What verbal details convey the movement of Lisa's feeling. The image of Lisa in the story "Poor Liza" by Karamzin

What phrase do you think defines the idea of ​​the story “Poor Liza”? Justify your answer. The phrase is “even peasant women know how to love.” Sentimentalists, unlike classicists, preferred the cult of feeling over the cult of reason. At the same time, they affirmed the extra-class value of a person, his high moral qualities. This key phrase from Karamzin gives A New Look on the problem of social inequality. Differences in social and property status do not yet indicate the superiority of one class over another. Lisa’s father and mother had high moral values, and she herself worked hard. The author describes in detail the development of her love feeling from inception to despair. For Lisa, the loss of love is tantamount to the loss of life. The idea of ​​the story is concentrated in the phrase we cited, which has become the formula of sentimental literature. The manner of expressing feelings that is characteristic of the main character of the story is also important for understanding the author’s position: in its vocabulary, concepts and ideas, it is no different from the expression of the feelings of an educated young lady. V.I. Korovin explains this by saying that “Karamzin’s artistic task was partly to bring the feelings of a peasant woman closer to the feelings of an educated young lady and thereby erase the differences in the content and forms of emotional experiences.” Describe the main character of the story. Which artistic media chosen by the author to create her external and internal appearance? How is the writer’s attitude towards her expressed? The image of Lisa is described in detail by the author. The heroine inherited high moral qualities and beliefs from her parents: hard work, honesty, sincerity, kindness. She is pure, naive, unselfish and therefore poorly protected from the vices that dominate around her. She is open to natural manifestations of feelings and therefore prone to delusions, after which a tragic epiphany occurs. The author treats his heroine with tender feelings, admires her, deeply experiences her joys and tragedy, and constantly worries about her fate. Memories of Lisa’s deplorable fate make him “shed tears of tender sorrow.” And the very title of the story expresses Karamzin’s sympathetic and sentimental attitude towards Liza. The characteristics of Lisa’s external and internal appearance are made up of the author’s descriptions and comments of her actions, as well as through the indirect transmission of her mother’s reviews or the loving outpourings of Erast himself. Karamzin notes that Liza worked without sparing “her rare beauty, without sparing her tender youth.” Her beauty is also evidenced by the impression she “made on his heart.” The kind old mother called Lisa, by Divine mercy, her nurse, the joy of her old age, and prayed that the Lord would reward her for what she was doing for her mother. From this we learn that Lisa is virtuous, that she not only honors her mother, but also frees her from all worries that are beyond her weak health. What verbal details convey the movement of Lisa’s feelings for Erast - from timid affection to ardent passion? The essential detail with which Lisa and Erast began their acquaintance was the flowers that Lisa sold. The request he made to pick flowers just for him sparked the first feeling in the girl’s soul. She turned out to be more significant for her than for Erast, and therefore the next day, when he did not come, she did not sell the lilies of the valley to anyone and threw them into the Moscow River. Another detail is the timid glances she cast at young man. Karamzin notes the expression of Liza’s feelings in her appearance - “her cheeks glowed like the dawn on a clear summer evening” - as they grew. Erast's kiss and his first declaration of love echoed in her soul with delightful music. As we see, important in conveying the movements of feelings from timid affection to ardent passion have color and sound details. The achievement of the apogee of love, which, according to the writer, led to the destruction of the heroine’s purity, is also accompanied by a number of important verbal details. A new word appears and rushes (into his arms). Before this, they had hugged on dates, their hugs were pure and immaculate. Now changes are happening around them both in nature and in the color and sound range: kisses became fiery, the darkness of the evening (in contrast to the quiet moon, the bright month) fed desires; “Not a single star shone in the sky - no ray could illuminate the errors.” After the fact, “lightning flashed and thunder roared. Lisa trembled." “The storm roared menacingly, rain poured from black clouds - it seemed that nature was lamenting about Liza’s lost innocence.” After such a turning point in the relationship between Lisa and Erast, Karamzin began to convey in more detail the inner state of the young man, who was becoming more and more indifferent to his beloved. From this time on, natural symbols practically disappear from the narrative. Ancient oaks are mentioned only twice, former witnesses their love. The epithet gloomy now belongs to the oak tree over the grave of poor Lisa. Note the role of gesture in revealing internal state heroes. Analyze this technique of the author. Gesture in literature is one of the important techniques in conveying the internal state of a character. Karamzin also uses it widely. Let's analyze the scene of the meeting between Lisa and Erast in the city, when she saw him in a carriage approaching the house. Her feeling of joy from the meeting was expressed in gestures: she rushed, he felt herself in his arms. Although it is said that he felt himself being embraced, the author thereby emphasizes the swiftness of her joyful action. The swiftness of her movements is the swiftness in the expression of feelings. Then his gestures become swift - he wants to quickly free himself from Lisa, so that no one sees him in the embrace of a simple peasant woman on the eve of a profitable marriage: he took him by the hand, led her into the office, locked the door, put the money in her pocket, took her out of the office and ordered the servant to escort her girl from the yard. And all this was so fast that Lisa couldn’t come to her senses.

1. What phrase do you think defines the idea of ​​the story “Poor Liza”? Justify your answer.

The phrase is “even peasant women know how to love.” Sentimentalists, unlike classicists, preferred the cult of feeling over the cult of reason. At the same time, they affirmed the extra-class value of a person, his high moral qualities. This key phrase from Karamzin gives a new look at the problem of social inequality. Differences in social and property status do not yet indicate the superiority of one class over another. Lisa’s father and mother had high moral values, and she herself worked hard. The author describes in detail the development of her love feeling from inception to despair. For Lisa, the loss of love is tantamount to the loss of life. The idea of ​​the story is concentrated in the phrase we cited, which has become the formula of sentimental literature.

The manner of expressing feelings that is characteristic of the main character of the story is also important for understanding the author’s position: in its vocabulary, concepts and ideas, it is no different from the expression of the feelings of an educated young lady. V.I. Korovin explains this by saying that “Karamzin’s artistic task was partly to bring the feelings of a peasant woman closer to the feelings of an educated young lady and thereby erase the differences in the content and forms of mental experiences.”

2. Describe the main character of the story. What artistic means did the author choose to create her external and internal appearance? How is the writer’s attitude towards her expressed?

The image of Lisa is described in detail by the author. The heroine inherited high moral qualities and beliefs from her parents: hard work, honesty, sincerity, kindness. She is pure, naive, selfless and therefore poorly protected from the vices that dominate around her. She is open to natural manifestations of feelings and therefore prone to delusions, after which a tragic insight occurs. The author treats his heroine with tender feelings, admires her, deeply experiences her joys and tragedy, and is constantly worried about her fate. Memories of Lisa’s deplorable fate make him “shed tears of tender sorrow.” And the very title of the story expresses Karamzin’s sympathetic and sentimental attitude towards Liza.

