The opinions of contemporaries about the heroine of the story "Darling" (1898) turned out to be sharply opposite. Almost everyone liked the story, they laughed and cried at it. But what is the main thing in Darling and how the author proposes to treat it - many mutually exclusive judgments have been and continue to be expressed on this subject.

Darling - a faceless slave of his affections? (This is how Gorky perceived the heroine of the story.)

Darling - a fickle, unprincipled creature? (This is how it appears in Lenin's review.)

Darling - the embodiment of the true destiny of a woman?

(L. Tolstoy saw her like this.)

The ambiguity of the image and work, the possibility of versatile understanding and interpretation is a property of the creations of high art. No wonder Leo Tolstoy put the image of Darling next to the images of Don Quixote and Sancho Panza, with the image of Shakespeare's Horatio from Hamlet. Tolstoy argued that ridicule was at the heart of the concept of Darling, but believed that the story did not turn out the way Chekhov intended it. He considered “Darling” a masterpiece, but it turned out, as it were, in addition to or contrary to the author’s intentions, “unconsciously”: ridicule was conceived - praise turned out.

So, what is in this story: ridicule, admiration? And what is the main thing in Dushechka? And one more thing - did the image really turn out exactly like this against the will of the author, or was Chekhov's intention expressed quite definitely, and the point is to feel, guess, see this intention?

How can you see it? Listening to the language in which the author speaks with readers - the language of artistic means, techniques. Repetition - Chekhov's favorite artistic means - in the story "Darling" is perhaps the main way to build a work.

The story tells about the change of four affections of Darling. An entrepreneur, a timber merchant, a veterinarian, a little schoolboy enter her life in turn, then leave (or can leave her) - this is how the four-part composition of the story is set. Since each of the four parts-situations develops according to the same pattern (Dearie's understanding of someone else's situation - pity or sympathy - love - reproduction of other people's opinions - end), already somewhere in the middle of the second of them, the reader is tuned in to the expectation of repetition. And he is not mistaken; and then this reader's expectation is justified once again.

And most often, resorting to repetition, the writer counts on a comic effect. The monotony, the expectation of situations, the monotony of actions, multiplied by the seemingly mechanical assignment of their reproduction - all this sets the reader up for an ironic reaction.

Not only the composition “Darlings” is based on repetition. Repetitions - large and small - meet us from the very beginning of the work.

The very first words of Chekhov's story contain an imperceptible hint both about the environment in which the action will take place, and even about the tone of the further narration. This is also done with the help of repetition - in this case, suffixes. Darling, Olenka, on the porch: diminutive suffixes, repeated in the title and in the first phrase, tune in to a story about the familiar environment and type of people, about the average and ordinary.

But if the reader has succumbed to the charm of these suffixes and has already tuned in to a sentimental mood, to tenderness and admiration, the author immediately interrupts this expectation.

Immediately a character appears with the ridiculous surname Kukin (absurd precisely in conjunction with the exotic for the Russian province and pretentious name “Tivoli”). And again, the effect desired by the author is achieved through repetition. Already on the first page, Kukin, like a circus clown-loser, fails three times, three times becomes a victim of hostile forces hated by him - rainy weather and an ignorant (i.e., indifferent to his undertakings) public. It is clear that such repetition leads to an undeniably comical perception of this character and everything that happens to him.

So, already on the first page of the story (and there are 12 of these pages in total), its main tone, the basic principle by which the story will be conducted, is established. This principle is not a single tone of the story, let's say lyrical, sentimental, or, conversely, only ironic, mocking. This is a combination of opposite tonalities, replacing, or rather, interrupting one another: sometimes serious, sometimes ironic; either lyrical or comic. According to this principle, the narrative in “Darling” is built, and it is precisely such an artistic construction that helps to understand the author's meaning of the work.

The first page is not limited to the use of repetition in this story. Not only words and situations are repeated. Chekhov alternates the description of one-time events or scenes with what usually happens, always repeats itself or often. Thus, the author builds artistic time in the story on the alternation of the one-time with the repetitive.

Kukin utters his desperately hysterical monologue in anticipation of the approaching rain again in front of Olenka “one hot evening”. But then we find out that everything happened again on the second day, and on the third. Also, one fine day, Olenka felt that she fell in love with this sufferer. But then we learn that she always loved someone "and could not live without it." The word “loved” is repeated four times - this is how the author denotes the main content of Olenka’s life. And the pleasure that everyone experienced when looking at her - both men and familiar ladies - is indicated as a reaction that was invariably repeated. The proposal that Kukin made to her, their wedding, his trip to Moscow during Lent, the telegram with the news of his death are one-time events. And everything that filled the time between these events is designated as constantly repeating: the chores of Darling in the garden, in the theater, and the way she scolded the audience word for word for her husband or praised theatrical work, and the way the actors called her “Vanichka and I” and “darling”, and Kukin’s irremovable tendency to complain about fate, and the way she felt sorry for him and comforted him ...

"Once" here is synonymous with "always". This is how Chekhov usually organizes time in his stories: the result is a complex, capacious brevity - whole destinies set out on several pages.

Twice it says in this description "we lived well." This is already a repetition of some assessment. Of course, here “good” reflects the point of view of the heroine: it was from such a life that she “became stout and beamed with pleasure”, while her companion in this life period only “loosened and turned yellow and complained”. Then, also twice, this “good” will be repeated in the description of the next segment of the life of Darling, already with the timber merchant Pustovalov; and it will become completely clear that “good” in her world, from her point of view, is when she has someone to love and care about. And, meeting once again such a “good”, the reader is ready to perceive it not in the literal sense, but with a dose of irony.

