Verification work based on the story by N. Leskov "The Enchanted Wanderer"

Option 1.

1. Determine the genre of the work “The Enchanted Wanderer”:

A. novel;
B. tragedy;
V. story;
G. story.

2. “The Enchanted Wanderer” is a work composed of separate episodes. How are parts combined into a single work?

V. heroine (Pear);
G. wandering hero.

3. Determine the nature of the narrative in the work “The Enchanted Wanderer”:

A. objectively - narrative;
B. memoirs;
V. fantastic, in the first person;
G. third person.

4. The main idea of ​​the work “The Enchanted Wanderer” is as follows:

A. Russian people can handle everything;
B. Russian people always strive for dangers;

V. only in extreme situations is a person revealed;
G. Russian people cope with all the troubles alone.

5. Which character from the work can be called the “enchanted wanderer”:

A. gypsy Pear;
B. prince;
V. Ivan Flyagin;
G. Savakiria.

6. With what epic hero compares

A. with Alyosha Popovich;
B. with Dobrynya Nikitich;

V. with Ilya Muromets;
G. with Savely - the hero of Starorussky.

7. What was the name of Ivan Severyanovich Flyagin in childhood:

A. Ishmael;

B. Monomakh;

V. Golovan;

G. Kazachok.

8. What reward did the main character ask for for saving the count's family:

And money;
B. liberation from serfdom;
B. horse;
G. accordion.

9. For other reasons, he fled to the steppe from the city:

A. in search of adventure;
B. after the beloved;
V. was taken prisoner;
G. because of the murder of Sawakirei.

10. How the main character was kept in the steppe:

A. rich gifts;
B. the most beautiful girl was given in marriage;
V. was kept in a pit in stocks;
G. “bristled” his heels.

11. How long was I. Flyagin in captivity:

B. 3 months;

12. killed the gypsy Grusha:

A. because of jealousy;
B. seeking to save her from the sin of murder;
V. because of unrequited love;
G. it happened by accident.

13. What ended the wanderings of the protagonist:

A. returned to his homeland to his landowner;
B. got his family;
V. took the monastic vows;
G. is going to go to war.

Creativity test

Option 2.

1. What genre of ancient Russian literature is close to the story "The Enchanted Wanderer":

A. Apocrypha
B. Walking
B. Life
D. Teaching

2. What is the patronymic of Ivan Flyagin:

A. Larionich

B. Severyanych

V. Stepanych
G. Maksimych

3. With what epic hero compares:

A. Dobrynya Nikitich
B. Ilya Muromets
V. Nikita Kozhemyaka
G. Alyosha Popovich

4. What Ivan Flyagin asked for saving the count's family:

A. Freedom
B. Money
V. Accordion
G. Horse

5. After parting with the gypsy, Flyagin got hired to work:

A. Lekarem
B. horse breeder
V. Nyankoy
G. shepherd

6. fled to the steppe:

A. Hiding from Khan Dzhangar
B. In search of a new life
B. Because of the murder of Sawakirei
G. Following the beloved

7. How much time did the hero spend in the steppe:

A. Ten years
B. Three years
Per month
G. One year

8. How Ivan Flyagin was kept in the steppe:

A. Kept in stocks in a pit
B. Bristled heels
B. They gave the most beautiful girl as a wife
D. Rich gifts

9. killed Grusha:

A. Because of unrequited love
B. It happened by accident
B. So that Pear does not return to the prince
D. To save her soul from the sin of murder

10. After the kill:

A. Went to recruit
B. Got to jail
B. went to the monastery
G. ran to the steppe

11. What ended the wanderings of the protagonist:

A. Started his own family
B. monastic vows
B. Returned to his homeland
G. going to war

12. What does not apply to the biography of Ivan Flyagin:

BUT. Nanny to a master's child
B. Actor in a booth
AT. Soldier
G. Fortress blacksmith

13. Which name does not belong to the main character:

BUT. Golovan

B. Petr Serdyukov

AT. Father Ishmael
G. brother Diomede

Option 1

1. story
2. wandering hero
3. Fantastic, first person.
4. Russian people can handle everything
5. Ivan Flyagin
6. with Ilya Muromets
7. Golovan
8. accordion.
9. because of the murder of Sawakirei
10. “bristled” heels.
11. 10 years old
12. seeking to save her from the sin of murder
13. going to war