The characteristics of Lisa’s external and internal appearance are made up of the author’s descriptions and comments of her actions, as well as through the indirect transmission of her mother’s comments or the loving outpourings of Erast himself. Karamzin notes that Liza worked without sparing “her rare beauty, without sparing her tender youth.” Her beauty is also evidenced by the impression she “made on his heart.” The kind old mother called Lisa, by Divine mercy, her nurse, the joy of her old age, and prayed that the Lord would reward her for what she was doing for her mother. From this we learn that Lisa is virtuous, that she not only reveres her mother, but also frees her from all worries that are beyond her weak health.

3. What verbal details convey the movement of Lisa’s feelings for Erast - from timid affection to ardent passion?

The essential detail with which Liza and Erast’s acquaintance began was the flowers that Liza traded. The request he made to pick flowers just for him sparked the first feeling in the girl’s soul. She turned out to be more significant for her than for Erast, and therefore the next day, when he did not come, she did not sell the lilies of the valley to anyone and threw them into the Moscow River. Another detail is the timid glances she cast at the young man. Karamzin notes the expression of Liza’s feelings in her appearance - “her cheeks glowed like the dawn on a clear summer evening” - as they grew. Erast's kiss and his first declaration of love echoed in her soul with delightful music. As we see, color and sound details are important in conveying the movement of feelings from timid affection to ardent passion. The achievement of the apogee of love, which, according to the writer, led to the destruction of the heroine’s purity, is also accompanied by a number of important verbal details. A new word appears and rushes (into his arms). Before this, they had hugged on dates, their hugs were pure and immaculate. Now changes are happening around them both in nature and in the color and sound range: kisses became fiery, the darkness of the evening (in contrast to the quiet moon, the bright month) nourished desires; “Not a single star shone in the sky - no ray could illuminate the errors.” After the fact, “lightning flashed and thunder struck. Lisa began to tremble.” “The storm roared menacingly, rain poured from black clouds - it seemed that nature was lamenting about Liza’s lost innocence.” After such a turning point in the relationship between Lisa and Erast, Karamzin began to convey in more detail the inner state of the young man, who was becoming more and more indifferent to his beloved. From this time on, natural symbols practically disappear from the narrative. The ancient oak trees that witnessed their love are mentioned only twice. The gloomy epithet now belongs to the oak tree over the grave of poor Lisa.

4. Pay attention to the role of gesture in revealing the internal state of the characters. Analyze this technique of the author.

Gesture in literature is one of the important techniques in conveying the internal state of a character. Karamzin also uses it widely. Let's analyze the scene of the meeting between Lisa and Erast in the city, when she saw him in a carriage approaching the house. Her feeling of joy from the meeting was expressed in gestures: she rushed, he felt herself in his arms. Although it is said that he felt himself being embraced, the author thereby emphasizes the swiftness of her joyful action. The swiftness of her movements is the swiftness in the expression of feelings. Then his gestures become swift - he wants to quickly free himself from Lisa, so that no one sees him in the embrace of a simple peasant woman on the eve of a profitable marriage: he took her by the hand, led her into the office, locked the door, put money in her pocket, led her out of the cabin - and ordered the servant to escort the girl from the yard. And all this was so fast that Liza couldn’t come to her senses.

5. Can Erast be considered a villain or an insidious seducer? How does Karamzin describe him, how does he reveal his attitude towards him? Compare the manner of depicting Erast with the manner of depicting heroes in the works of Russian classicism using the example of works known to you.

The meaning of the fate of poor Lisa outlined in the story is precisely that Erast is not a villain and a seducer, but a completely kind and sincere person, but weak and flighty. He sought pleasure, led an absent-minded lifestyle, “read novels, idylls, had a fairly vivid imagination and often wandered in thoughts to those times (former or not), in which, according to the poets, all people they walked carelessly through the meadows, bathed in clean springs, kissed like mounts, rested under roses and myrtles, and spent all their days in happy idleness.” He was attracted to Lisa not only by her external, but mainly by her spiritual beauty, her pure, immaculate expression of love. It seemed to him that he had found in her what his heart had been looking for for a long time. Erast quite sincerely dreamed that he would live with her like brother and sister and with contemptuous disgust he recalled the voluptuous pleasures he had already experienced. To which the writer wisely commented: “Reckless young man! Do you know your heart? Can you always be responsible for your movements? Is reason always the king of your feelings? His vices are rooted not in his own soul, but in the morals of society. When the relationship between Lisa and Erast reached a sensual level, Lisa retained and even lived out her love for him, and above all spiritual love, and Erast’s feelings began to decline, for such relationships were not new to him. Erast turns out to be a slave to “circumstances” that force him to marry a rich bride and part with Lisa as unceremoniously as he did. However, Karamzin also has compassion for him, because he still sees in him a “good fellow.” Having learned about Liza’s suicide, Erast deeply and sincerely suffers and “considers himself a murderer.” “So the “insensitivity” of society, enshrined in social and property inequality, separates and destroys people who are good by nature and becomes an insurmountable obstacle to their happiness. But since the sad love story of two kind souls has been revealed to the reader, their reconciliation is possible where there are no social conventions and prejudices, where humanity reigns in its true and pure form. Therefore, Karamzin’s story ends with a pacifying chord” (V.I. Korovin).

In the works of classicism, positive and negative heroes are sharply opposed to each other. And the hero in such situations, of course, was portrayed as a calculating and ruthless seducer.

6. How do you see the image of the narrator?

The narrator is a contemporary of the heroes of the story “Poor Liza.” He knows Erast, who tells him this sad story. This is a kind-hearted, sensitive, sentimental person who deeply feels the grief of people. The narrator is an educated person with life experience, observant, and knows how to give people the right characteristics. The narrator loves Moscow, its surroundings, and nature native land, often walks to admire the beauty of the landscape. Material from the site

7. What is the purpose of lyrical digressions in the story?

There are not many lyrical digressions in the story. The author has more detailed judgments accompanying the depiction of the love of the heroes, which, however, can also be classified as digressions, for example: “Oh Liza, Liza! What happened to you? But there are also direct lyrical digressions, for example, at the beginning of “Poor Liza.” The narrator often comes to the Danilov Monastery “in the dark days of autumn to grieve with nature.” This retreat creates a lyrical and philosophical mood, the ground for sad reflections about life and death, about the bitter pages of the history of the fatherland.