So the principle outlined at the beginning of the story: to let the reader feel the feeling experienced by the heroine, but then be sure to indicate the relativity, the limitation of this feeling, to smile at this limitation, is consistently observed.

Even the telegram about Kukin's death, which made Darling deeply unhappy, contains the absurdly funny words "suchala", "hokho-rony". These “funeral Tuesdays”, by the way, strangely repeat the motif already associated with Kukin. On the second day of his conversations with Olenka, he delivered his monologue with complaints about fate "with hysterical laughter." As if echoing from the other world, the sound of this Kuka's hysterical laughter echoed in the telegram.

And then this method of reduction is repeated, indicating the relativity of the heroine's feelings and how she herself evaluates what is happening. About the feeling of loneliness and emptiness that Olenka possessed after she had no one to love, it is said: “And so terrible, and so bitter, as if she had eaten too much wormwood.” The feelings themselves are of a high order, and their explanation is through plant-animal associations. Again a decline, again an ironic smile. Phrases like this combine not an unambiguous, but a dual (sympathetic-ironic) characterization and assessment.

So repetition becomes the main organizing principle of the story - from its composition as a whole to the ways of characterizing the characters, from the correlation of individual paragraphs to the roll call within a single sentence.

But not only the purposes of irony in relation to the heroine are served artistic means used by the author, and the main among them are repetitions.

Repetition in art (not necessarily only in verbal art) serves to create the rhythm of a single passage or a work as a whole. Something (some group of sounds, words) must be repeated several times in order for the listener, the reader to have a sense of the rhythm underlying this work. And then the artist, seeking something new, more strong impact, may resort to the following technique - a violation of the rhythm, a deviation from the specified rhythm. And Chekhov resorts to it more than once.

Rhythm in the construction of "Darling" - four, approximately similar in beginning, development and ending, episodes in the life of the heroine. But in the middle of the second episode, a motif arises - a mention of a boy deprived of parental love - a motif that, as it turns out later, will respond in the fourth and last episode and which will give a very special meaning to the appearance of the heroine and the final attitude towards her.

It is this boy who will become the new, last and most important affection of Darling. It would seem that with the help of repetitions, the given rhythm is completely reproduced in this part of the story. Darling at first sympathizes with the person who appeared on her way, then she is seized by love for him (“her heart in her chest suddenly became warm and contracted sweetly ... she looked at him with tenderness and pity ...”), and this love is accompanied by a complete transition to his circle of concepts (“An island is a piece of land ...”).

In fact, the rhythm in this episode is sharply broken. Darling is seized by love unknown to her before, motherly, something completely different from love for her ex-husbands. And in relation to this last love (“as if this boy was her own son”), all the former ones seem insignificant, inauthentic.

In this part, as it were, the method of recreating the feelings of the heroine, set in previous episodes, is canceled. Previously, after the transfer of these feelings and sensations of Darling - most often tenderness, contentment, pleasantness - something necessarily followed in the narration that reduced, canceled these feelings and sensations. Interruptions, ironic declines consistently accompanied all previous features inner world heroines. The image of Darling appeared in a double light: the touching and sweet in her was inseparable from the funny and limited. The lyrical beginning in the story about her was invariably accompanied by the ironic beginning.

But in the last episode, when Darling's love took a completely new direction, she is described in a completely different way.

“Oh, how she loves him! Of her former affections, none was so deep, never before had her soul submitted so selflessly, disinterestedly and with such joy as now, when motherly feeling flared up in her more and more. For this strange boy, for his dimples on his cheeks, for his cap, she would give her whole life, she would give it with joy, with tears of tenderness. Why? And who knows - why?

In its main property - abundance of love - Darling has not changed. Another property of her soul remained unchanged - to “submit” without a trace to the one she loves. This property is reminiscent of the very next paragraphs, in which Darling tells, to those he meets, “about teachers, about lessons, about textbooks - the same thing that Sasha says about them,” and cries with Sasha when she prepares lessons with him. Chekhov's grin remains in the story about Darling to the end, but it no longer cancels the understanding, sympathy for the heroine, to which the author led us in the last episode of his story, understanding the ratio of her properties in Darling, which of them is the main one, and which ones are related. Only with the advent of Sasha, the main talent of Darling was truly realized and unfolded - the ability for selfless love.

So what, “Darling” is a story about this gift, which is not given to everyone, but in such an exceptional concentration is rarely found at all? Yes, this is a story about a person who is able to love to self-forgetfulness. And about those funny, funny and absurd manifestations that this ability takes in reality. First of all, Darushechka's chosen ones are ridiculous and insignificant, and she is ridiculous to the extent that she adopts their way of life and vision of the world. The main thing in it is an inexhaustible supply of love.

In art, the power of love is often measured by the willingness to die for a loved one. Olenka is sincerely killed after the death of both Kukin and Pustovalov, and in her lamentations - as a rhetorical figure - she could well express a desire to go with them to another world. But to die for the sake of Kukin or Pustovalov would have looked really absurd. And the truth of love for Sashenka is confirmed precisely by the willingness to give life for him - "with joy, with tears of tenderness." This is what speaks of the authenticity and involvement in the highest of the last feelings of Darling.