Option 2

ANSWERS: 1B, 2B, 3B, 4B, 5B, 6B, 7A, 8B, 9B, 10A, 11B, 12D, 13D

The writing

Noah in the work of N. S. Leskov is the theme of a person freed from class ties. This topic is historically connected with the social processes that took place in Russia after the abolition of serfdom. Particularly important for understanding the meaning and movement of this topic is the story The Enchanted Wanderer, which is included in the cycle of stories about the righteous of the Russian land. A. M. Gorky wrote: Leskov is a writer who discovered the righteous in every estate, in all groups. The story The Enchanted Wanderer is interesting precisely because its main character, the Black Earth Telemachus, Ivan Severyanovich Flyagin, goes through a long and difficult path of becoming a person, searching for truth and truth, support in life. This black earth hero, reminiscent of the legendary Ilya Muromets, a connoisseur of horses, a non-lethal adventurer, becomes a black-earth monk only after a thousand adventures, when he had nowhere to go. The story-confession of the hero about these wanderings is filled with special meaning. The starting point of these wanderings is the serf, yard position of the hero. Leskov draws here the bitter truth of serf relations. Flyagin, at the cost of immeasurable selflessness, saved the life of his master, but he can be mercilessly flogged and sent to work that is humiliating for him (to pave the path to the master's house) just because he did not please the master's cat. (Here the theme of offended human dignity arises.) But Leskov does not particularly insist on this topic, since he is interested in the further formation of the hero's personality. It should be noted that at the initial stage, Flyagin does not have any reference current (in the sense of morality, self-awareness, attitude towards good and evil). His actions are spontaneous, unpredictable, sometimes meaningless. It is not known what he will do next time: he will ask for a useless accordion as a reward for his feat, or he will try to strangle himself. The internal vagueness of the norms of estate life is reflected here by the absence of moral and, in general, any other criteria of spiritual life. A striking example of such unpredictability and chance is the episode with the child. Having escaped from his master, Flyagin ends up with an official, for whom he serves as a nanny. The official's wife ran away with a repairman, leaving a young child behind. Flyagin takes care of the girl, becomes attached to her. But when the girl's mother appears and asks to give her the child, he, for some unknown reason, simply out of stubbornness, does not want to give the child either for money or of good will. Only at the last moment, obeying some instinct, Flyagin gives the girl to her mother and runs away from the owner-official. This act is not the voice of conscience speaking, but pure chance, an impulse. It is this indifference to good and evil, the absence of internal criteria, that drives the wanderer through life, through the world. But the whole point of Flyagin's wanderings lies in the fact that the hero nevertheless acquires these moral standards. And for the writer, it is especially important how he acquires them. So, in the Tatar captivity (where Flyagin ended up due to his own stupidity and recklessness), the still unconscious love for the Motherland, for faith, for freedom is born in the soul of the hero. In mirages and visions, images of Orthodox churches with gilded domes, with a lingering bell ringing, appear before Ivan Severyanovich. And the desire to escape from captivity at any cost takes possession of him. Again, a chance helps the hero to free himself from a hated ten-year captivity: firecrackers and crackers left by accidentally visiting missionaries save his life and give him a long-awaited release. The culmination of the wanderer's spiritual drama is his meeting with the gypsy Grusha. In another person, in love and respect, the wanderer found the first threads of connection with the world, found in high passion, completely free from egoistic exclusivity, and his personality, the high value of his own human individuality. From here - a direct path to another love, to love for the people, for the Motherland, wider and more comprehensive. After the death of Pear, the terrible sin of murder, Flyagin understands the sinfulness of his existence and seeks to atone for his guilt before himself and before God. Again, chance or providence helps him in this: he goes to the Caucasian war instead of the son of two old men who saved him, under the name of Peter Serdyukov. In the war, Flyagin accomplishes a feat - he establishes a crossing across the river, and it seems to him at the moment when he swims across the river under a hail of enemy bullets, that the invisible and invisible soul of Grusha spread its wings, protecting him. In the war, the hero rose to the rank of nobility. But such an increase in status brings him only trouble: he cannot find a job, a position that would feed him. And again wandering: work as a petty official, service in the theater. The non-lethal Ivan Flyagin endured a lot before he ended up in a monastery. And it was then that the soul of Ivan Flyagin finally opened up: at last he understood his purpose, at last he found peace and the meaning of life. And this meaning is simple: it is in selfless service to people, in true faith, in love for the Motherland. At the very end of the story, the listeners ask Flyagin why he does not want to take senior tonsure. To which he willingly answers: I really want to die for my homeland. And if a hard time comes, a war breaks out, then Flyagin will take off his cassock and put on ammunition. Thus, the epic of going through the torments turned out to be a drama of searching for ways to serve the Motherland. And the hero of Leskov is strong because, without suspecting it himself, he turned out to be a bearer of high moral qualities. It is such heroes as Flyagin, from the point of view of Leskov, who are the creators, creators of Russian life and history. Therefore, the story of the life and path of the enchanted wanderer is extremely significant. It expresses the writer's desire to find new norms of behavior, morality, new national identity in the era of the collapse of old social ties.

Other writings on this work

The story "The Enchanted Wanderer" was written by Nikolai Semenovich Leskov (1831 - 1895) in 1872 - 1873. Apparently, the idea for the story came from Leskov during a trip in the summer of 1872 to the Valaam Monastery on Lake Ladoga.

For the first time, Leskov's work was published in the Russkiy Mir newspaper on August 8 - September 19, 1873 under the title "The Enchanted Wanderer, His Life, Experiences, Opinions and Adventures." A year later, a separate edition of "The Enchanted Wanderer. The Story of N. Leskov" was published.

Genre and compositional originality of the story

"The Enchanted Wanderer" is a work of a complex genre character. This is a story that uses the motifs of ancient Russian biographies of saints (lives) and folk epic (epics), rethinking the plot scheme of adventure novels common in the literature of the 18th century.

"The Enchanted Wanderer" is a kind of story-biography of the hero, composed of several closed, completed episodes. Lives are built in a similar way, consisting of separate fragments describing various events from the life of the saints. The same principle is typical for an adventure novel, a novel of adventures, with the hero of which on his life path, in his wanderings around the world, by the will of fate, the most unexpected incidents happen. By the way, the very title of the story in the first edition was undoubtedly stylized under the titles of Russian adventurous, philosophical and moral novels of the eighteenth century.

Elements of the hagiographic genre and the adventure novel in The Enchanted Wanderer are obvious. The hero of the story, Ivan Flyagin, like a character from his life, a repentant and transformed sinner, walks around the world from sin (the senseless "daring" murder of a nun, the murder of the gypsy Grushenka, albeit committed by her own prayer, but still, according to Flyagin, sinful) to repentance and atonement. The Leskovsky wanderer, like the saint - the hero of his life, goes to the monastery, and this decision, as he believes, is predetermined by fate, by God. The story is brought closer to the lives of prophetic dreams and visions that reveal to the hero, like a saint, his future.

