait, painted in oils and hanging over the sofa. It must be assumed that the painter - “also a Republican!”, as Ms. Roselli noted with a sigh - was not quite able to grasp the resemblance, for in the portrait the late Giovanni Battista was some kind of gloomy and stern brigant - like Rinaldo Rinaldini! Mrs. Roselli herself was a native of “the ancient and beautiful city of Parma, where there is such a wonderful dome, painted by the immortal Correggio!” But her long stay in Germany made her almost completely German. Then she added, shaking her head sadly, that all she had left was this: this daughter yes there you go this son (she pointed her finger at them one by one); that the daughter’s name is Gemma, and the son’s name is Emilius; that they are both very good and obedient children - especially Emilio... (“Am I not obedient?” - the daughter said here; “Oh, you are also a Republican!” - the mother answered); that things, of course, are now going worse than under her husband, who was a great master in the confectionery department... (“Un grand" uomo!” - Pantaleone picked up with a stern look); but that, after all, thank God, you can still live!

Gemma listened to her mother - and then chuckled, then sighed, then stroked her on the shoulder, then shook her finger at her, then looked at Sanin; Finally she stood up, hugged and kissed her mother on the neck - “on her darling”, which made her laugh a lot and even squeal. Pantaleone was also introduced to Sanin. It turned out that he had once been an opera singer, for baritone roles, but had long since stopped his theatrical studies and was in the Roselli family something between a friend of the house and a servant. Despite his very long stay in Germany, he learned the German language poorly and only knew how to swear in it, mercilessly distorting even swear words. “Ferroflucto spicchebubbio!” – he called almost every German. He pronounced the Italian language perfectly - for he was from Sinigaglia, where one hears “lingua toscana in bocca romana!” . Emilio apparently basked and indulged in the pleasant sensations of a man who had just escaped danger or was recovering; and, besides, one could notice from everything that his family spoiled him. He shyly thanked Sanin, but, however, leaned more on syrup and sweets. Sanin was forced to drink two large cups of excellent chocolate and eat a wonderful amount of biscuits: he had just swallowed one, and Gemma was already bringing him another - and there was no way to refuse! He soon felt at home: time flew by with incredible speed. He had to talk a lot - about Russia in general, about the Russian climate, about Russian society, about the Russian peasant - and especially about the Cossacks; about the war of the twelfth year, about Peter the Great, about the Kremlin, and about Russian songs, and about bells. Both ladies had a very weak concept of our vast and distant homeland; Mrs. Roselli, or, as she was more often called, Frau Lenore, even plunged Sanin into amazement with the question: does the famous ice house in St. Petersburg, built in the last century, still exist, about which she recently read such an interesting article in one of her books late husband: “Bellezze delle arti”? And in response to Sanin’s exclamation: “Do you really think that there is never summer in Russia?!” - Frau Lenore objected that this is how she still imagined Russia: eternal snow, everyone wears fur coats and everyone is military - but the hospitality is extraordinary, and all the peasants are very obedient! Sanin tried to provide her and her daughter with more accurate information. When the talk touched on Russian music, he was immediately asked to sing some Russian aria and pointed to a tiny piano in the room, with black keys instead of white and white instead of black. He obeyed without further ado and, accompanying himself with two fingers of his right and three (thumb, middle and little fingers) of his left, sang in a thin nasal tenor, first “Sarafan”, then “On the Pavement Street”. The ladies praised his voice and music, but more admired the softness and sonority of the Russian language and demanded a translation of the text. Sanin fulfilled their desire, but since the words of “Sarafan” and especially: “On the pavement street” (sur une ruà pavee une jeune fille allait à l"eau - he conveyed the meaning of the original in this way) - could not instill in his listeners a high concept of Russian poetry, he first recited, then translated, then sang Pushkin’s “I remember a wonderful moment,” set to music by Glinka, the minor verses of which he slightly distorted. Then the ladies were delighted - Frau Lenore even discovered in the Russian language an amazing similarity with Italian. “A moment” - “o, vieni”, “with me” - “siam noi” - etc. Even the names: Pushkin (she pronounced: Poussekin) and Glinka sounded something familiar to her. I’ll let you sing something: they also didn’t bother. Frau Lenore sat down at the piano and, together with Gemma, sang a few duttinos and stornellos. Her daughter’s voice was once a good one; it was somewhat weak, but pleasant.