Darling lives in the same environment, among people of the same stock and level as Ionych. The strength of this environment, the inability to escape from the forms of life behavior imposed by them, are experienced by both Ionych and Dushechka: he - trying to resist and resist these forms, she - accepting them voluntarily and with joy. But these two heroes are described by Chekhov in different ways, and the writer embodied different aspects of his idea of ​​the world in them.

“Ionych” is a story about a defeat in a life struggle, it is built as a story about an imperceptible, but inexorable degradation of a person. With Darling, such degradation does not occur. The extraordinary gift that she carries within herself allows her not only to remain unchanged, but to find a use for this heavenly gift in a miserable everyday life. The possession of such a gift really illuminates and elevates her, although more often it seems that she is the flesh of the flesh of this miserable and insignificant world.

Tolstoy, guided by his views on the appointment of a woman and enchanted in Chekhov's heroine by the gift of love-self-sacrifice, did not want to ridicule what he considered holy and beautiful. He explained the ambiguous coverage of the heroine of the story by the fact that Chekhov wanted to write one thing, but thanks to the intervention of the “god of poetry”, he got something else: they say, Chekhov wanted to laugh at Darling, as a result, he glorified her. But Chekhov the artist, of course, remained in full possession of the art of depicting the complex in the simple. He did not write about what a woman should be. That women can be completely different, he showed - in passing, briefly, but quite clearly - in the form of Smirnin's wife, Sasha's mother. She is not allowed to love: neither for her husband, nor for a child, although she, quite possibly, could prove herself in any social or professional field.

It doesn't matter - the reader sympathizes not with her, but with Darling in the open and disturbing finale of the story: will the inexorable rhythm not be broken and Darling will lose what fills her life, and this time, as in the three previous cases?

The main feature of Chekhov's nature is a keen instinct for someone else's pain, the innate wisdom of a lofty and kind soul. To understand his views, thoughts, you need to peer into the depths of the works, listen to the sounding voices of the heroes of his work. The writer is interested in ordinary people, in whom he tries to find what makes them filled with high spirituality.

In the eighties of the nineteenth century, Chekhov began to publish in the influential newspaper Novoye Vremya, owned by A.S. Suvorin. There is an opportunity to sign stories with a real surname. Since 1887, almost all of the writer's works have been published by Suvorin. From these books, Russia recognized Chekhov.

Speaking about the prototype of Darling, we can say with confidence that this is a generalized symbol, a certain general property of character - the foremother principle.

He enthusiastically accepted the story of L.N. Tolstoy.

Genre, direction

Chekhov continues the best traditions of classical realism, which is intertwined with the techniques of high naturalism.

The writer comes into contact with symbolism, looking for in it modern forms images of reality.

"Darling" is a short story, the musicality of which makes it possible to speak of its intimacy. The narration is accompanied by a slight irony that hides a mocking smile.

essence

The focus is on the ordinary life of Olga Semyonovna Plemyannikova. There is no plot intrigue.

The story highlights two storylines, both connected with the story of Olenka: on the one hand, “the chain of hobbies of the heroine”, on the other, “the chain of losses and losses”. Darling loves all three husbands selflessly. She asks for nothing in return for her love. Without passion simply can not live. Take away this feeling from her - life will lose all meaning.

All husbands leave this earth. She sincerely mourns them.

True love comes to Darling only when the boy Sasha appears in her fate.

Main characters and their characteristics

The characters and souls of Chekhov's heroes are not immediately revealed. The author teaches not to rush to make unambiguous assessments of his characters.

1. Olga Semyonovna Plemyannikova- "quiet, good-natured, compassionate young lady." Everything in her appearance was “soft”: both her eyes and her white neck. But calling card was a "kind, naive smile." A loving person, in whose fate three heartfelt attachments appear one after another: entrepreneur Ivan Kukin, timber warehouse manager Vasily Andreevich Pustovalov, veterinarian Vladimir Platonych Smirnin. Olenka becomes their "shadow", "echo woman". Deprived of her opinion, she always repeats what her husbands say. Loving without looking back, Darling cannot imagine her life alone. Vanechka, Vasechka, then Volodechka. She called everyone "dear". Left completely alone, she is lost, not a single thought is born in her mind. Emptiness and uncertainty of the future become constant companions of life. And only the appearance in her fate of the ten-year-old boy Sasha, the son of Smirnin, “gives” Olga Semyonovna love that captures her whole soul. General property character can be defined by the general word "femininity", it expresses the whole image of Darling.
2. Ivan Kukin. The characterization of the hero is based on an antithesis: he contains the Tivoli Pleasure Garden, but constantly complains about life. Appearance nondescript: skinny, says, twisting his mouth. Yellow faces are a sign of physical ill health and a grumpy character. Unhappy person. The constantly falling rain is a symbol of a hostage of the situation desperate in his fate.
3. Vasily Andreevich Pustovalov- Plemyannikova's neighbor. "Powerful voice", "dark beard". A completely unremarkable personality. He doesn't like any kind of entertainment. Joint life with Olenka looks through the details: “both smelled good”, “they returned side by side”.
4. Vladimir Platonych Smirnin- A young man, a veterinarian. He divorced his wife, because he hated her, but regularly sent money to support his son.