Possessing genre-forming features, the plot and the hero of Leskov's story resemble the event outline and characters not only of hagiographic literature, but also of an adventure novel. The vicissitudes constantly lie in wait for Flyagin, he is forced to change many social roles and professions: a serf, a postilion, a courtyard of Count K .; nanny-"caretaker" for a minor child; a slave in the Tatar pastures; horse-rider, remonter (employee who buys horses for the army); soldier, participant in the war in the Caucasus; an actor in a Petersburg booth; director of the capital's address desk; novice at the Valaam Monastery. And this same, the last in the story, role, Flyagin's service, is not the final one in the circle of his "metamorphoses". The hero, following his inner voice, prepares for the fact that "soon it will be necessary to fight," he "really wants to die for the people."

Flyagin can never stop, freeze, become stagnant in one role, "dissolve" in one service, like the hero of an adventure novel, who is forced to change professions, positions, sometimes even his name in order to avoid danger and adapt to circumstances. The motive of wandering, constant movement in space also makes "The Enchanted Wanderer" related to the adventure novel. The adventurous hero, like Flyagin, is deprived of his home and must wander the world in search of a better life. Both the wanderings of Ivan Severyanovich and the wanderings of the adventurous hero have only a formal end: the characters do not have a specific goal, having reached which they can calm down, stop. This is already the difference between Leskov's story and the lives - its prototypes: the hagiographic hero, gaining holiness, then remains unchanged. If he comes to the monastery, then this completes his wanderings in the world. The path of the Leskian wanderer is open, unfinished. The monastery is just one of the "stops" in his endless journey, the last of Flyagin's habitats described in the story, but, perhaps, not the last in his life. It is no coincidence that the life of Flyagin (who, by the way, performs the duties of a novice, but does not take monastic vows) in the monastery is devoid of peace and peace of mind (the “appearance” of demons and imps to the hero). Misdemeanors committed by the novice Ivan Severyanovich out of absent-mindedness and inattention bring on him the punishment of the hegumen (“they blessed me to let me down into an empty cellar without trial”). Either they let Flyagin out of the monastery, or they drive him to Solovki to worship the relics of Saints Zosima and Savvaty.

The author brings Ivan Severyanovich closer not only to the heroes of the lives and adventure novels, but also to the epic heroes. Flask has in common with the heroes of epics love for horses, the art of driving around them. He repeats the words with which the epic Ilya Muromets scolds his horse: “Well, here I see that he (the horse - A.R.) is asking for forgiveness, he got off him as soon as possible, rubbed his eyes, took him by the tuft and I say: “Stop, dog meat, dog food!", but when I pulled him down, he fell to his knees ... "

In The Enchanted Wanderer there is also a somewhat transformed plot motif, characteristic of epics: the duel of a Russian hero with a Basurman warrior, a steppe. The flask is "flogged", whipped with whips with the Tartar Savakirei; the reward for winning the competition is a karak foal, which gallops "as if riding through the air" (cf. the flight under the clouds of a heroic horse in epics).

Leskov's story is an "average" (in comparison with the story, on the one hand, and the novel, on the other) genre, which acquires the features of a great epic form, a heroic epos. It is significant that Leskov originally intended to name The Enchanted Wanderer Russian Telemak and Black Earth Telemak, bringing Flyagin, who is looking for the meaning of life and his place in it, closer to the hero of Homer's Odyssey, who is looking for his father. However, despite the epic setting, the fate of Flyagin does not lose its singularity, concreteness.

Leskov in a letter to the writer and publicist P.K. Shchebalsky dated January 4, 1874, apparently not agreeing with the addressee's opinion about the lack of clarity of Flyagin's character, obscured by detailed descriptions of the "environment", he noted: "... why should the face of the hero himself necessarily be obscured? What kind of requirement is this? And Don Quixote, and Telemachus, and Chichikov? Why not go side by side with the milieu and the hero?"

FROM. Serman, in the preamble of his commentary on Leskov's story, interpreted these lines as follows: "The form of the story about adventures in The Enchanted Wanderer really resembles Chichikov's trips to the surrounding landowners, and Don Quixote's trips in search of rivals, and even to some extent Fenelon's novel ( French writer of the eighteenth century) about the wanderings of Telemachus in search of Odysseus. What is important, however, is not only the similarity of the "story form" in Leskov's story and in Dead Souls, Don Quixote, and The Adventures of Telemachus. The works mentioned in Leskov's letter are distinguished by their focus on the most complete, multifaceted depiction of reality and the symbolic understanding of the hero and his wanderings. These are stories that describe a person in general, changing or transforming in search of truth. The parallels to "The Enchanted Wanderer" cited by Leskov are examples of "epos", a large epic form in modern European literature.

Features of the plot of the story

Well-known literary critic N.K. Mikhailovsky remarked: “There is no plot in the story, as a matter of fact, but there is a whole series of plots strung like beads on a thread. same thread."

There is no plot in the story. The events of the youth of the hero, Ivan Severyanovich Flyagin (serving as a postilion under his master, Count K.), are not directly connected in any way with the incidents that befell him later - a ten-year life in the Tatar steppe nomads, leaving for a monastery, etc. There are no "cross-cutting" characters in Leskov's story, with the exception of Flyagin himself. The episodes that make up the story have their own "microplot". The microplots are arranged as follows: 1) Flyagin's rescue of the family of Count K.; 2) punishment (for revenge on the countess cat), flogging and flight from the count; 3) service in "nannies" and flight with the child's mother and her lover; 4) duel with Savakirey and retreat to the steppe; 5) return to Russia; 6) service under the prince, the story of Grushenka; 7) soldier's service; 8) wandering and coming to the monastery; 9) life in a monastery.