Ivan Sergeevich Turgenev

"Spring Waters"

He returned home at two o'clock in the morning, tired and full of disgust for life. He was 52 years old, and he perceived his life as a calm, smooth sea, in the depths of which monsters lurked: “all everyday ailments, illnesses, sorrows, madness, poverty, blindness.” Every minute he expected one of them to capsize his fragile boat. The life of this rich but very lonely man was empty, worthless and disgusting. To escape from these thoughts, he began to sort through old papers, yellowed love letters and found among them a small octagonal box in which a small garnet cross was kept. He reminded Dmitry Pavlovich Sanin of the past.

In the summer of 1840, when Sanin turned 22, he traveled around Europe, squandering a small inheritance from a distant relative. Returning home, he stopped in Frankfurt. The stagecoach to Berlin was leaving late, and Sanin decided to take a walk around the city. Finding himself on a small street, Dmitry went into the Giovanni Roselli Italian Pastry Shop to drink a glass of lemonade. Before he could enter the hall, a girl ran out from the next room and began to beg Sanin for help. It turned out that the girl’s younger brother, a boy of about fourteen named Emil, had lost consciousness. Only the old servant Pantaleone was at home, and the girl was in a panic.

Sanin rubbed the boy with brushes, and he, to the joy of his sister, came to his senses. While saving Emil, Dmitry looked at the girl, marveling at her amazing classical beauty. At this time a lady entered the room, accompanied by a doctor, for whom a maid had been sent. The lady was the mother of Emilio and the girl. She was so happy about her son’s salvation that she invited Sanin to dinner.

In the evening, Dmitry was greeted as a hero and savior. He learned that the mother of the family's name was Leonora Roselli. Twenty years ago, she and her husband, Giovanni Battista Roselli, left Italy to open a pastry shop in Frankfurt. The beauty's name was Gemma. And their faithful servant Pantaleone, a funny little old man, was a former opera tenor. Another full member of the family was the poodle Tartaglia. To his disappointment, Sanin learned that Gemma was engaged to Mr. Karl Klüber, the head of a department of one of the large stores.

Sanin stayed up late with them and was late for the stagecoach. He had little money left, and he asked for a loan from his Berlin friend. While waiting for a response letter, Dmitry was forced to stay in the city for several days. In the morning, Emil visited Sanin, accompanied by Karl Klüber. This prominent and tall young man, impeccable, handsome and pleasant in all respects, thanked Dmitry on behalf of his bride, invited him on a pleasure walk to Soden and left. Emil asked permission to stay and soon became friends with Sanin.

Dmitry spent the whole day at Roselli's, admiring the beauty of Gemma, and even managed to work as a salesman in a pastry shop. Sanin went to the hotel late in the evening, taking with him “the image of a young girl, now laughing, now thoughtful, now calm and even indifferent, but always attractive.”

A few words should be said about Sanin. He was a stately and slender young man with slightly blurred facial features, blue eyes and golden hair, the scion of a sedate noble family. Dmitry combined freshness, health and an infinitely gentle character.

In the morning there was a walk to Soden, a small picturesque town half an hour’s drive from Frankfurt, organized by Herr Klüber with truly German pedantry. We dined at the best tavern in Soden. Gemma got bored with the walk. To unwind, she wanted to have lunch not in a secluded gazebo, which her pedantic fiancé had already ordered, but on the common terrace. A company of officers from the Mainz garrison was dining at the next table. One of them, being heavily drunk, approached Gemma, “slammed the glass” for her health and impudently grabbed a rose lying near her plate.

This act offended the girl. Instead of interceding for the bride, Herr Klüber hastily paid and, loudly indignant, took her to the hotel. Sanin approached the officer, called him impudent, took the rose and asked for a duel. Emil was delighted by Dmitry's action, and Kluber pretended not to notice anything. All the way back, Gemma listened to the groom’s self-confident rantings and in the end began to be ashamed of him.

The next morning, Sanin was visited by Baron von Donhof's second. Dmitry had no acquaintances in Frankfurt, and he had to invite Pantaleone to be his seconds. He took up his duties with extraordinary zeal and destroyed in the bud all attempts at reconciliation. It was decided to shoot with pistols from twenty steps.