Topics and issues

1. The fate of women in society always worried Anton Pavlovich. He devoted unforgettable pages of his work to her, creating the image of a “Chekhov woman”,
2. The main theme of the story is love. Love for relatives, love for a man and motherly love. The theme of love is the main one in the life of Darling. Her feelings are quiet, sad. The story is about the ability of a Russian woman to selflessness for the sake of continuing and preserving life.
3. But are the characters in the story completely free in their behavior and judgments? The hardest is the question of real human freedom about overcoming dependence on loving people.
4. The problem of happiness. Can you name happy man living only for the good and happiness of family and friends? Is it really necessary to provide them with “happiness” according to some kind of their own norm? The author tries to answer these questions with his usual delicacy.
5. The philosophical problem of the value of life. A person has obligations to it and to its preservation. You don't need to destroy it.
6. The conflict of ordinary meaningless life and personality, which must "kill the slave in itself" and begin to live consciously. The heroine will have to throw off the sleepy stupor of passivity and take responsibility for someone's fate.

Meaning

The writer usually does not give comforting answers. Not everything in life is clear to him. But there are such values ​​in prose that the master is sure of. What is love? First of all, it is a feeling that allows a person to reveal the potential of his soul. To love does not mean copying your soul mate, blindly repeating her thoughts, completely depriving yourself of the freedom of choice. Love gives a person an invisible energy that allows him to share with his beloved all the hardships of life, to overcome the difficulties encountered on the way. Where there is no true love, there life is not completely real - this is the main idea of ​​the writer.

A woman is not only a loving and caring wife. She is the mother who gives the world a child, the successor of the human race. Chekhov's love is a deeply Christian feeling, hence his idea - to give Darling feelings that elevate her, and not enslave her in a routine.

True love is possible only in the family world. Maternal love allows you to go through the path of knowing life again with the child.

What does it teach?

Chekhov puts the reader in front of the need to choose the answer to the question himself. The main idea is contained in the scene of the “geography lesson”: “A part of the land is called an island,” Olenka repeats. “Islands” are human destinies, “land” is our vast world, which is made up of family “islands”. After all, only there you can experience the highest fullness of life and find yourself.

The writer teaches that every professed truth is limited. Life in the variety of its manifestations turns out to be “wiser”. The writer wanted a person not to hide from her, but to be able to live every moment she gave.

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Sections: Literature

“Composition is the construction of a work of art, determined by its content, character and purpose, and largely determining its perception. Composition is the most important, organizing component of the artistic form, giving unity and integrity to the work, subordinating its elements to each other and to the whole.

The reader perceives the text, first of all, through the features of its construction. A broad view of montage as the principle of joining the elements of the whole underlies the understanding of composition. S. Eisenstein stated: “…the method of composition always remains the same. In all cases, its main determinant remains, first of all, the attitude of the author ... The decisive elements of the compositional structure are taken by the author from the foundations of his attitude to phenomena. It dictates the structure and characterization by which the image itself is deployed.”

In working on a literary work, compositional analysis is most productive. Each fact in the text is interesting not in itself, but in relation to other facts of the literary text. “In other words, all components of an artistic structure (facts, a set of these facts, their location, character, way of describing, and so on) are important not in themselves, but as a reflection of the aesthetic program (thoughts, ideas) of the author who selected the material and processed it accordance with their understanding, attitude and assessment”.

The object of analysis can be different aspects of the composition: architectonics, or the external composition of the text (chapters, paragraphs, etc.); character image system; change of points of view in the structure of the text; the system of details presented in the text; correlation with each other and with other components of the text of its extra-plot elements.

It is necessary to take into account various graphic highlights, repetitions of language units of different levels, strong positions of the text (title, epigraph, beginning and end of the text, chapters, parts).

The composition is based on four main techniques: repetition, amplification, opposition, installation. There are two basic principles for the arrangement of material in the text - linear and transformational. Therefore, the following types of composition can be distinguished: ring, mirror, linear, default, retrospective, free, linear with retrospective, open, framed, and so on.

The composition of a literary work is based on such an important category of text as coherence. At the same time, repetitions and oppositions (opposition) determine the semantic structure of a literary text and are the most important compositional techniques.

Yesin A. argues that it is necessary to start the analysis of the composition from its reference points. “The analysis of reference points is the key to understanding the logic of the composition, and hence the entire internal logic of the work as a whole.”

The reference points of the composition are the points of greatest reader tension. Anchor points often coincide with plot elements - climax and denouement. Reference points can be sought in ups and downs - sharp turns in the fate of the hero. Often they are found at the beginning and at the end of the work; sometimes at the beginning and end of parts, chapters, acts. The reference points of the composition are the strongest artistic effects and techniques. Also, reference points are located in places of repetition and opposition.

“When analyzing the overall composition of a work, one should first of all determine the relationship between the plot and extra-plot elements: what is more important - and, based on this, continue the analysis in the appropriate direction.”

The concept of text composition is effective at two stages of analysis: at the stage of acquaintance with a work, when it is necessary to clearly imagine its architectonics as an expression of the author's views, and at the final stage of analysis, when the intertextual connections of different elements of the work are considered; methods of constructing a text (repetitions, leitmotifs, contrast, parallelism, montage, and others) are revealed.

To analyze the composition of a literary text, the teacher must be able to “... identify repetitions in its structure that are significant for the interpretation of the work, serving as the basis for coherence ...; identify semantic overlaps in parts of the text; highlight the language signals that mark the compositional parts of the work; correlate the features of text division with its content and determine the role of discrete compositional units in the whole; establish a connection between the narrative structure of the text as its “deep compositional structure” (B.A. Uspensky) and its external composition”.