The Enchanted Wanderer reflects not only the plot elements of hagiographies, epics and adventure novels, it not only gravitates towards the epic form (see about this in the section on the genre and compositional originality of the story), but it also transforms the collisions and plot episodes of many classical works, in particular, "Prisoner of the Caucasus" by A.S. Pushkin (Flyagin's stay in captivity with the Tatars), "Gypsy" A.S. Pushkin (the gypsy Grusha, who bewitched Flyagin's heart). The obvious literary basis of The Enchanted Wanderer, however, does not indicate the author's attitude to the perception of his text as "secondary" in relation to the classical "patterns". Leskov, on the contrary, wants to demonstrate, using the example of Flyagin's fate, that real life is more whimsical and unpredictable than fictional stories. In addition, the correlation with Pushkin's romantic poems emphasizes the "strangeness" (from the point of view of romantic poetics) of the behavior of the hero, who does not feel anything unusual in the outlandish metamorphoses of his life. "Romantic" situations (captivity, the Caucasian war) are perceived prosaically and soberly by Leskov's hero (partly an exception is Grusha's fascination, but it also manifests itself in actions and words that have little in common with the actions and speeches of a romantic character).

All the episodes listed above are "narrated" by the hero himself. Flyagin's story about his fate is listened to by travelers sailing on a steamboat on Lake Ladoga; one of them is a narrator, introducing us to Ivan Severyanovich and completing his story with his commentary. Thus, "The Enchanted Wanderer" in terms of composition is "a story within a story." Such a construction of The Enchanted Wanderer is significant. Firstly, this is how the author gives credibility to Flyagin's story about the incredible events, the vicissitudes of his life. Secondly, the form of "skaz", oral speech in the first person, uttered by a person from the people, motivates the "strange" composition of the plot: a detailed presentation of individual episodes from the life of Flyagin and - at the same time - an extremely brief story about the "exotic" (from the point of view of view of educated listeners) life in captivity; the obscure, not described by Flyagin, murder of Grushenka, carried out as if in a fog; the "magical" transformation of Flyagin, enchanted by female beauty, a transformation that is given mystery by the story of a hero who is unable to clearly explain both the sudden change and the lapse in consciousness that preceded it.

The tale form allows the author to hide "behind the hero", hide his own assessment and refuse to interpret events. The only view on the life of Ivan Severyanovich is the point of view of the character himself, whose explanations and range of ideas are very far from the author's. By the way, this narrative technique outwardly resembles such a feature of the heroic epic as the coincidence of the author's point of view and the vision of the hero. Leskov does not have such a coincidence, but in the text the author's "view" and Flyagin's "view" are not really distinguished, since there are no direct author's statements.

The tale form also motivates the abundant use of vernaculars, dialectisms, and sometimes an intricate folk play on words.

The meaning of the "frame" - the story framing Flyagin's narrative - is also ambiguous. Just as Flyagin's life is a gradual overcoming of his own egoism and curbing his self-will, moving towards other people, a growing understanding of their souls, worries and experiences, so the storytelling situation itself is overcoming alienation, the distance between Flyagin and other passengers. At first, Ivan Severyanovich's companions only expect "jokes" from him, funny and interesting stories from the life of the monastic brethren, priests and horse trainers. The merchant, one of the listeners, looks down on the wanderer a little. The originality and strength of Flyagin's nature are only gradually understood by his random fellow travelers. Their reaction, as it were, programs, "models" the reaction of the readers of Leskov's story, opens its boundaries. At the same time, the role of listeners is to outline the distance between the opinions, ideas, world of feelings of the common man (the former serf of Counts K.) and the educated "public".

In addition, the framing story about a trip on a steamboat gives an expansive, symbolic meaning to Ivan Severyanovich's life "journey": not only he, but, as it were, all of Russia wanders, sails towards an unknown goal. Ivan Severyanovich Flyagin is an eternal wanderer, he talks about his former wanderings on the way.

Leskovsky's framing story has one more meaning. Outstanding characters, personalities are not uncommon among the people, and a chance meeting with them is always possible.

The image of the protagonist in the artistic structure of the story

The image of Ivan Severyanovich Flyagin is the only "through" image that connects all the episodes of the story. As already noted, it has genre-forming features, tk. his "biography" goes back to works with strict normative schemes, namely, to the lives of saints and adventure novels. The author brings Ivan Severyanovich closer not only to the heroes of lives and adventure novels, but also to epic heroes. Here is how the narrator describes Flyagin’s appearance: “This new companion of ours could have been given a little over fifty in appearance; but he was in the full sense of the word a hero, and, moreover, a typical, simple-hearted, kind Russian hero, reminiscent of grandfather Ilya Muromets in the beautiful picture of Vereshchegin and in a poem by Count A. K. Tolstoy. It seemed that he would not walk in a cassock, but would sit on a "chubar" and ride in bast shoes through the forest and lazily smell how "dark forest smells of tar and strawberries" ". Flyagin's character is multifaceted. Its main feature is "the frankness of a simple soul." The narrator likens Flyagin to "babies", to whom God sometimes reveals his plans, hidden from the "reasonable". The author paraphrases the gospel sayings of Christ: "... Jesus said: "... I praise you, Father, Lord of heaven and earth, that you hid this from the wise and prudent and revealed it to babies" (Gospel of Matthew, chapter 11, verse 25). Christ allegorically calls people with a pure heart wise and reasonable.

Flyagin is distinguished by childish naivete and innocence. Demons in his ideas resemble a large family, in which there are both adults and mischievous children-imps. He believes in the magical power of the amulet - "a band of the holy brave prince Vsevolod-Gabriel from Novgorod." Flyagin understands the experiences of tamed horses. He subtly feels the beauty of nature.

But, at the same time, a certain callousness and narrow-mindedness are also inherent in the soul of an enchanted wanderer (from the point of view of an educated, civilized person). Ivan Severyanovich cold-bloodedly beats a Tatar to death in a duel and cannot understand why the story of this torture horrifies his listeners. Ivan brutally cracks down on the countess's maid's cat, who strangled his beloved pigeons. He does not consider unbaptized children, adopted by Tatar women in Ryn-Sands, as his own and leaves without a shadow of doubt and regret.