8. What is the role of landscape in the story? How is it connected with the mood and feelings of lovers?

The landscape creates an emotional background for the perception of the plot of the story and the fate of its heroes, and is in harmony with the feelings of the lovers. At the beginning of the story, for example, there is a sharp contrast between the majestic amphitheater of Moscow with golden domes and the green flowering meadows located at its foot and the wretched, ruined hut in which Liza lived with her mother thirty years ago. From the panorama of Moscow, the narrator glances at the Simonov Monastery, remembers in connection with it the story of poor Liza, indicates the nature of her mood, and then directs her gaze to her former home. This is how the landscape compositionally builds approaches to the beginning of the sad story of Lisa and her love for Erast. The author’s mood (“tender sorrow”) is gradually conveyed to the reader through reading the landscape and the narrator’s thoughts about the pictures he saw.

Against the backdrop of beautiful landscape sketches, the characters’ love feeling arises and develops. They are found “on the river bank or in a birch grove, but most often under the shade of hundred-year-old oak trees<…>- oak trees overshadowing a deep, clear pond, fossilized in ancient times.” The quiet moon harmonizes with Lisa’s hair, “silvering it.” The fusion of love and nature is interestingly described: Lisa’s moonlit hair is played with marshmallows and the hand of a dear friend, which creates an airy, chaste image of a loving feeling. We hear about such a merging of feeling with the perception of nature in the words of Lisa, containing a declaration of love for Erast: “without your eyes the bright month is dark; without your voice the nightingale singing is boring; without your breath the breeze is unpleasant to me.” The literary techniques we observe are characteristic of sentimentalism.

Didn't find what you were looking for? Use the search

What phrase do you think defines the idea of ​​the story “Poor Liza”? Justify your answer. The phrase is “even peasant women know how to love.” Sentimentalists, unlike classicists, preferred the cult of feeling over the cult of reason. At the same time, they affirmed the extra-class value of a person, his high moral qualities. This key phrase from Karamzin gives a new look at the problem of social inequality. Differences in social and property status do not yet indicate the superiority of one class over another. Lisa’s father and mother had high moral values, and she herself worked hard. The author describes in detail the development of her love feeling from inception to despair. For Lisa, the loss of love is tantamount to the loss of life. The idea of ​​the story is concentrated in the phrase we cited, which has become the formula of sentimental literature. The manner of expressing feelings that is characteristic of the main character of the story is also important for understanding the author’s position: in its vocabulary, concepts and ideas, it is no different from the expression of the feelings of an educated young lady. V.I. Korovin explains this by saying that “Karamzin’s artistic task was partly to bring the feelings of a peasant woman closer to the feelings of an educated young lady and thereby erase the differences in the content and forms of mental experiences.” Describe the main character of the story. What artistic means did the author choose to create her external and internal appearance? How is the writer’s attitude towards her expressed? The image of Lisa is described in detail by the author. The heroine inherited high moral qualities and beliefs from her parents: hard work, honesty, sincerity, kindness. She is pure, naive, selfless and therefore poorly protected from the vices that dominate around her. She is open to natural manifestations of feelings and therefore prone to delusions, after which a tragic insight occurs. The author treats his heroine with tender feelings, admires her, deeply experiences her joys and tragedy, and is constantly worried about her fate. Memories of Lisa’s deplorable fate make him “shed tears of tender sorrow.” And the very title of the story expresses Karamzin’s sympathetic and sentimental attitude towards Liza. The characteristics of Lisa’s external and internal appearance are made up of the author’s descriptions and comments of her actions, as well as through the indirect transmission of her mother’s comments or the loving outpourings of Erast himself. Karamzin notes that Liza worked without sparing “her rare beauty, without sparing her tender youth.” Her beauty is also evidenced by the impression she “made on his heart.” The kind old mother called Lisa, by Divine mercy, her nurse, the joy of her old age, and prayed that the Lord would reward her for what she was doing for her mother. From this we learn that Lisa is virtuous, that she not only reveres her mother, but also frees her from all worries that are beyond her weak health. What verbal details convey the movement of Lisa’s feelings for Erast - from timid affection to ardent passion? The essential detail with which Liza and Erast’s acquaintance began was the flowers that Liza traded. The request he made to pick flowers just for him sparked the first feeling in the girl’s soul. She turned out to be more significant for her than for Erast, and therefore the next day, when he did not come, she did not sell the lilies of the valley to anyone and threw them into the Moscow River. Another detail is the timid glances she cast at the young man. Karamzin notes the expression of Liza’s feelings in her appearance - “her cheeks glowed like the dawn on a clear summer evening” - as they grew. Erast's kiss and his first declaration of love echoed in her soul with delightful music. As we see, color and sound details are important in conveying the movement of feelings from timid affection to ardent passion. The achievement of the apogee of love, which, according to the writer, led to the destruction of the heroine’s purity, is also accompanied by a number of important verbal details. A new word appears and rushes (into his arms). Before this, they had hugged on dates, their hugs were pure and immaculate. Now changes are happening around them both in nature and in the color and sound range: kisses became fiery, the darkness of the evening (in contrast to the quiet moon, the bright month) nourished desires; “Not a single star shone in the sky - no ray could illuminate the errors.” After the fact, “lightning flashed and thunder struck. Lisa began to tremble.” “The storm roared menacingly, rain poured from black clouds - it seemed that nature was lamenting about Liza’s lost innocence.” After such a turning point in the relationship between Lisa and Erast, Karamzin began to convey in more detail the inner state of the young man, who was becoming more and more indifferent to his beloved. From this time on, natural symbols practically disappear from the narrative. The ancient oak trees that witnessed their love are mentioned only twice. The gloomy epithet now belongs to the oak tree over the grave of poor Lisa. Pay attention to the role of gesture in revealing the internal state of the characters. Analyze this technique of the author. Gesture in literature is one of the important techniques in conveying the internal state of a character. Karamzin also uses it widely. Let's analyze the scene of the meeting between Lisa and Erast in the city, when she saw him in a carriage approaching the house. Her feeling of joy from the meeting was expressed in gestures: she rushed, he felt herself in his arms. Although it is said that he felt himself being embraced, the author thereby emphasizes the swiftness of her joyful action. The swiftness of her movements is the swiftness in the expression of feelings. Then his gestures become swift - he wants to quickly free himself from Lisa, so that no one sees him in the embrace of a simple peasant woman on the eve of a profitable marriage: he took her by the hand, led her into the office, locked the door, put money in her pocket, led her out of the cabin - and ordered the servant to escort the girl from the yard. And all this was so fast that Liza couldn’t come to her senses. 