In the 10th grade, I invite students to read such stories by A. Chekhov: “Student”, “Ionych”, “Lady with a Dog”, “Man in a Case”, “Gooseberry”, “About Love”, “Jumper”, “Ward No. 6 ”, “House with a Mezzanine”, “Steppe”, “Duel”, “Anna on the Neck”, “Darling”, “Black Monk”.

The main methodological techniques for analyzing the composition of Chekhov's works are drawing up a story plan; condensed retelling; identification of compositional techniques (repetition, opposition, montage, amplification); comparison of character images; chapter matching; construction of verbal thematic series; analysis of the strong positions of the text (title, epigraph, beginning and end of the story, chapter); determining the type of composition; the meaning of the title of the work; keyword selection; substantiation of the role of the episode in the text; restoration of missing links of the text; inventing your own ending; mental rearrangement of episodes; analysis of plot elements; finding reference points of the composition.

I offer fragments of lessons in the 10th grade, in which children learned the compositional analysis of the prose text of A.P. Chekhov.

"Ionych" A. Chekhov. From Dmitry Ionych Startsev to Ionych.

I. Checking homework.

1. DI. Startsev meets the Turkin family.
2. Love (?) Startseva to Ekaterina Ivanovna.
3. Parting.
4. Meeting with Ekaterina Ivanovna.
5. Ionic's life.

II. Drawing up the scheme "Chronology of the story."

“His (Chekhov’s) main technique used here can be called the arrangement of milestones on the life path of Dr. Startsev, between which the author leaves a space filled by the reader in the process of co-creation. These milestones follow different, often overlapping directions: milestones on the path of a doctor's everyday career; milestones in the evolution of his tastes; milestones on the development and fate of his novel; milestones on the life path of those people who form its environment, and so on.

III. Analysis of strong positions.

The beginning and end of each chapter, matching the first and last sentences.

“We see that Chekhov does not give a continuous description of the process of “indifference” of Ionych, he outlines a kind of dotted poetic line, and each ending of the chapter fixes a new moment in this internal process.”

IV. Comparison of chapters.

Let's compare chapters 1 and 4. Condensed retelling. What changed? What remains unchanged? What compositional technique and why does the author use? (Repeat).

Let's compare chapters 2 and 4. Condensed retelling. How have young people changed? Compare behavior on two love dates. Find repetitions at the lexical level. Why did the characters switch roles? Why did the love of heroes fail?

V. Analysis of the chronology of the story.

What is interesting about the chronology of the story? Why do two chapters tell about two days of Dmitry's life, and three chapters about the rest of his life? What is the meaning of the story's title? (From Dmitry Ionych Startsev to Ionych).

Read last words hero. Why these words in the finale?

“A provincial philistine town with its musty way of life is an extremely common place for the accomplishment of novel events in the 19th century. Such a town is a place of cyclic household time. There are no events here, but only recurring “occurrences”. Time is deprived here of a progressive historical course, it moves in narrow circles: the circle of the day, the circle of the week, the month, the circle of all life. A day is never a day, a year is never a year, life is not life. Day after day, the same everyday actions, the same topics of conversation, the same words, and so on are repeated. People in this time eat, drink, sleep, have wives, lovers (novelty), petty intrigue, sit in their shops or offices, play cards, gossip. This is everyday, everyday, cyclic household time.

What is the main idea of ​​the story?

VI. Individual message.

Comparative characteristics of the images of Gurov and Startsev.

V. Conclusions.

Features of the composition of the story "Ionych".

“The architectonics of the story, its structure is based on one main principle: repetition, which permeates the entire text. It presents a whole hierarchy of repetitions, they are layered on top of each other, intersect, enhancing the brightness of the images. This technique is also characteristic of other Chekhov stories. In addition, the author uses montage. Chapter 1 describes the salon of Vera Iosifovna, and the smell of onions is immediately heard. These details together create an atmosphere of vulgarity.

"Darling" A. Chekhov. Who is Dushechka?

I. Individual task.

Compare the images of Dushechka and A.M. Pshenitsyna.

II. Two views on Chekhov's heroine.

L. Tolstoy: “Despite the wonderful, cheerful comedy of the whole work, I cannot read some parts of this amazing story without tears ... The author obviously wants to laugh at a pitiful, according to his reasoning, creature ... but the amazing soul of Darling is not funny, but holy” .

M. Gorky: “Darling is scurrying about anxiously, like a gray mouse, a sweet, meek woman who knows how to love so slavishly, so much. You can hit her on the cheek, and she won’t even dare to moan loudly, meek slave.”

Whose side are you on? Why?

III. Checking homework.

2 group. Reading of written works “My attitude to Darling”.

1 group. Plan of the story, compositional techniques.

1. Darling is married to an entrepreneur Kukin.
2. Death of a husband.
3. Darling is married to the manager Pustovalov.
4. Death of a husband.
5. Roman Dushechki with veterinarian Smirnin.
6. Departure of the veterinarian.
7. Loneliness.
8. Love for Sasha.