Natural kindness coexists in Flyagin's soul with senseless, aimless cruelty. So, he, serving as a nanny with a young child and violating the will of his father, his master-master, gives the child to his mother and her lover, who tearfully begged Ivan, although he knows that this act will deprive him of faithful food and make him wander again in search of food and shelter. . And he, in adolescence, out of pampering, whips a sleeping monk to death with a whip.

Flyagin is reckless in his daring: just like that, disinterestedly, he enters into a competition with the Tatar Savakirey, promising a familiar officer to give a prize - a horse. He surrenders entirely to the passions that take possession of him, embarking on a drunken spree. Struck by the beauty and singing of the gypsy woman Pear, without hesitation, he gives her the huge amount of state money entrusted to him.

Flyagin's nature is both unshakably firm (he piously professes the principle: "I will not give my honor to anyone") and self-willed, malleable, open to the influence of others and even to suggestion. Ivan easily assimilates the ideas of the Tatars about the justification for a deadly duel with whips. Until now, not feeling the bewitching beauty of a woman, he - as if under the influence of conversations with a degraded master-magnetizer and the eaten "magic" sugar-"mentor" - is fascinated by the first meeting with Grusha.

Wanderings, wanderings, unique "searches" of Flyagin carry a "worldly" coloring. Even in the monastery, he performs the same service as in the world - a coachman. This motive is significant: Flyagin, changing professions and services, remains himself. He begins his difficult journey as a postilion, a rider on a horse in a team, and in old age returns to the duties of a coachman.

The service of the Leskovsky hero "with horses" is not accidental, it has an implicit, hidden symbolism. The fickle fate of Flyagin is like a fast running horse, and the "strong" hero himself, who endured and endured many hardships in his lifetime, resembles a strong "Bityutsky" horse. Both Flyagin's irascibility and independence are, as it were, compared with the proud horse temper, which was told about by the "enchanted wanderer" in the first chapter of Lesk's work. The taming of horses by Flyagin correlates with the stories of ancient authors (Plutarach and others) about Alexander the Great, who pacified and tamed the horse Bucephalus.

And like the hero of epics, leaving to measure his strength "in the open field", Flyagin is correlated with open, free space: with the road (the wanderings of Ivan Severyanovich), with the steppe (ten years of life in the Tatar Ryn-sands), with lake and sea expanse (meeting storyteller with Flyagin on a steamer sailing on Lake Ladoga, a wanderer's pilgrimage to Solovki). The hero wanders, moves in a wide, open space, which is not a geographical concept, but a value category. Space is a visible image of life itself, sending disasters and trials towards the hero-traveler.

In his wanderings and travels, the Leskovsky character reaches the limits, the extreme points of the Russian land: he lives in the Kazakh steppe, fights against the highlanders in the Caucasus, goes to the Solovetsky shrines on the White Sea. Flyagin finds himself on the northern, southern, and southeastern "borders" of European Russia. Ivan Severyanovich did not visit only the western border of Russia. However, Leskov's capital can symbolically designate precisely the western point of Russian space. (This perception of St. Petersburg was characteristic of Russian literature of the 18th century and was recreated in Pushkin's "The Bronze Horseman"). The spatial "scope" of Flyagin's travels is significant: it symbolizes, as it were, the breadth, infinity, and openness of the Russian people's soul to the world. But the breadth of Flyagin's nature - the "Russian hero" is not at all equivalent to righteousness. Leskov repeatedly created in his works the images of Russian righteous people, people of exceptional moral purity, noble and kind to the point of selflessness ("Odnodum", "Nemortal Golovan", "Cadet Monastery", etc.). However, Ivan Severyanovich Flyagin is not like that. He, as it were, personifies the Russian folk character with all its dark and light sides and the people's view of the world.

The name of Ivan Flyagin is significant. He is like the fabulous Ivan the Fool and Ivan the Tsarevich, going through various trials. From his "stupidity", moral callousness, Ivan in these trials is cured, freed. But the moral ideals and norms of Leskov's enchanted wanderer do not coincide with the moral principles of his civilized interlocutors and the author himself. Flyagin's morality is a natural, "common" morality.

It is no coincidence that the patronymic of the Lesk hero is Severyanovich (severus - in Latin: severe). The surname speaks, on the one hand, of a former tendency to drink and spree, on the other hand, it seems to recall the biblical image of a person as a vessel, and a righteous person as a pure vessel of God.

Flyagin's life path partly represents the expiation of his sins: the "youthful" murder of a monk, as well as the murder of Grushenka, left by her lover, Prince, committed at her plea. The dark, egoistic, "animal" force, characteristic of Ivan in his youth, is gradually enlightened, filled with moral self-consciousness. On the slope of his life, Ivan Severyanovich is ready to "die for the people", for others. But as before, the enchanted wanderer does not renounce many deeds that are reprehensible for educated, "civilized" listeners, not finding anything bad in them.

This is not only limited, but also the integrity of the character of the protagonist, devoid of contradictions, internal struggle and introspection, which, like the motive for the predestination of his fate, brings Leskov's story closer to the classical, ancient heroic epic. B.S. Dykhanova characterizes Flyagin’s ideas about his fate in the following way: “According to the hero’s conviction, his destiny is that he is the son of a “prayer” and “promised”, he is obliged to devote his life to serving God, and the monastery should, it would seem, be perceived as the inevitable end of the path Finding a true calling Listeners repeatedly ask the question of whether predestination has been fulfilled or not, but each time Flyagin evades a direct answer.

"Why are you saying this... as if you're not sure?

Yes, because how can I say for sure when I can’t even embrace all my vast elapsed vitality?

What is this from?

Because, sir, I did a lot of things not even of my own free will.