Can Erast be considered a villain or an insidious seducer? How does Karamzin describe him, how does he reveal his attitude towards him? Compare the manner of depicting Erast with the manner of depicting heroes in the works of Russian classicism using the example of works known to you. The meaning of the fate of poor Lisa outlined in the story is precisely that Erast is not a villain and a seducer, but a completely kind and sincere person, but weak and flighty. He sought pleasure, led an absent-minded lifestyle, “read novels, idylls, had a fairly vivid imagination and often wandered in thoughts to those times (former or not), in which, according to the poets, all people they walked carelessly through the meadows, bathed in clean springs, kissed like mounts, rested under roses and myrtles, and spent all their days in happy idleness.” He was attracted to Lisa not only by her external, but mainly by her spiritual beauty, her pure, immaculate expression of love. It seemed to him that he had found in her what his heart had been looking for for a long time. Erast quite sincerely dreamed that he would live with her like brother and sister and with contemptuous disgust he recalled the voluptuous pleasures he had already experienced. To which the writer wisely commented: “Reckless young man! Do you know your heart? Can you always be responsible for your movements? Is reason always the king of your feelings? His vices are rooted not in his own soul, but in the morals of society. When the relationship between Lisa and Erast reached a sensual level, Lisa retained and even lived out her love for him, and above all spiritual love, and Erast’s feelings began to decline, for such relationships were not new to him. Erast turns out to be a slave to “circumstances” that force him to marry a rich bride and part with Lisa as unceremoniously as he did. However, Karamzin also has compassion for him, because he still sees in him a “good fellow.” Having learned about Liza’s suicide, Erast deeply and sincerely suffers and “considers himself a murderer.” “So the “insensitivity” of society, enshrined in social and property inequality, separates and destroys people who are good by nature and becomes an insurmountable obstacle to their happiness. But since the sad love story of two kind souls was revealed to the reader, their reconciliation is possible where there are no social conventions and prejudices, where humanity reigns in its true and pure form. Therefore, Karamzin’s story ends with a pacifying chord” (V.I. Korovin). In the works of classicism, positive and negative heroes are sharply opposed to each other. And the hero in such situations, of course, was portrayed as a calculating and ruthless seducer. How do you see the image of the narrator? The narrator is a contemporary of the heroes of the story “Poor Liza.” He knows Erast, who tells him this sad story. This is a kind-hearted, sensitive, sentimental person who deeply feels the grief of people. The narrator is an educated person with life experience, observant, and knows how to give people the right characteristics. The narrator loves Moscow, its surroundings, the nature of his native land, and often walks to admire the landscape beauty. What is the purpose of lyrical digressions in the story? There are not many lyrical digressions in the story. The author has more detailed judgments accompanying the depiction of the love of the heroes, which, however, can also be classified as digressions, for example: “Oh Liza, Liza! What happened to you? But there are also direct lyrical digressions, for example, at the beginning of “Poor Liza.” The narrator often comes to the Danilov Monastery “in the dark days of autumn to grieve with nature.” This retreat creates a lyrical and philosophical mood, the ground for sad reflections about life and death, about the bitter pages of the history of the fatherland. What is the role of landscape in the story? How is it connected with the mood and feelings of lovers? The landscape creates an emotional background for the perception of the plot of the story and the fate of its heroes, and is in harmony with the feelings of the lovers. At the beginning of the story, for example, there is a sharp contrast between the majestic amphitheater of Moscow with golden domes and the green flowering meadows located at its foot and the wretched, ruined hut in which Liza lived with her mother thirty years ago. From the panorama of Moscow, the narrator glances at the Simonov Monastery, remembers in connection with it the story of poor Liza, indicates the nature of her mood, and then directs her gaze to her former home. This is how the landscape compositionally builds approaches to the beginning of the sad story of Lisa and her love for Erast. The author’s mood (“tender sorrow”) is gradually conveyed to the reader through reading the landscape and the narrator’s thoughts about the pictures he saw. Against the backdrop of beautiful landscape sketches, the characters’ love feeling arises and develops. They are found “on the banks of a river or in a birch grove, but most often under the shade of hundred-year-old oaks - oaks overshadowing a deep, clear pond, fossilized in ancient times.” The quiet moon harmonizes with Lisa’s hair, “silvering it.” The fusion of love and nature is interestingly described: Lisa’s moonlit hair is played with marshmallows and the hand of a dear friend, which creates an airy, chaste image of a loving feeling. We hear about such a merging of feeling with the perception of nature in the words of Lisa, containing a declaration of love for Erast: “without your eyes the bright month is dark; without your voice the nightingale singing is boring; without your breath the breeze is unpleasant to me.” The literary techniques we observe are characteristic of sentimentalism.

Like, praise, tweet, etc.

Nikolai Mikhailovich Karamzin (1766-1826) greatly influenced the development of Russian literature, transforming the Russian language, freeing it from complex Latin constructions and Slavicisms, bringing it closer to living human speech.

Features of sentimentalism

The writer’s creativity cultivates feelings, calls for kindness and mercy. This is how a new direction in Russian literature was born - sentimentalism, which took away main role the inner world of a person.

Perhaps today the work “Poor Liza” seems somewhat distant from life, and the feelings of the characters seem unnatural. However, it should be remembered that Karamzin worked in And the work “Poor Liza,” written in 1792, served as a source of inspiration for subsequent Russian writers, being an excellent example of this genre. Sentimentalism is characterized by acute conflicts, often leading to the death of the hero, and “Poor Lisa” is no exception. The death of the girl shocks and makes many generations of readers empathize.

New name

In addition to a new genre, Karamzin gave our country a new name and made it popular. Translated, Elizabeth means “who worships God.” This was the name of the mother of the wife of the high priest Aaron. This name was practically not found among Russian writers until the 80s of the 18th century. It is worth noting that in European literature given name often associated with the image of a maid, a servant, usually frivolous and flirtatious, and was used mainly in comedies. The image of Lisa in the story of the work (read below), however, does not follow this tradition. Breaking the usual framework of the meaning of the word, Karamzin also broke with classicism and its established definitions.

The image of Lisa in the story “Poor Lisa” played an important role in the development of Russian literature as a whole, so I would like to dwell on it in more detail. You will see that she was a strong character, not at all the way European authors are used to portraying her. We propose to consider the image of Lisa in the story “Poor Lisa” with quotes and a summary of the work.

Characters, plot

But first, let us indicate the other characters in the story and briefly describe its main events. In addition to the peasant woman Lisa, the main characters include: her mother, Erast and the narrator. The plot of the work is generally not new: a man seduces a young girl and then abandons her. However, this story had its own characteristics. The author described a situation typical for Russia in the 18th century: a nobleman, a landowner, knowing his impunity and taking advantage of it, seduces a peasant woman, a young girl. What is striking about this story is that at that time, in this situation, society did not at all seek to condemn the landowner, and in any case the truth was on his side.

Already in the title one can guess the attitude of the author himself towards his heroine: he calls Lisa poor.

First meeting with the heroine

The story begins with a description of Moscow, where some events subsequently take place, and also in the vicinity of which the heroine was subsequently buried.

For the first time on the pages of the work, the author describes Lisa to us through the eyes of the narrator. When talking about her, he uses many epithets (“dear,” “beautiful,” etc.), so that the reader may even get the idea that the narrator loved Lisa. However, the ending of the story makes it clear that he simply feels sorry for her. It should be noted that in this story the narrator expresses the attitude of the author himself towards his heroine. Why does Karamzin love and feel sorry for Liza?