The composition is based on thematic repetitions. “Darling every time becomes a “understudy” of her husband. Under Kukin, she sat at his cash desk, looked after the orders in the garden, wrote down expenses, paid out salaries ... Under Pustovalov, “she sat in the office until the evening and wrote accounts there and sold the goods.” But at the same time, Olga Semyonovna did not remain only an assistant - she appropriated someone else's personal experience, someone else's "direction of life", as if doubling the object of their affection. Darling's selflessness, as it gradually becomes clear towards the end of the story, is a form of spiritual dependency”

3rd group. Analysis of strengths: title, beginning and end of each chapter.

IV. Author's attitude to Olenka Plemyannikova.

Linguistic analysis of the fragment from the words “In Lent he left for Moscow…”

Find key words, build a word sequence that creates the image of the heroine (I couldn’t sleep without it, I sat by the window, looked at the stars, compared myself with chickens, they don’t sleep, they are worried, there is no rooster in the chicken coop).

“In the poetic tradition, contemplation of the starry sky usually presupposes an exalted frame of mind, a dream of wingedness. According to mythological ideas, the soul is generally winged. Olenka also compares herself to winged creatures, however, flightless, and contemplation of the universe makes her think of a chicken coop. Just as a chicken is a kind of parody of a free migratory bird..., Chekhov’s Darling is a parody of the traditionally allegorical Psyche.”

The heroine of the story is deprived of the ability to independently choose her life position, she uses other people's self-determinations. Chekhov's irony develops into sarcasm.

V. Conclusions.

Why is the story called "Darling"? Why is there a chapter about Sashenka in the finale?

“So, no degeneration of “Darling” into an adult “soul” under the ennobling influence of maternal feelings is visible in the final part of the work. On the contrary, having accepted the author's point of view on what is being communicated to us in the text, we will be forced to admit that the last attachment finally reveals Olga Semyonovna's failure as a person. Darling ... with her inability to self-determination, her inability to actualize this meaning in herself, appears in the story as an undeveloped "embryo" of personality.

"Lady with a dog". Man and his love.

I. Checking homework.

Reading the outline of the story and discussion.

1. Meeting of Dmitry Gurov and Anna Sergeevna in Yalta.
2. Love (?) and parting.
3. Meeting of heroes in the city of S.
4. Love: "... the most difficult and difficult is just beginning."

II. Drawing up a storyline:

exposition, plot, development of action, climax, denouement.

III. Finding reference points for story composition:

climax, denouement, strong positions of the text, repetitions, oppositions.

IV. Comparison of chapters 1 and 3.

Condensed retelling. What is the compositional technique? (repetition and opposition). What changes in chapters? Why?

V. Individual communication.

Comparison of the images of Don Juan Pushkin and Dmitry Gurov.

VI. Linguistic analysis of the passage

in chapter 3 with the words “He arrived in S. in the morning ...”. Find keywords. Build word lines.

Find lexical repetitions.

VII. Analysis of the strong positions of the text.

Reading the end of the story. Why “… the most difficult and difficult is just beginning”?

What is the meaning of the story's title?

“The story told in The Lady with the Dog is not just a story of secret love and adultery. The main event of the story is the change that occurs under the influence of this love. Throughout the story, Gurov's point of view dominates, the reader looks through his eyes, first of all, a change takes place in him.

Bibliography.

1. Big Soviet Encyclopedia- M., 1973. T.12. Art.1765.-p.293.
2. Eisenstein S. Selected Works. In 6 T. T.3. - M., 1956, -p.42.
3. Kaida L. Compositional analysis of a literary text. - M., 2000, p.88.
4. Esin A. Principles and methods of analysis of a literary work. - M., 2000, p.151.
5. Esin A. Principles and methods of analysis of a literary work. - M., 2000, p.150.
6. Nikolina N. Philological analysis of the text. - M., 2003, p.51.
7. Derman A. On the skill of Chekhov. - M., 1959, pp. 78-79.
8. Paperny Z.A.P. Chekhov. Essay on creativity. - M., 1960, p.212.
9. Bakhtin M. Questions of Literature and Aesthetics. - M., 1975, p.396.
10. Troitsky V. The story "Ionych" in the semiotic aspect. - In the book. The language and style of A.P. Chekhov. - R., 1986, p.24.
11. Tyupa V. The artistry of Chekhov's story. - M., 1989, p.67.
12. Tyupa V. The artistry of Chekhov's story. - M., 1989, p.61.
13. Tyupa V. The artistry of Chekhov's story. - M., 1989, p.72.
14. Kataev V. Literary connections of Chekhov. M., 1989, p.101.

What is the optimal size of the plot for this project.

Good afternoon Olga,

Can this house but with a basement?

Good afternoon, Svetlana,

a finished project with a basement was not developed for this project. We offer you several solutions: 1. Economical option: we can offer you a variant with a plinth (under the whole house) in the scope of the PASSPORT of the project. The project passport includes layouts, facades, sections and an explanatory note and is used, first of all, to coordinate the construction. At the same time, construction working documentation will be provided without adjustment, as is. Such a Passport is accompanied by typical structural units for the organization of the basement (sections, reinforcement scheme, specifications), using which (as well as relying on the existing working draft, builders implement a house with a basement). The basement floor under the part of the house is not designed (if necessary, the premises that will not be used can be closed or covered). 2. Reworking of full construction working documentation with the addition of the basement. The cost is specified at the time of order.

I liked this project, we want to start construction this year. When to contact you? Do you build yourself?