Despite the outward inconsistency of Flyagin's answers, he is amazingly accurate here. "The audacity of vocation" is inseparable from one's own will, one's own choice, and the interaction of a person's will with life circumstances independent of it gives rise to that living contradiction that can be explained only by preserving it. In order to understand what his calling is, Flyagin has to tell his life "from the very beginning." , twice loses his own name (going to the soldiers instead of a peasant recruit, then - taking monasticism). Ivan Severyanovich can represent the unity, integrity of his life, only by retelling it all, from birth. The motive of predestination gives internal coherence to what happened to Flyagin. In this the predestination of the fate of the hero, in subordination and "bewitchment" by some power ruling over him, "not by his own will", which is driven by Flyagin - the meaning of the title of the story.

In fate, in the actions of the Leskovsky hero, the sublime and the comic are intricately intertwined. The comic, the funny sometimes turns out to be a form, a shell of the serious. The fascination with Grushenka that seized Ivan is a sincere, lofty, infinitely deep feeling, but it is almost comically motivated: the half-drunk Flyagin is inspired by the half-drunk Flyagin with his hypnotic speeches and some miraculous sugar.

A smile should be caused by Flyagin's story about the prophetic gift that was revealed in him and the "prophecies" and "broadcasts" he uttered from the cellar. Of course, the attitude of an educated ("civilized") author to Flyagin's "prophecies" is ironic. But the irony is directed at the "form" of the prophecies, not at their "content." Flyagin is really characterized by that intuitive sense of truth and recklessness in defending it, which distinguished the prophets. Therefore, Flyagin's intrepid readiness for prophetic service inspires respect from the narrator.

The character of the hero and his fate are shed light on "dreams" and "visions" that play the role of prophecies in the story, predetermining Flyagin's life, even contrary to his intentions. “Dreams” are sometimes poeticized, as in the “appearance” of the monk killed by Flyagin: “But suddenly I see: it’s that monk with a woman’s face standing over me, whom I had long ago, being a postillion, spotted with a whip. And he rings so affectionately: “Let's go, Ivan, let's go! you still have a lot to endure, and then you will achieve. ”And he suddenly again became a cloud and showed me through himself and I don’t know what: the steppe, people are so wild, Saracens, as they are in fairy tales in Eruslan and Bove Korolevich, in big hats shaggy and with arrows, on terrible wild horses... And with this, what I see, I heard both cackling, and neighing, and wild laughter (signs of demons, demonic behavior in the lives. - A. R.), and then suddenly a whirlwind .. The sand swept up in a cloud, and there is nothing, only somewhere a bell is softly ringing, and all like a scarlet dawn, a large white monastery drenched in a scarlet dawn is shown at the top, and winged angels with golden spears walk along the walls, and around the sea, and like which angel he will hit the shield with a spear, so now around the whole monastery the sea will stir and splash, and from the abyss terrible voices will cry out: "Holy!"

Sometimes “visions”, in scenes with demons and demons, are described with frank comicality: “But there are a lot of kids, and besides, there are a lot of them there, in hell, but there’s nothing for them to do with ready-made grubs, so they ask to learn to embarrass and they indulge, and the more a person wants to be more respectable in his rank, the more they annoy him. ".

These "dreams" and "visions", not only playing the role of predictions (as in the first example), but also revealing the versatility of the hero's nature, the richness of his imagination, are, however, devoid of mystery, mystery, and unusualness (compared to romantic works): for of such an "immediate" hero as Flyagin is, the super-real, the mystical, and the everyday are not separated from each other.

The moral ideal of N.S. Leskova

Flyagin's actions are devoid of the author's assessment, but Leskov is sympathetic to such traits of the hero as breadth, openness to the world, nobility, a sense of honor and compassion, readiness to intercede for the offended, innocence and naivety, fearlessness and disinterestedness, and finally, the ability to "righteous" deeds (it is no coincidence Ivan's nickname in his youth - "Golovan", - echoing the nickname of the righteous hero from the story "Non-deadly Golovan"), i.e. precisely those properties that reflect the bright, ideal sides of the Russian folk character.

Leskov is close and understandable to Flyagin’s childish-folk religiosity, in which there is no complete condemnation and rejection of sinners (the hero’s story about a priest who prayed for suicides, which is opposed to Metropolitan Filaret, who personified the conservative principle in Orthodoxy in Leskov’s works).

At the end of the story, Leskov gives a direct description of his hero, emphasizing meekness and heartfelt wisdom that brings him closer to the righteous.

Flyagin's life and his path remain unfinished, and the very image of the "enchanted wanderer" captures the whole Russian character.

In the words of L. Anninsky, Leskov "felt a strange contradictory whole in the fractional and crushing, crumbling and crumbling Russian reality. The very whole that, through myth and legend, holds and nourishes the self-consciousness of the people, preventing it from disintegrating."

ADDITIONAL LITERATURE

Stolyarova N.V. Enchanted Wanderer.//Stolyarova N.V. In Search of the Ideal (Leskov's Creativity). L., 1978.

Dykhanova B.S. "The Sealed Angel" and "The Enchanted Wanderer" by N.S. Leskov. M., 1980.

Khalizev V., Mayorova O. Leskovskaya concept of righteousness" // In the world of Leskov. M., 1983.

Gorelov A.A. N.S. Leskov and folk culture. L., 1988.

Hun G. Enchanted Russia. M., 1990. S. 6-44.

Anninsky L. Soil of truth. 4. Charm and strangeness of the enchanted wanderer // Leskov N.S. Collected works: In six volumes. T. 5. M., 1993. S. 54-63.

Notes:

Leskov N.S. Collected works In 11 vols. M., 1958. T. 10. S. 552.

Mikhailovsky N.K. Literary essays. Russian wealth. 6/1897. S. 97.