Lisa's past

Let's turn to the heroine's past and briefly describe the image of Lisa in the story "Poor Lisa". This girl is a peasant by birth, lives in a poor hut with her old mother. When our heroine was 15 years old, her father, a “wealthy villager,” died, and after his death the family became poor and was forced to rent out the land for a very small fee. Due to poor health, her mother was unable to work, and Lisa had to work very hard to somehow feed herself and her mother. The girl was engaged in various crafts - she knitted stockings, weaved canvas, collected and sold flowers in Moscow in the spring, and berries in the summer. We don’t know Lisa personally yet, but we already understand that she is selfless, ready to make sacrifices for the sake of her loved ones, and hardworking.

Lisa's character

As the plot develops, the character of the main character, the image of Lisa in the story “Poor Lisa” by N. M. Karamzin, is revealed. Poor Lisa is a very attractive heroine. We understand that this is a pure and deep soul with a receptive and soft heart. Lisa was often sad about her father’s death, but she tried not to show it to her mother and tried to appear “calm and cheerful.” The girl is timid and shy by nature. When she first met Erast, she “showed him the flowers and blushed.”

This is the image of Lisa in the story "Poor Lisa". The plan of this image is complemented by one more detail. It is necessary to note the honesty of the heroine. When Erast wanted to buy flowers from her and offered a ruble instead of five kopecks, she said that she didn’t want anything extra. Lisa is naive, sometimes to the extreme: she immediately tells a complete stranger where she lives.

Main character's speech

Analyzing this, we can say that the image of Liza in the story “Poor Liza” was not worked out carefully enough: her speech is sometimes not like that of a peasant woman, but like that of a girl from high society. Clearly uneducated ordinary girl I just couldn't express myself like that. Despite this, the image of Lisa in the story “Poor Liza” by Karamzin is considered the first image of a woman from the lower class in Russian literature. The depiction of a girl from the people in the 18th century was very progressive and atypical, especially as the heroine of a romance novel. Karamzin put a deep meaning into the image of Liza in the story “Poor Liza”: before God and love there are no classes, all people are equal, “and peasant women know how to love.”

Later, A.S. Pushkin, in his work “The Young Lady-Peasant Woman,” continued this theme, but it was Karamzin who first introduced it into literature.

A new attitude towards women

Another innovation of the writer was his attitude towards women. After all, in the 18th century she was considered lower than a man, she had no freedom. A woman could not love whoever she wanted; her parents were looking for a chosen one for her daughter. Of course, in such a situation it was rare to meet happy married couples. Those who tried to love against the will of their parents were disgraced in the eyes of society; such love was considered immoral. The image of Lisa in the story “Poor Lisa” by N. M. Karamzin clearly shows this. Later, the theme was developed by other writers, in particular Ostrovsky.

Lisa's crime was that she dared to love in spite of public opinion. And Russian peasant women have always been able to love passionately, ardently and forever. Refusing to marry a rich peasant son from a neighboring village, Lisa devoted herself entirely to her lover.

Erast's betrayal

But Erast turned out to be a scoundrel, abandoning Lisa. The heroine only accidentally finds out about his betrayal. Having gone to Moscow to buy rose water, she accidentally runs into his carriage on the street. Lisa rushes to her, but the carriage passes her and stops at the yard big house. The heroine runs up and hugs her lover, but he calmly announces that he is getting married (as it turns out later, he married a rich widow to improve his situation, since he lost almost all his money at cards during the campaign) and asks to leave him alone, trying pay off Lisa with money. And Karamzin does not justify his hero at all, but openly condemns him. Erast will be punished for his betrayal: he is destined to be unhappy for the rest of his life and blame himself for Lisa’s death. At the end of the work he dies.

Continuing to analyze the image of Lisa in Karamzin's story "Poor Liza", we must note one more important detail - she loved Erast, but at the same time did not forget about her mother, and it was caring for her that stopped Lisa from trying to go to war for her lover . Although the heroine was very worried about Erast, she was afraid that he would be killed in the war. After all, Lisa couldn’t even write messages to her lover, because she simply didn’t know how to do it.

The death of a poor girl

Lisa's suicide is a very important episode in revealing her character. After all, this girl seemed to be the embodiment of Christian virtues. How could such a pure soul decide to commit such a grave sin? The heroine decides to drown herself by throwing herself into the water. But one cannot blame Lisa - grief deprived her of her last strength, and the heroine simply could not stand it. Even before her death, she does not forget about her mother: going to the pond to drown herself, she gives a neighbor girl one hundred rubles with a request to give them to her mother and say that her daughter loved a man, and he cheated on her. Although the writer does not justify the heroine’s suicide, he still forgives Lisa. Nikolai Mikhailovich Karamzin believes that, despite the severity of the crime, Lisa’s soul will go to heaven.

The meaning of the story

Many writers of the 19th century (Turgenev, Dostoevsky, Pushkin, Ostrovsky, Goncharov, Tolstoy) drew inspiration from this image and created many bright female characters, as pure and selfless as the image of Lisa in the story “Poor Lisa”.

In this story, the author touched upon important themes of the imperfection of the structure of society and the shortcomings of human nature. We cannot fix something on our own; we can only accept it as a fact, and it is pointless to condemn and reproach someone. There is no villain in the work, there is only a man belonging to a secular circle, acting in accordance with generally accepted opinions. Erast had a naturally kind heart, but the “artificial” upbringing and education he received spoiled his character. The writer sympathizes with him, since in this situation it is not the person who should be blamed, but the mores of the era and society under which the hero lived.

Immediately after its publication (in 1792), the work aroused great interest, which continued unabated for several decades. Even outright imitations appeared, for example, “Seduced Henrietta” by Svechinsky (1803), “Poor Masha” by Izmailov (1801).

The image of Lisa in the story "Poor Lisa" summary which you just reviewed, will be remembered by readers for a long time. And even now it is not forgotten, because humanistic ideas are always relevant.

Current page: 4 (book has 16 pages total) [available reading passage: 11 pages]

Questions and tasks

Describe the main character of the story. What artistic means did the author choose to create her external and internal appearance? How is the writer’s attitude towards her expressed?

1. What verbal details convey the movement of Lisa’s feelings for Erast - from timid affection to ardent passion?

2. Pay attention to the role of gesture in revealing the inner state of the characters. Analyze this technique of the author.

3. What is the purpose of lyrical digressions in the story?

4. What is the role of landscape in the story? How is it connected with the mood and feelings of lovers?

Can Erast be considered a villain or an insidious seducer? How does Karamzin describe him, how does he reveal his attitude towards him? Compare the manner of depicting Erast with the manner of depicting heroes in the works of Russian classicism using the example of works known to you.