Tatyana, hello,

the project has 100% readiness of all sections and can be provided in as soon as possible. We can deliver the project to you by courier service (delivery is included in the price), or you can buy it directly from our office. If the start of construction is planned for this spring, then it makes sense to take care of the project already now, because. it will take time to conduct a tender between construction companies (teams) in order to choose the services that are suitable for you in terms of the quality and cost of the services provided. Our bureau is engaged in designing, firms are built according to our projects, which customers choose at their own discretion. To control the construction and purchase of materials, the project has all the necessary dimensions, assemblies and specifications.

Question about project 109A Hello! 1. Is it possible to adapt this project according to thermal characteristics for Tyumen region? 2. Attach a garage?

Vladislav, good afternoon,

Thank you for your attention to our projectsand contact our studio. It is possible to increase the thickness of the walls, replace the 300 mm gas block used in the project with 375 or 400 mm + insulation and face brick.If the total wall thickness is less than 600 mm, no structural changes will be required. She will stand on the foundation slab without any changes. If the wall width exceeds 600 mm, it will be necessary to increase the area of ​​the foundation slab.If similar projects of small houses with a garage or carport: 108B, 123A, 520A, 103B. It is possible to attach a garage to the 109th project.

Hello! I like the project "Darling" 100 sq.m. It is possible to get this project for the construction of a frame house. Also I don't need a veranda

Tatyana, good afternoon,

Project 109A is designed for the construction of aerated concrete 300mm thick. All specifications, assemblies, parts, sections are made based on this material.

If a construction company specializing in frame housing construction undertakes the construction of such a project, the issue will be resolved.

We will not undertake the processing of the project for frame technology. Please note that a noticeable reduction in the cost of construction is not achieved, since we are talking mainly about savings in the construction of walls, and the walls themselves in the total cost of the house - no more than 15-20% (there is also a foundation, ceilings, rafters and roofing, windows and doors, engineering systems, finishing.).

Question about project 109A Please name the thickness of the outer walls in this project

Anton Pavlovich Chekhov wrote the story "Darling" in 1899. It refers to the late work of the writer. It is noteworthy that Chekhov's "Darling" immediately caused a mixed assessment in literary circles.

The main theme of the work is love. Only main character it becomes not just a need, but the meaning of life. And it is much more important for her not to receive love, but to give it. The comicality of the situation is that every time the story of selfless deep feelings of the heroine is repeated. The composition of the story consists of four parts: according to the number of heart affections in Olenka's life. We give below summary this literary work.

A few words about the main character

Olenka Plemyannikova, the daughter of a retired collegiate assessor, lives in her house with her father. This is a rosy-cheeked young lady with a white delicate neck, plump hands, a meek look and a touching smile.

People around love a pretty girl. Everyone likes her without exception. When talking with her, I just want to touch her hand and tell her: “Darling!” Some kind of attachment is always present in Olenka's soul: at first she was in love with a French teacher, then she began to adore her papa, and after her aunt, who visited her twice a year. The problem is that these sympathies often replace one another. But this does not bother Olenka, as well as the people around her. They are impressed by the girl's naivety, her gullibility and quiet kindness. This is how Chekhov describes his heroine in the story "Darling". A summary will help to get an idea of ​​​​the personal qualities of the heroine. Her image is contradictory: on the one hand, she is endowed with the gift of selfless love. So to dissolve in your soulmate is not given to everyone. And this, of course, causes the reader to respect the heroine. However, on the other hand, she appears to us as a gullible and windy person. The complete absence of spiritual interests, the lack of one's own views and ideas about the world around - all this causes ridicule of the reader.

Kukin - Olenka's first affection

In the large house of the Plemyannikovs, a certain Ivan Petrovich Kukin, owner and entrepreneur of the Tivoli entertainment garden, lodges. Olenka often sees him in the yard. Kukin constantly complains about life. All you hear from him is: “The public today is wild and ignorant. What is an operetta, extravaganza to her? Give her a booty! Nobody walks. Yes, and these rains every evening! And I have to pay rent, artists have to pay salaries. Solid losses. I'm broke! Olenka is very sorry for him. On the other hand, love for this person wakes up in her heart. So what, that he is thin, small in stature and speaks in a shrill voice. In her view, Kukin is a hero who daily fights with his main enemy - an ignorant public. The heroine's sympathy turns out to be mutual, and soon the young people get married. Now Olenka is working with might and main in her husband's theater. She, like him, scolds the audience, talks about the importance of art in the life of a person and lends to actors. In winter, the affairs of the spouses are better. In the evenings, Olenka gives Ivan Petrovich tea with raspberries and wraps him in warm blankets, wanting to improve her husband's failing health.

Unfortunately, the happiness of the young was short-lived: Kukin left for Moscow during Great Lent to recruit a new troupe and died there suddenly. After burying her husband, the young lady plunged into deep mourning. True, it did not last long. Chekhov's story "Darling" will tell us what happened next. In the meantime, we see that the heroine, imbued with the thoughts of her husband, becomes his shadow and echo. Her individual qualities as if it didn't exist. With the death of a spouse, a woman loses the meaning of life.

Olenka is getting married again

When Olenka, as usual, returned home from mass, Vasily Andreevich Pustovalov, the forest manager of the merchant Babakaev, turned out to be next to her. He walked the woman to the gate and left. Only since then, our heroine has not found a place for herself. Soon a matchmaker from Pustovalov appeared in her house. The young people played a wedding and began to live in peace and harmony. Now Olenka talked only about forest land, about the price of timber, about the difficulties of transporting it. It seemed to her that she had always been doing this. It was warm and cozy in the Pustovalovs' house, it smelled deliciously of homemade food. The couple did not go anywhere, spending the weekend only in each other's company.

