Read poetry on this page "Threshold" Russian poet Ivan Turgenev written in 1878 year.
I see a huge building.
In the front wall a narrow door is wide open; outside the door there is a gloomy darkness. A girl stands in front of a high threshold... A Russian girl.
That impenetrable darkness breathes frost; and along with a chilling stream, a slow, dull voice is carried out from the depths of the building.
- Oh, you who want to cross this threshold, do you know what awaits you?
“I know,” the girl answers.
- Cold, hunger, hatred, ridicule, contempt, resentment, prison, illness and death itself?
- I know.
- Complete alienation, loneliness?
- I know... I'm ready. I will endure all the suffering, all the blows.
- Not only from enemies - but also from relatives, from friends?
- Yes... and from them.
- Fine. Are you ready to make a sacrifice?
- Yes.
- To an unnamed victim? You will die - and no one... no one will even know whose memory to honor!..
“I don’t need gratitude or regret.” I don't need a name.
-Are you ready for a crime?
The girl lowered her head...
- And I’m ready for a crime.
The voice did not immediately resume its questions.
“Do you know,” he finally spoke, “that you can lose faith in what you believe now, you can understand that you were deceived and ruined your young life for nothing?”
- I know that too. And yet I want to enter.
- Come in!
The girl crossed the threshold - and a heavy curtain fell behind her.
“Fool!” someone rasped from behind.
“Holy!” came the answer from somewhere.
I.S. Turgenev. Favorites. Classical library "Contemporary". Moscow: Sovremennik, 1979.
Other poems by Ivan Turgenev
"With absent eyes...
With absent eyes I will see the invisible light, With absent ears I will hear the chorus of silent planets....
" Hourglass
Day after day goes away without a trace, monotonously and quickly. Life rushed terribly quickly, quickly and without noise, like a river stirrup before a waterfall.
...
The writer was sitting in his room at his desk. Suddenly a critic comes in to see him. “How!” he exclaimed, “you still continue to scribble and compose after everything that I wrote against you, after all those large articles, feuilletons, notes, correspondence in which I proved like two times two makes four that you do not have - and there never was any talent, that you have forgotten even your native language, that you have always been distinguished by ignorance, and now you are completely exhausted, outdated, turned into a rag!
...
» Visit
I was sitting by the open window... in the morning, early in the morning of the first of May.
Dawn had not yet broken; but the dark, warm night was already turning pale, already growing cold.
The fog did not rise, the breeze did not wander, everything was monochromatic and silent... but one could feel the proximity of awakening - and the thinning air smelled of the harsh dampness of dew.
Suddenly, through the open window, a large bird flew into my room, ringing and rustling lightly....
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And that’s why she came to the reception and shot him three times in a row. After that, she was tried, but her lawyer won the trial, and therefore Turgenev was delighted even more. This woman inspired him to create such a work. Because he had not yet seen not only such women, but also revolutionaries in general.
Turgenev showed that there are a variety of situations when crossing the threshold is important. Just like politicians and other ordinary people, there are such situations. And only the person himself can decide whether he needs this - to cross his threshold in a certain place - the threshold of difficulties, something new, or not. For example, the author did a good job of describing mini-situations in which people are shown especially in risky situations. When you need to save someone, but you understand that you can sacrifice your life, and this is only for the sake of another.
The same thing, love, self-interest, or friendship. What is more valuable is your own “I”, or another person, and not even a friend or brother, but simply a person.
Analysis of the poem Threshold according to plan
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“Poems in prose” is I. Turgenev’s last word in Russian literature. A total of 83 works were written, and, most likely, Turgenev did not think of publishing them. Later, succumbing to persuasion, by 1882 he published 50 poems in the journal “Bulletin of Europe”. All 83 poems were published only in 1931.
The works have two names (both given by Turgenev). The first is Senilia (Latin for “senile”), the second is “Prose Poems”. In one of his letters from 1882, Ivan Sergeevich explains the title this way: “Actually speaking, this is nothing more than the last breaths (to put it politely) of an old man.” He did not expect his poems to have a long life, but the reader fell in love with them.
Turgenev's prose poems are deeply personal works. They expressed the most intimate things - what was experienced, thought over and felt. The first readers of the poems immediately sensed the “personal” in them and responded. In essence, prose poems are a person’s view of his past at the end of the road. Let's look at some of the works.