19th century literature

A. S. Griboyedov. V. A. Zhukovsky. A. S. Pushkin. M. Yu. Lermontov. N.V. Gogol. F. I. Tyutchev.

About Russian literature of the 19th century

The beginning of the 19th century is often called the “golden age” of our poetry, but this is often how all the literature of this century is characterized.

The stream of literature carries its waters in the stream of history: they inextricably merge with each other, and to determine the role of each writer in the destinies of the Motherland, irrefutable evidence from contemporaries and the findings of researchers who devoted themselves to the study of their native literature are needed.

The 19th century was rich in searches for new literary directions. In the creative achievements of this century, literature has gone far along the path and romanticism, And realism. V. A. Zhukovsky embodied in his works best sides Russian romanticism, A. S. Pushkin and M. Yu. Lermontov paid a generous tribute to this bright direction. The idea of ​​individual freedom from social laws, which the romantics affirmed, was refuted by life, the dependence of each person on society became more and more obvious, and realism convincingly showed it.

In the history of literature, realism arose as a phenomenon arguing with romanticism. In realistic works, the interest in the exceptional individual, characteristic of romanticism, was replaced by an interest in the everyday existence of ordinary people. The individual was increasingly understood as a part of society; realists depicted man in his diverse connections with the world around him, in his concreteness and authenticity of life.

Previous movements, including romanticism (classicism, sentimentalism), gave the writer in advance a certain system of stable ideas about the world, man, his mind and soul. A realist writer himself had to look for the patterns governing reality and man, which fundamentally changed his work. Realism endlessly expanded the possibilities of comprehending reality in all its complexity and unpredictability. As the “power of historical and social conditions influencing human behavior” became apparent, realism sought to explore how the pressure of external circumstances and the internal freedom of man relate to each other.

Realism arises in Western Europe as a research method internal contradictions people who caused inevitable changes in the destinies of the heroes. In Russian realism, the question is raised not so much about changing the specific fate of a person, but rather about changing the hero himself or transforming the world around him.

They usually note the rapid development of Russian realism and its dynamism. The works of Russian realism were characterized by the active use of the romantic tradition: it was both in the thirst for the transformation of man and society, and in the search for ways of this transformation, which were often utopian.

It must be taken into account that realism, in line with which many classics of the 19th century worked, was not homogeneous: it changed, reflecting the individual characteristics of each of the writers, the specifics of the specific period when the work was conceived or created.

The 19th century is the century of realism, which is called critical. The 20th century continued the search for new content and new definitions that will help identify the difference between this stage and all previous ones.

Questions and tasks

1. Remember the works of the 19th century you have read and try to determine which literary movement (romanticism or realism) they belong to. Justify your answer.

2. Think about how realism of the first half of the 19th century, which in Europe and Russia is considered the period of the formation of realism, differs from the era of its maturity (the second half of the century).

3. “Literature is a textbook of life.” Do you agree with this statement by N. G. Chernyshevsky?

4. Watch how the hero changes in the works of classicism, sentimentalism, romanticism and realism. What character traits become the leading ones in the heroes created by writers of different directions?

Alexander Sergeevich Griboyedov
(1794–1829)

The mind is naturally abundant, enriched with deep knowledge, the thirst for which does not leave it, a soul sensitive to everything high, noble, heroic. Rules of honor... lively character... gift of speech to a high degree, pleasant talent in music, and finally, knowledge of people makes him an idol and adornment of the best societies.

P. A. Bestuzhev

“There is no disagreement among experts that we know extremely little about Griboyedov,” notes the famous historian and writer N. Ya. Eidelman, “in 1826 the papers were destroyed before his arrest, in 1829 they were torn to pieces in Tehran; later, a precious draft notebook that was left with friends burned down...

A great man whose date of birth is currently unknown.

Griboedov’s inner, personal life is special and mysterious... The most famous Griboyedov sign is glasses, behind which in various portraits there is either a cold, arrogant, ironic face, or a cheerful, disheveled, helpless face.”

And here is the opinion of the outstanding literary critic B. M. Eikhenbaum: “The fate of Griboedov is a complex historical problem, almost untouched by science and hardly solvable scientific methods due to lack of materials."

A. S. Pushkin, who highly valued Griboedov, remarked: “Born with ambition equal to his talents.”

One play will bring fame to Alexander Sergeevich Griboedov. Literature knows the authors of one work, or rather, one work of genius, which rises immeasurably above the rest, also talented. Griboyedov entered literature as the author of the comedy “Woe from Wit,” although he wrote several more plays, as well as poems and poems...

Griboyedov was born into an eminent noble family. Received an excellent education. First at home, then at the Moscow Noble Boarding School, and later at Moscow University, where he graduated from the literature and law faculties and studied physics and mathematics. Since childhood, he spoke French, English, German and Italian, and later studied Greek, Latin, Persian, Arabic and Turkish. He was a musically gifted person: he played the piano, organ, flute, and composed music (two waltzes have survived).

Communication at the university with P. Ya. Chaadaev, N. M. Muravyov and N. I. Turgenev contributed to the formation of an advanced and independent worldview in Griboyedov. At the university, his poetic abilities began to manifest themselves.

In 1812 he volunteered for the army, and after the end of the war with Napoleon, Griboyedov retired. He settles in St. Petersburg, enters the service of the Collegium of Foreign Affairs, where he meets Pushkin and Kuchelbecker, who were serving there at that time. In the capital, Griboedov communicates with people involved in the theater, collaborates in magazines, and writes plays.

Griboyedov's closeness to V.K. Kuchelbecker, K.F. Ryleev, A.A. Bestuzhev is indisputable. They were united by a commonality of views and a critical assessment of the Russian government structure. However, there is no information about Griboyedov’s participation in secret societies.

In 1818, Griboedov was appointed secretary of the Russian diplomatic mission in Persia, where he showed his extraordinary abilities. In his travel diary, Griboyedov writes: “Efforts for the prisoners. Fury and sadness... I will lay my head for my unfortunate compatriots.” He does all his work with great skill and passion. “I don’t have friendship with anyone and don’t want it, respect for Russia and its demands, that’s what I need.”

In 1822, Griboyedov was transferred from service to Tiflis, where he served as secretary of the diplomatic mission under the chief administrator of Georgia, the famous General A.P. Ermolov. In Tiflis, Griboedov is working on the first two acts of the comedy “Woe from Wit.”

After a vacation that lasted from 1823 to 1825, Griboyedov returned to the Caucasus and learned about the December events in St. Petersburg. His closeness to the Decembrists did not remain a secret to the government. Griboyedov is arrested, but, warned by Ermolov, he manages to destroy the incriminating letters and papers. The investigation lasts four months, Griboyedov denies belonging to any secret society, which is confirmed by the Decembrists. Authorities drop the charges and release him from custody. The successful completion of the case was greatly facilitated by Griboyedov’s courage and self-control.