Sanin spent the rest of the day with Gemma. Late in the evening, when Dmitry was leaving the pastry shop, Gemma called him to the window and gave him the same, already withered, rose. She awkwardly leaned over and leaned on Sanin's shoulders. At that moment, a hot whirlwind swept down the street, “like a flock of huge birds,” and the young man realized that he was in love.

The duel took place at ten o'clock in the morning. Baron von Dongoff deliberately fired to the side, admitting his guilt. The duelists shook hands and dispersed, and Sanin was ashamed for a long time - everything turned out very childish. At the hotel it turned out that Pantaleone had blabbed about the duel to Gemma.

In the afternoon, Sanina visited Frau Leone. Gemma wanted to break off the engagement, although the Roselli family was practically ruined, and only this marriage could save her. Frau Leone asked Dmitry to influence Gemma and persuade her not to refuse her groom. Sanin agreed and even tried to talk to the girl, but the persuasion backfired - Dmitry finally fell in love and realized that Gemma loved him too. After a secret date in the city garden and mutual confessions, he had no choice but to propose to her.

Frau Leone greeted this news with tears, but after asking the newly-minted groom about his financial situation, she calmed down and resigned herself. Sanin owned a small estate in the Tula province, which he had to urgently sell in order to invest in a confectionery. Dmitry already wanted to go to Russia, when he suddenly met his former classmate on the street. This fat fellow named Ippolit Sidorich Polozov was married to a very beautiful and rich woman from the merchant class. Sanin approached him with a request to buy the estate. Polozov replied that his wife decides all financial issues, and offered to take Sanin to her.

Having said goodbye to his bride, Dmitry went to Wiesbaden, where Mrs. Polozova was treated with water. Marya Nikolaevna really turned out to be a beauty with heavy brown hair and somewhat vulgar facial features. She immediately began to court Sanin. It turned out that Polozov was a “convenient husband” who did not interfere in his wife’s affairs and gave her complete freedom. They had no children, and all Polozov’s interests converged on tasty, plentiful food and a luxurious life.

The couple made a bet. Ippolit Sidorich was sure that this time he would not get his wife - Sanin was very much in love. Unfortunately, Polozov lost, although his wife had to work hard. During the numerous dinners, walks and visits to the theater that Mrs. Polozova arranged for Sanin, he met von Dongoff, the mistress’s previous lover. Dmitry cheated on his fiancee three days after arriving in Wiesbaden on a horseback ride organized by Marya Nikolaevna.

Sanin had the conscience to admit to Gemma that he had cheated on him. After that, he completely submitted to Polozova, became her slave and followed her until she drank him dry and threw him away like an old rag. In memory of Gemma, Sanin only had a cross. He still did not understand why he left the girl, “so tenderly and passionately loved by him, for a woman whom he did not love at all.”

After an evening of memories, Sanin got ready and went to Frankfurt in the middle of winter. He wanted to find Gemma and ask for forgiveness, but he couldn’t even find the street on which the pastry shop stood thirty years ago. In the Frankfurt address book he came across the name of Major von Donhof. He told Sanin that Gemma had gotten married and gave her address in New York. Dmitry sent her letter and received an answer. Gemma wrote that she was very happily married and was grateful to Sanin for upsetting her first engagement. She gave birth to five children. Pantaleone and Frau Leone died, and Emilio died fighting for Garibaldi. The letter contained a photograph of Gemma's daughter, who looked very much like her mother. The girl was engaged. Sanin sent her a “garnet cross set in a magnificent pearl necklace” as a gift, and then he himself got ready to go to America. Retold Yulia Peskovaya

Dmitry Pavlovich Sanin was going through his old papers and found a small box with a pomegranate cross inside. Memories woke up. In 1840, Sanin traveled around Europe and stopped in Frankfurt. Entering a small pastry shop, he came across a girl begging him to help her unconscious brother. When it was all over, their mother invited the savior to dinner. Leonora Roselli fled with her husband from Italy to open her own pastry shop. Her daughter's name was Gemma, and the little old servant was called Pantaleone, a former opera tenor.

Gemma was going to marry Karl Krüber. The next day, Dmitry went with Karl and Gemma to Soden. There, one of the officers offended Gemma, and Sanin asked for a duel. Pantaleone confessed to Gemma about the duel, and the girl intended to break up with her groom. The mother visited Sanin and asked her to influence her daughter, because their family was on the verge of collapse and great hopes were pinned on this marriage. Dmitry agreed, but the conversation turned in a different direction and Sanin decided to propose to her. The mother was against it at first, but then agreed. Dmitry owned a small estate, which Sanin intended to sell. A chance meeting with a classmate brought many changes to Sanin’s life.