Analysis of the poem “In Memory of Yu. P. Vrevskaya” by Turgenev
This work is a response to the death of an amazing, rare woman. Yu. Vrevskaya is a baroness, she was the widow of a general who died in the Caucasian war. I. Turgenev met her in 1873, met several times and corresponded.
Poem “In Memory of Yu.P. Vrevskaya” was written on behalf of an immensely grieving person. Perhaps he was among those who “secretly and deeply loved her.” This probably caused the unforgettable sadness that permeates the poem.
The work is divided into short prose stanzas. Each of them contains an episode of Vrevskaya’s external or internal life, experienced by the lyrical hero. Together they create the image of an extraordinary woman. Here they are - these stanzas-theses of her life:
- “she was dying of typhus”;
- “not a single doctor even looked at her”;
- “she was young and beautiful”;
- “she gave herself up to serve her neighbors”;
- “cherished treasures... in the soul”;
- “the sacrifice has been made...”;
- “no one said thank you”;
- a late flower of gratitude “on her grave.”
The lines become shorter towards the end, they dry up, just as the life of Yulia Vrevskaya passed. The uniqueness of her personality and fate is emphasized by antitheses. On the one hand - “dirt”, “infected lairs”, and on the other - “light”, “life smiled on her”. And in addition, there is one more antithesis that deepens the drama of Yu. P. Vrevskaya’s life: “service to others” and “no one said thank you even to her work.”
The result of this noble life is the late flower of an old friend. The “late flower” is here as a symbol of memory.
The poem is dedicated to a specific person - Yulia Vrevskaya, but there is also an element of generalization in it. In essence, this is a requiem for a Russian woman - selfless and heroic.
Analysis of the poem "Threshold" by Turgenev
It is believed that the work was inspired by a real person - revolutionary Vera Zasulich. She made an attempt on the life of the St. Petersburg mayor Trepov and was convicted. Turgenev attended one of the court hearings.
The heroine of the poem has no name. She is simply a “Russian girl”, one of those convinced and fearless people who were ready to cross the “threshold” for the sake of an idea. This word is used in a symbolic meaning. By “threshold” we mean all those difficulties, life complications, unpredictable consequences - everything that a revolutionary may encounter in his life.
The poem is constructed in the form of a dialogue between a “dull voice”, perhaps it belongs to fate itself, and the girl. A “deaf voice” asks, and the girl answers. Her answers are laconic, in them one can hear her readiness for her chosen mission. This confidence is emphasized by the clear rhythm of the lines.
The conclusion is ambiguous: “Fool!” and “Holy!” This is how the world works - there have always been and are two poles in it at all times.
Analysis of the poem “Russian Language” by Turgenev
“Russian Language” (1882) is a poetic miniature-meditation. Moreover, this thought is sad and painful. Why? Because the lyrical hero is far from his homeland. The slightly slow rhythm at the beginning well conveys the feeling of persistent melancholy. But it is still overcome by the confidence that a “great” language could only be given to a “great people.” The conviction of the thought is strengthened by the rhythm of the last sentence.
The short poem begins with a sad reflection on the fate of the homeland, and ends with a solemn ode to the glory of the language and the people who created it: “But one cannot believe that such a language was not given to a great people!”
Features of Turgenev's prose poems
Eighty-three poems in prose by I. S. Turgenev are bitter tears and lofty thoughts of a wise man. He thought and wrote about his own, but for those who were, are and will still be. The main features of the prose poems “Threshold”, “In Memory of Yu. P. Vrevskaya”, “Russian Language” are as follows:
- the use of elements of different genres (meditation, ode, personal memory, philosophical sketch, conversation);
- prosaic speech;
- variety of rhythms, their connection with the meaning of poems;
- antithesis - as a way of expressing an idea;
- the presence of prose stanzas;
- symbolism;
- generalization of thoughts, images;
- recreating the world of feelings and thoughts of the lyrical hero;
- the theme of the civil feat of Russian women;
- approval of the Russian language as a national symbol.
Publicist and writer, materialist philosopher and scientist, democratic revolutionary, theorist of critical utopian socialism, Nikolai Gavrilovich Chernyshevsky was an outstanding personality who left a noticeable mark on the development of social philosophy and literary criticism and literature itself.
Coming from the family of a Saratov priest, Chernyshevsky was nevertheless well educated. Until the age of 14, he studied at home under the guidance of his father, a well-read and intelligent man, and in 1843 he entered the theological seminary.