In 1828, the war with Persia ended, the diplomatic conclusion of which was the Turkmanchay Peace Treaty, which was beneficial for Russia, and a large share of the credit for concluding this treaty belongs to Griboyedov. His friends, including Pushkin and Vyazemsky, rejoiced at Griboedov’s diplomatic and state successes: yesterday in the fortress, today - minister plenipotentiary...

The Tsar outwardly appreciated the diplomat's merits, appointing him Minister Plenipotentiary to Persia, but Griboedov clearly understood the true price of the Tsar's reward. His letters to friends are filled with gloomy forebodings; he views his appointment to Persia as a “political exile”, as a “cup of suffering” that he will have to drink. Close people later recalled that Griboyedov had bad premonitions: “You don’t know these people yet: you will see that it will come down to knives.”

In Persia, he manages to do a lot of useful things, acting energetically and persistently. This does not suit Russia's enemies. On January 30, 1829, a crowd of fanatical Persians attacks the Russian embassy and causes destruction, carried out with merciless cruelty. Among those killed and torn to pieces by the crowd is Alexander Sergeevich Griboedov.

Griboyedov was buried in Tiflis. Pushkin in “Travel to Arzrum” describes the last meeting as follows: “Two oxen harnessed to a cart were climbing a steep road. Several Georgians accompanied the cart. “Where are you from?” I asked them. "From Tehran." - “What are you bringing?” - “Mushroom eater.” It was the body of the murdered Griboyedov, which was transported to Tiflis... The very death that befell him in the middle of a brave, unequal battle had nothing terrible for Griboyedov, nothing painful. It was immediate and beautiful.” On his grave the inscription is the words of his wife, Nina Chavchavadze, daughter of the famous Georgian poet Alexander Chavchavadze: “Your mind and deeds are immortal in Russian memory, but why did my love survive you?”

The main work of Griboyedov’s life, the comedy “Woe from Wit,” A. Blok called “the most brilliant Russian drama.” There is no exact information about the time when the idea for the comedy arose. Presumably the idea was born in 1816. From 1822 to 1824, work on the play continued. After finishing “Woe from Wit,” Griboedov made a lot of efforts to publish the comedy, but he failed. The production of the play was also banned by censorship.

But despite the obstacles, the comedy became widely known, it was sold on lists, causing delight and admiration. Some contemporaries of Griboedov claimed that there were more than forty thousand copies of the work in Russia. In his memoirs of a trip to Pushkin in Mikhailovskoye, Pushchin writes: “I brought Pushkin “Woe from Wit” as a gift; he was very pleased with this then handwritten comedy.”

The comedy was allowed for publication with censored cuttings only in 1831.

Woe from the mind. Comedy in four acts, in verse. Abbreviated

Characters

Pavel Afanasyevich Famusov, manager in a government place.

Sofya Pavlovna, his daughter.

Lizanka, maid.

Alexey Stepanovich Molchalin, Famusov’s secretary, living in his house.

Alexander Andreevich Chatsky.

Colonel Skalozub, Sergey Sergeevich.

Natalya Dmitrievna, young lady, Platon Mikhailovich, her husband - Gorichi.

Prince Tugoukhovsky And

Princess, his wife, with six daughters.

Countess grandmother, Countess granddaughter – Khryumins.

Anton Antonovich Zagoretsky.

Old Woman Khlestova, sister-in-law of Famusov.

Repetilov.

Parsley and several talking servants.

A bunch of guests any analysis and their lackeys when leaving.

Waiters Famusova.

Action in Moscow in Famusov's house.

Questions and tasks

1. Read the list of characters. What do you learn from it about the characters in the play? What do their last names “say” about the characters in the comedy?

2. Why is the list of characters often called a poster?

3. Explain the sequence of characters in the poster.

Act I

Phenomenon 1

The living room, there is a large clock in it, on the right is the door to Sofia’s bedroom, from where you can hear a piano and flute, which then fall silent.

Lisa in the middle of the room he sleeps, hanging from an armchair.

(It’s morning, the day is just dawning.)

Lizanka(suddenly wakes up, gets up from his chair, looks around)

It's getting light!.. Ah! how quickly the night has passed!
Yesterday I asked to sleep - refusal.
"Waiting for a friend." - You need an eye and an eye,
Don't sleep until you roll out of your chair.
Now I just took a nap,
It’s already day!.. tell them...

(Knocking on Sofia's door.)

Gentlemen,
Hey! Sofya Pavlovna, trouble.
Your conversation went on overnight.
Are you deaf? - Alexey Stepanych!
Madam!.. - And fear does not take them!

(Moves away from the door.)

Well, uninvited guest,
Perhaps Father will come in!
I ask you to serve the young lady in love!

(Again to the doors.)

Yes, disperse. Morning. - What, sir?

What time is it now?

Lizanka

Everything in the house rose.

Sofia(from my room)

What time is it now?

Lizanka

Seventh, eighth, ninth.

Sofia(from there)

Lizanka(away from the door)

Oh! Damn Cupid!
And they hear, they don’t want to understand,
Well, why would they take away the shutters?
I'll change the clock, even though I know there will be a race,
I'll make them play.

(He climbs onto a chair, moves the hand, the clock strikes and plays.)<…>

Phenomenon 4

Sofia, Lisa, Molchalin, Famusov.

Famusov

What an opportunity! Molchalin, are you brother?

Molchalin

Famusov

Sofia

He just came in now.

Molchalin

Now back from a walk.

Famusov

Friend, is it possible for a walk?
Should I choose a nook further away?
And you, madam, almost jumped out of bed,
With a man! with the young one! - Something to do for a girl!
He reads tall tales all night,
And here are the fruits of these books!
And all the Kuznetsky Bridge, and the eternal French,
From there fashion comes to us, both authors and muses:
Destroyers of pockets and hearts!
When the Creator will deliver us
From their hats! caps! and stilettos! and pins!
And book and biscuit shops!

Sofia

Excuse me, father, my head is spinning;
I can barely catch my breath from fear;
You deigned to run in so quickly,
I was confused.

Famusov

Thank you humbly,
I soon ran to them!
I'm in the way! I scared!
I, Sofya Pavlovna, am upset all day long
There is no rest, I'm rushing around like crazy.
According to the position, the service is a hassle,
One pesters, another, everyone cares about me!
But was I expecting new troubles? to be deceived...

Sofia(through tears)

By whom, father?

Famusov

They will reproach me
That it’s no use I always scold.
Don't cry, I mean it:
Didn't they care about you?
About education! from the cradle!
Mother died: I knew how to hire
Madame Rosier is a second mother.
I put the old gold woman under your supervision:
She was smart, had a quiet disposition, and rarely had rules.
One thing does not serve her well:
For an extra five hundred rubles a year
She allowed herself to be lured by others.
Yes, the power is not in madame.
No other sample is needed
When your father's example is in your eyes.
Look at me: I don’t boast about my build;
However, he was vigorous and fresh, and lived to see his gray hairs,
Free, widows, I am my own master...
Known for his monastic behavior!..