Wed remarks by I.Z. Serman (Leskov N.S. Collected works in 11 vols. T. 4. P. 552-553) and L.A. Anninsky (Anninsky L. The soil of truth. The charm and strangeness of the enchanted wanderer / / Leskov N.S. Collected works. In 6 vols. M., 1993. T. 5. P. 56).

This refers to the picture of V.N. Vereshchagin "Ilya Muromets at the feast of Prince Vladimir" (1871) and the ballad by A.K. Tolstoy "Ilya Muromets" (1871). This ballad is quoted below.

Precisely "as if it symbolizes". The symbolism of details, things, space, the movement of the hero in it is implicit, unaccented by Leskov. It is usually hidden in the subtext of his works and becomes apparent when they are correlated with texts or sample genres that play the role of a key-code to the works of Leskov himself. In the case of The Enchanted Wanderer, such texts and genres are, first of all, hagiographies and epics.

Flyagin's "stop" in St. Petersburg turned out to be short-lived, because the bureaucratic, cold, as if painted according to strict rules, world of the capital rejects Ivan Severyanovich, whose spiritual breadth and indefatigability is not combined with the St. Petersburg "narrowness". Compared to the rest of Russia, St. Petersburg is an artificial, theatrical city: Flyagin’s short work as an information desk in the address desk, and his service as an actor, which ended in a scandal (the hero stands up for the “fairy”, insulted by the “prince”, are not accidental and loses his place).

This character trait of Flyagin sometimes leads researchers to inaccurate conclusions. So, P.P. Gromov and B.M. Eikhenbaum believe that Ivan’s inexplicable decision to give the “lordly” child to his mother “is not the voice of conscience suddenly speaking, but pure and, so to speak, consistent and reckless accident, as the only norm of inner life. It is this complete indifference to good and evil, the absence of internal criteria that drives the wanderer around the world. (Gromov P., Eikhenbaum B. N. S. Leskov Essay on creativity / / Leskov N. S. Collected works in 11 volumes. M., 1956. T. 1. P. 17.) Cf. polemic with this opinion in the book. Dykhanova B. "The Sealed Angel" and "The Enchanted Wanderer" N.S. Leskov. M., 1980. S. 120-121.

Dykhanova B. "The Sealed Angel" and "The Enchanted Wanderer" N.S. Leskov. pp. 108-109.

Anninsky L. The soil of truth//Leskov N.S. Collected works: In 6 vols. T. 5. S. 108.

1. What genre of ancient Russian literature is close to the story "The Enchanted Wanderer": A. Apocrypha B. Hozhenie C. Life G. Teaching 2. Name Ivan Flyagin's patronymic: A. Larionych B. Severyanych V. Stepanych G. Maksimych Leskov compares Ivan Flyagin as a hero: A. Dobrynya Nikitich B. Ilya Muromets
V. Nikita Kozhemyaka G. Alyosha Popovich 4. What Ivan Flyagin asked for to save the count's family: A. Freedom B. Money C. Accordion G. Horse 5. After parting with the gypsy, Flyagin hired himself to work: A. Doctor B. Horse breeder V. Nyanka D. Shepherd 6. Why Ivan Flyagin fled to the steppe: A. Hiding from Khan Dzhangar B. In search of a new life C. Because of the murder of Savakirey D. Following his beloved 7. How much time the hero spent in the steppe: A. Ten years B Three years C. A month D. One year 8. How they kept Ivan Flyagin in the steppe: A. They kept him in stocks in a pit B. Bristled his heels C. Married the most beautiful girl D. With rich gifts 9. Why Ivan Flyagin killed Grusha: A. Because of unrequited love B. It happened by accident C. So that Grusha would not return to the prince D. To save her soul from the sin of murder 10. After the murder of Grusha, Ivan Flyagin: A. Went to recruit B. Ended up in jail C. Went to a monastery D. Fled to the steppe 11. What ended the protagonist's wanderings: A. Started his own family B. Took monastic vows C. Returned to his family inu G. goes to war
N.LESKOV "CHARMED Wanderer"
Reading Workshop
1. Whose words are these: “Reveal to me, brother, your secret - I will give you a lot of money and take it to my cones.”
2. “You know, Ivan, you, they say, be a friend to us, and so that you don’t leave us again, we will….” What did the Tatars do with Ivan?
3. Why did Ivan Flyagin not like life in the booth?
4. Why did Flyagin receive the St. George Cross?
5. Why did Ivan Flyagin go to Solovki?
6. How many wives did Ivan Severyanovich have in Tatar captivity? What were their names?)
7. What kind of salvation did Golovan ask the count?
8. What did the monk answer to these words: “What do you want from me? go away!"
9. “All my life I have been dying, and I could not die in any way” Whose words are these?
10. How many years did Flyagin spend in captivity?
11. From my parent, I was left in the youngest orphanhood and I don’t remember her, because I was with her ... .. ”Finish the phrase.
12. What did Monk Terenty Flyagin give to read in the monastery?
13. Where was Ivan Fylyagin born?
14. Who did Ivan Flyagin call himself when he went to the rectory?
15. And at that time, as I sat on the postillion seatpost, I was still only ... 16 years old. Why “They took me to the office of the German steward, and he reasoned that I should be whipped as cruelly as possible and then out of the stable and into the English garden for the path with a hammer to beat pebbles ...”?
17. “My parent did not have children for a long time, she begged me everything from God and how she begged, so immediately, having given birth to me, she died, because I was born with an unusually large head, so that’s why my name was not Ivan Flyagin but just…” Continue the phrase
18. What did the monk prophesy to Ivan Flyagin?
19. How did Flyagin pay for the passport issued by the clerk?
20. “I gnawed a penny so as not to feel pain, but for distraction of thoughts in my mind I counted the blows ...” How many blows did Ivan Flyagin count?
21. How many children did Ivan Severyanovich have?
22. "Don't kill me, I'll become the most shameful woman in revenge for all of you." Whose words are these?
23. Now choose what is best for you: again, at your count in the garden on the path, click stones or ....... Finish the sentence.
24. Asians are a prudent and sedate people: they will judge who to take the horse, with the general consent of ………….let them go.
N.LESKOV "CHARMED Wanderer"
Reading Workshop
Answers
1. Mr. Rarey
2. "bristled
3. Firstly, rehearsals for Holy Week, secondly, the role was a demon
4. For crossing the Koisu River.
5. to pray to Zosima and Savvaty.
6. 4 and all Natasha
7. Accordion
8. You decided me without repentance of life
9. Ivan Flyagin
10. 10 years
11. prayer son
12. Life of St. Tikhon of Zadonsk
13. A serf from the household of Count K. from the Oryol province.
14. Peter Serdyukov
15. 11 years old
16. For cutting off the tail of the white count's cats
17. Golovan
18. Well; look how much evil you will suffer otherwise
19. gave a ruble, a silver cross and an earring
20. to two hundred to eighty and two
21. 3 rings and 5 Natashas
22. Grunushki
23. educate my child
24. defiance
TEST
ANSWERS: 1B, 2B, 3B, 4B, 5B, 6B, 7A, 8B, 9B, 10A, 11B