“In terms of his knowledge, Chernyshevsky was not only superior to his peers and fellow students, but also to many teachers at the seminary. Chernyshevsky used his time at the seminary for self-education.", wrote Soviet literary critic Pavel Lebedev-Polyansky in his article.
Without completing the seminar course, Chernyshevsky in 1846 entered the historical and philological department of the Faculty of Philosophy of St. Petersburg University.
Nikolai Gavrilovich read with interest the works of major philosophers, starting with Aristotle and Plato and ending with Feuerbach and Hegel, economists and art theorists, as well as the works of natural scientists. At the university, Chernyshevsky met Mikhail Illarionovich Mikhailov. It was he who brought the young student together with representatives of the Petrashevites circle. Chernyshevsky did not become a member of this circle, but he often attended other meetings - in the company of the father of Russian nihilism, Irinarch Vvedensky. After the arrest of the Petrashevites, Nikolai Chernyshevsky wrote in his diary that visitors to Vvedensky’s circle “do not even think about the possibility of an uprising that would free them.”
After graduating from the university course in 1850, the young candidate of sciences was assigned to the Saratov gymnasium. The new teacher used his position, among other things, to promote revolutionary ideas, for which he became known as a freethinker and a Voltairian.
“I have such a way of thinking that I should expect from minute to minute that the gendarmes will appear, take me to St. Petersburg and put me in a fortress for God knows how long. I do things here that smell like hard labor - I say such things in class.”
Nikolai Chernyshevsky
After his marriage, Chernyshevsky returned to St. Petersburg and was appointed as a teacher in the second cadet corps, but his stay there, despite all his pedagogical merits, was short-lived. Nikolai Chernyshevsky resigned after a conflict with an officer.
The first literary works of the future author of the novel “What to do?” began writing in the late 1840s. Having moved to the Northern capital in 1853, Chernyshevsky published short articles in St. Petersburg Gazette and Otechestvennye Zapiski. A year later, having finally ended his career as a teacher, Chernyshevsky came to Sovremennik and already in 1855 began to actually manage the magazine along with Nekrasov. Nikolai Chernyshevsky was one of the ideologists of turning the magazine into a tribune of revolutionary democracy, which turned a number of authors away from Sovremennik, among whom were Turgenev, Tolstoy and Grigorovich. At the same time, Chernyshevsky strongly supported Dobrolyubov, whom he attracted to the magazine in 1856 and handed over to him the leadership of the criticism department. Chernyshevsky was connected with Dobrolyubov not only by their common work in Sovremennik, but also by the similarity of a number of social concepts, one of the most striking examples being the pedagogical ideas of both philosophers.
Continuing his active work in Sovremennik, in 1858 the writer became the first editor of the Military Collection magazine and attracted some Russian officers to revolutionary circles.
In 1860, Chernyshevsky’s main philosophical work, “Anthropological Primacy in Philosophy,” was published, and a year later, after the announcement of the Manifesto on the abolition of serfdom, the author came out with a number of articles criticizing the reform. Although not formally a member of the “Land and Freedom” circle, Chernyshevsky nevertheless became its ideological inspirer and came under secret police surveillance.
In May 1862, Sovremennik was closed for eight months “for its harmful direction,” and in June Nikolai Chernyshevsky himself was arrested. The position of the writer was worsened by Herzen’s letter to the revolutionary and publicist Nikolai Serno-Solovyevich, in which the former declared his readiness to publish a magazine abroad. Chernyshevsky was accused of having connections with revolutionary emigration and was imprisoned in the Peter and Paul Fortress.
The investigation into the case of “enemy number one of the Russian Empire” lasted about a year and a half. During this time, the novel “What to do?” was written. (1862–1863), published in Sovremennik, which reopened after a break, the unfinished novel “Tales within a Tale” and several stories.
In February 1864, Chernyshevsky was sentenced to hard labor for 14 years without the right to return from Siberia. And although Emperor Alexander II reduced hard labor to seven years, in general the critic and literary critic spent more than two decades in prison.
In the early 80s of the 19th century, Chernyshevsky returned to the central part of Russia - the city of Astrakhan, and at the end of the decade, thanks to the efforts of his son, Mikhail, he moved to his homeland in Saratov. However, a few months after his return, the writer fell ill with malaria. Nikolai Gavrilovich Chernyshevsky died on October 29, 1889, and was buried in Saratov at the Resurrection Cemetery.