When those around her advised the "darling" to go to the theater and unwind, she replied that this was not an empty occupation for working people. In the absence of her husband, when he left for the forest, the woman was bored. Her leisure time was sometimes brightened up by the military veterinarian Smirnin. This gentleman in another city left his wife with a child, which did not prevent him from spending time in the company of other women. Olenka shamed him and strongly advised him to change his mind and make peace with his wife. So the quiet family happiness of the “darling” would have lasted for many more years, if not for the tragic death of her husband. Vasily Andreevich once caught a cold and died suddenly. Olenka again plunged into deep mourning. What does the author want to pay attention to when describing the second attachment of the heroine, what amuses Chekhov here? Darling is a selfless woman, capable of a great and deep feeling. The comicality of the situation is that the story of great love to the grave in the life of the heroine is repeated. And here the same thing: complete dissolution in the beloved, echoing his words, quiet family happiness and a tragic ending.

New heroine sympathy

Now those around him hardly saw Olenka. Only sometimes she could be found in the church or at the vegetable market with the cook. But soon the neighbors already saw a picture in the courtyard of the house: the “darling” is sitting at a table in the garden, and Smirnin is drinking tea next to her. Everything became clear from the moment Olenka suddenly told one friend at the post office about the problem of milk contamination from sick cows and horses. Since then, the young lady only talked about rinderpest, pearl disease, and much more. Olenka and Smirnin tried to keep their relationship secret. However, it became clear to others: a new affection appeared in the heart of a woman. What else will Chekhov tell us in his story "Darling"? The summary of the work allows us to trace the chain of Olenka's sympathies. The author gives the reader the opportunity to feel the deep feelings of the heroine. And at the same time, using the example of a repetition of the situation, he shows how they are limited and relative. It becomes clear to us how a new feeling was born in the heart of the heroine. This is her third attachment. It seems comical that with her arrival, the deep mourning of a woman instantly disappears.

Olenka is left alone

But Olenka was not happy this time either. Smirnin was soon assigned to a distant regiment, and he left without calling his beloved with him. The woman was left alone. Her father died long ago. There were no relatives around. Black days began for Olenka. She lost weight, grew ugly and aged. Friends, when they saw her, tried to cross to the other end of the street so as not to meet her. On summer evenings, Olenka sat on the porch, going over all her affections in her memory. But it seemed to be empty there. It seemed to her that there was no meaning in life. Before, she could explain everything, talk about everything. Now there was such an emptiness in her heart and thoughts, it was so eerie and bitter, as if she had "overeaten wormwood." This is how he described the loneliness of the heroine in his Darling lives only when he can give love close person next to her. It would seem that here you need to feel sorry for the heroine, because she suffers. But the author deliberately and now belittles Olenka's feelings, ironically over them in the words: "as if she overate wormwood ...". And this is fair. Further, we will see how quickly the pictures in a woman's life change from complete despondency and sorrow to absolute happiness.

The new meaning of the life of the heroine

Everything changed in one moment. He returned to the city of Smirnin with his wife and ten-year-old son. Olenka gladly invited him and his family to live in her house. She herself moved into the outbuilding. There was a new meaning in her life. She went about happy, taking charge of the yard. This change was not hidden from the eyes of others. Friends noticed that the woman looked younger, prettier, recovered. It became clear to everyone: the old “darling” returned. And this means that in her heart again a new attachment. Further, we will see what nevertheless captured Chekhov's darling Olenka. Her last sympathy is an example of selfless tenderness, readiness to die for her child. Probably, every woman in her life should realize this natural need - to give tenderness and warmth to children. The good news is that our heroine also took place as a woman and mother.

Maternal feelings in Olenka's soul

Olenka fell in love with Sashenka, the son of Smirnin, with all her heart. The wife of the former veterinarian went to Kharkov on business, he himself disappeared somewhere for days on end, appearing only late in the evening. The child spent the whole day in the house alone. It seemed to Olenka that he was forever hungry, abandoned by his parents. She took the boy to her wing. With what tenderness the woman looked at him, seeing him off to the gymnasium.

How she pampered the child, regaling him incessantly with sweets. With what pleasure I did with Sasha homework. Now from the "darling" one could hear only about studying at the gymnasium, textbooks, teachers and the like. Olenka blossomed, gained weight. The woman was afraid of one thing - that her beloved Sashenka would suddenly be taken away from her. With what fear she listened to the knock on the gate: what if it came from the boy's mother, who demands him to her? At this unfinished moment, Chekhov ends his work. "Darling", analysis and summary which is given here, this is a story about selfless love, which is so rare in our lives, about its sometimes ridiculous and ridiculous manifestations. The main thing in the heroine is an inexhaustible supply of tenderness and warmth, care and affection. Ridiculous and insignificant in comparison with her, her chosen ones. She is funny only in the part when she completely accepts their way of life and their views on reality. Only in her last maternal affection does she become truly beautiful. In this image of her, many women will surely recognize themselves.

We retold and analyzed Chekhov's story "Darling", followed how a woman from a narrow-minded bourgeois turns into a real Chekhov heroine.