Lisa

I dare, sir...

Famusov

Be silent!
Terrible century! Don't know what to start!
Everyone was wise beyond their years,
And most of all, daughters, and good-natured people themselves,
These languages ​​were given to us!
We take tramps, both into the house and with tickets,
To teach our daughters everything, everything -
And dancing! and foam! and tenderness! and sigh!
It’s as if we are preparing them as wives for buffoons.
What are you, visitor? Why are you here, sir?
He warmed up the rootless one and brought him into my family,
He gave the rank of assessor and took him on as secretary;
Transferred to Moscow through my assistance;
And if it weren’t for me, you would be smoking in Tver.<…>

(Molchalin.)

Let's go sort out the papers.

Molchalin

I was just carrying them for the report,
What cannot be used without certificates, without others,
There are contradictions, and many things are inappropriate.

Famusov

I'm afraid, sir, I'm mortally alone,
So that a multitude of them do not accumulate;
If you had given it free rein, it would have settled;
And for me, what matters and what doesn’t matter,
My custom is this:
Signed, off your shoulders.

(He leaves with Molchalin and lets him through at the door.)

Phenomenon 5

Sofia, Lisa.

Lisa

Well, here's the holiday! Well, here's some fun for you!
However, no, it’s no laughing matter now;
The eyes are dark and the soul is frozen;
Sin is not a problem, rumor is not good.

Sofia

What is the rumor to me? Whoever wants to, judges it that way,
Yes, father will force you to think:
Grouchy, restless, quick,
This has always been the case, but from now on...
You can judge...<…>

Lisa

That's it, sir, my stupid judgment
You never regret:
But here's the problem.
What better prophet do you need?
I kept repeating: there will be no good in love
Not forever and ever.
Like all Moscow people, your father is like this:
He would like a son-in-law with stars and ranks,
And under the stars, not everyone is rich, between us;
Well, of course, then
And money to live on, so he could give balls;
Here, for example, Colonel Skalozub:
And a golden bag, and aims to become a general.

Sofia

How cute! and it's fun for me to fear
Listen about the frunt and rows;
He never uttered a smart word, -
I don’t care what goes into the water.

Lisa

Yes, sir, so to speak, he is talkative, but not very cunning;
But be a military man, be a civilian,
Who is so sensitive, and cheerful, and sharp,
Like Alexander Andreich Chatsky!
Not to confuse you;
It's been a long time, can't turn it back
And I remember...

Sofia

What do you remember? He's nice
He knows how to make everyone laugh;
He chats, jokes, it’s funny to me;
You can share laughter with everyone.<…>
Yes, it’s true that we were brought up and grew up with Chatsky;
The habit of being together every day inseparably
She bound us together with childhood friendship; but after
He moved out, he seemed bored with us,
And he rarely visited our house;
Then he pretended to be in love again,
Demanding and distressed!
Sharp, smart, eloquent,
I am especially happy with friends.
He thought highly of himself...
The desire to wander attacked him,
Oh! if someone loves someone,
Why search for the mind and travel so far?<…>

Phenomenon 7

Sofia, Lisa, Chatsky.

Chatsky

It's barely light on my feet! and I am at your feet.

(He kisses your hand passionately.)

Well, kiss me, weren’t you waiting? speak!
Well, for the sake of it? No? Look at my face.
Surprised? but only? Here's the welcome!
It was as if no week had passed;
It feels like yesterday together
We're tired of each other;
Not a hair of love! how good they are!
And meanwhile, I won’t remember, without a soul,
I'm forty-five hours, without squinting my eyes,
More than seven hundred miles passed, the wind, the storm;
And I was completely confused, and fell how many times -
And here is the reward for your exploits!

Sofia

Oh! Chatsky, I am very glad to see you.

Chatsky

You are happy? good morning.
However, who is sincerely happy like that?
I think this is the last thing
Chilling people and horses,
I was just amusing myself.

Lisa

Here, sir, if you were outside the doors,
By God, there are not five minutes,
How we remembered you here.
Madam, tell me yourself.

Sofia

Always, not just now.
You cannot reproach me.
Whoever flashes by will open the door,
While passing through, by chance, from a stranger, from far away -
I have a question, even if I’m a sailor:
Did I meet you somewhere in the mail carriage?

Chatsky

Let's say so.
Blessed is he who believes, he is warm in the world! -
Oh! My God! Am I really here again?
In Moscow! you! how can we recognize you!
Where is the time? where is that innocent age,
When it used to be a long evening
You and I will appear, disappear here and there,
We play and make noise on chairs and tables.
And here is your father and madam, behind the picket;
We are in a dark corner, and it seems like this!
Do you remember? we'll be startled by the creaking of a table or a door...
And this one, what’s his name, is he Turkish or Greek?
That little black one, on crane legs,
I don't know what his name is
Wherever you turn: it’s right there,
In dining rooms and living rooms.
And three of the tabloid faces,
Who have been looking young for half a century?
They have millions of relatives, and with the help of their sisters
They will become related to all of Europe.
What about our sun? our treasure?
On the forehead is written: Theater and Masquerade;
The house is painted with greenery in the form of a grove,
He himself is fat, his artists are skinny.
At the ball, remember, we opened it together
Behind the screens, in one of the more secret rooms,
There was a man hidden and clicking the nightingale,
Singer winter weather summer.
And that consumptive one, your relatives, the enemy of books,
To the scientific committee that settled
And with a cry he demanded oaths,
So that no one knows or learns to read and write?
I am destined to see them again!
Will you get tired of living with them, and in whom you won’t find any stains?
When you wander, you return home,
And the smoke of the Fatherland is sweet and pleasant to us! <…>
Here's the news! - I'm taking advantage of the moment,
Enlivened by meeting you,
And talkative; isn't there a time,
That I am more stupid than Molchalin? Where is he, by the way?
Haven't you broken the silence of the press yet?
There used to be songs where there were new notebooks
He sees and pesters: please write it off.
However, he will reach the known degrees,
After all, nowadays they love dumb.

Sofia (to the side)

Not a man, a snake!<…>

Questions and tasks

1. Try to verbally sketch the first scenes of the play. What does the living room look like? How do you imagine the heroes when they appear?

2. Find the beginning of the comedy. Determine which storylines outlined in the first act.

3. What are your first impressions of Molchalin? Pay attention to the remark at the end of the fourth scene of the first act. How can you explain it?

4. How do Sophia and Lisa evaluate Chatsky?

5. How is Sophia's character revealed in the first act? How does Sophia perceive ridicule of people in her circle? Why?