The wife of Polozov's classmate was an insidious woman and seduced Dmitry. Sanin told Gemma everything, after which he devoted himself completely to Polozova, who made him her slave and used him to the last. Only the cross remained in memory. After these memories, Dmitry decides to go to Frankfurt to ask Gemma for forgiveness. But there wasn’t even a street where that pastry shop used to be. Having accidentally found von Donhof, now a major, Sanin meets with him. He provided the address of Gemma, who lived in New York. Sanin wrote, in response he received a letter of gratitude from Gemma that he had upset her first marriage. She sent a photo of her daughter who was getting married. Sanin sent her a garnet cross, enclosed in a pearl necklace, and soon he himself was going to New York.

Context of the story

At the end of the 1860s and the first half of the 1870s, Turgenev wrote a number of stories that belonged to the category of memories of the distant past (“Brigadier”, “The Story of Lieutenant Ergunov”, “The Unfortunate”, “Strange Story”, “King of the Steppes Lear”, “Knock, knock, knock”, “Spring Waters”, “Punin and Baburin”, “Knocking”, etc.). Of these, the story “Spring Waters,” the hero of which is another interesting addition to Turgenev’s gallery of weak-willed people, became the most significant work of this period.

Heroes of the story

• Dmitry Pavlovich Sanin - Russian landowner
• Gemma - the daughter of the owner of the pastry shop
• Emil - the son of the owner of the pastry shop
• Pantaleone - old servant
• Louise - maid
• Leonora Roselli - owner of the pastry shop
• Karl Kluber - Gemma's fiance
• Baron Dönhof - German officer, later major
• von Richter - Baron Dönhof's second
• Ippolit Sidorovich Polozov - Sanin's boarding comrade
• Marya Nikolaevna Polozova - Polozov's wife

The main narrative is told as the memoirs of a 52-year-old nobleman and landowner Sanin about the events of 30 years ago that happened in his life when he was traveling in Germany.

One day, while passing through Frankfurt, Sanin went into a pastry shop, where he helped the young daughter of the owner with her younger brother who had fainted. The family took a liking to Sanin and, unexpectedly for himself, he spent several days with them. When he was out for a walk with Gemma and her fiancé, one of the young German officers sitting at the next table in the tavern allowed himself to be rude, and Sanin challenged him to a duel. The duel ended happily for both participants. However, this incident greatly shook up the girl’s measured life. She refused the groom, who could not protect her dignity. Sanin suddenly realized that he loved her. The love that gripped them led Sanin to the idea of ​​marriage. Even Gemma’s mother, who was initially horrified by Gemma’s breakup with her fiancé, gradually calmed down and began to make plans for their future life. To sell his estate and get money for living together, Sanin went to Wiesbaden to visit the rich wife of his boarding house friend Polozov, whom he accidentally meets in Frankfurt. However, the rich and young Russian beauty Marya Nikolaevna, on her whim, lured Sanin and made him one of her lovers. Unable to resist Marya Nikolaevna's strong nature, Sanin follows her to Paris, but soon turns out to be unnecessary and returns to Russia with shame, where his life passes sluggishly in the bustle of society. Only 30 years later he accidentally finds a miraculously preserved garnet cross, given to him by Gemma. He rushes to Frankfurt, where he finds out that Gemma got married two years after those events and lives happily in New York with her husband and five children. Her daughter in the photograph looks like that young Italian girl, her mother, to whom Sanin once proposed marriage.

Screen adaptation

• - "Fantasy"
• - "Trip to Wiesbaden"

Links

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See what “Spring Waters (story)” is in other dictionaries:

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STORY, a prose genre of unstable volume (mostly average between a novel and a short story), gravitating towards a chronicle plot, reproducing the natural course of life. The plot, devoid of intrigue, is centered around the main character... ... Modern encyclopedia

A prose genre of unstable volume (mostly intermediate between a novel and a short story), gravitating toward a chronicle plot that reproduces the natural course of life. The plot, devoid of intrigue, is centered around the main character, personality and... Big Encyclopedic Dictionary

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