Attached files

"The Enchanted Wanderer" - Leskov's story, created in the 2nd half of the 19th century. In the center of the work is an image of the life of a simple Russian peasant named Flyagin Ivan Severyanovich. Researchers agree that the image of Ivan Flyagin has absorbed the main features of the Russian folk character.

In Leskov's story, a completely new type of hero is presented, incomparable with any other in Russian literature. He has so organically merged with the elements of life that he is not afraid to get entangled in it.

Flyagin - "enchanted wanderer"

The author called Flyagin Ivan Severyanych "the enchanted wanderer". This hero is "fascinated" by life itself, its fairy tale, magic. That is why there are no limits for him. The hero perceives the world in which he lives as a real miracle. For him, it is endless, as well as his journey in this world. Flyagin Ivan does not have any specific goal in life, it is inexhaustible for him. This hero perceives each new haven as another discovery on his way, and not just as a change of occupation.

Hero's appearance

The author notes that his character has an outward resemblance to Ilya Muromets, the legendary hero of epics. Ivan Severyanovich is huge. He has an open brown face. The hair of this hero is thick, wavy, leaden in color (his gray cast this unusual color). Flyagin wears a novice's cassock with a monastic belt, as well as a high black cloth cap. In appearance, the hero can be given a little over fifty years. However, as Leskov notes, he was a hero in the full sense of the word. This is a kind, simple-minded Russian hero.

Frequent change of place, motive for flight

Despite his accommodating nature, Ivan Severyanovich does not stay anywhere for a long time. It may seem to the reader that the hero is fickle, frivolous, unfaithful both to himself and to others. Isn't that why Flyagin wanders the world and can't find a home for himself? No, it's not. The hero has repeatedly proved his loyalty and devotion. For example, he saved the family of Count K. from imminent death. In the same way, the hero Ivan Flyagin showed himself in relations with Grusha and the prince. The frequent change of places, the motive for the flight of this hero is by no means explained by the fact that he is dissatisfied with life. On the contrary, he longs to drink it in full. Ivan Severyanovich is so open to life that she seems to carry him herself, and the hero only follows her course with wise humility. However, this should not be understood as a manifestation of passivity and spiritual weakness. This submission is an unconditional acceptance of fate. The image of Ivan Flyagin is characterized by the fact that the hero often does not give an account of his own actions. He relies on intuition, on the wisdom of life, which he trusts in everything.

Immunity to death

It can be supplemented by the fact that the hero is honest and open to a higher power, and she rewards and protects him for this. Ivan is invulnerable to death, he is always ready for it. He miraculously manages to save himself from death when he keeps the horses on the edge of the abyss. The gypsy then takes Ivan Flyagin out of the noose. Further, the hero wins a duel with a Tatar, after which he escapes from captivity. During the war, Ivan Severyanovich escapes from bullets. He says about himself that he was dying all his life, but he could not die in any way. The hero explains this with his great sins. He believes that neither water nor earth wants to accept it. On the conscience of Ivan Severyanovich - the death of a monk, a gypsy Grusha and a Tatar. The hero easily abandons his children, born from Tatar wives. Also, Ivan Severyanovich is "tempted by demons."

"Sins" by Ivan Severyanych

None of the "sinful" acts is a product of hatred, lust for personal gain or lies. The monk died in an accident. Ivan pinned Savakirei to death in a fair fight. As for the story with Pear, the hero acted according to the dictates of conscience. He understood that he was committing a crime, murder. Ivan Flyagin realized that the death of this girl was inevitable, so he decided to take the sin upon himself. At the same time, Ivan Severyanovich decides to beg forgiveness from God in the future. The unfortunate Pear tells him that he will still live and pray to God for both her and his soul. She herself asks to be killed so as not to commit suicide.

Naivety and cruelty

Ivan Flyagin has his own morality, his own religion, but in life this hero always remains honest both with himself and with other people. Talking about the events of his life, Ivan Severyanovich does not hide anything. The soul of this hero is open both to random fellow travelers and to God. Ivan Severyanovich is simple and naive like a baby, but during the fight against evil and injustice, he can be very decisive, and sometimes cruel. For example, he cuts off the tail of a master's cat, punishing her like that for torturing a bird. For this, Ivan Flyagin himself was severely punished. The hero wants to "die for the people", and he decides to go to war instead of one young man, with whom his parents cannot part.

Flagin's natural strength

The huge natural strength of the hero is the reason for his actions. This energy prompts Ivan Flyagin to recklessness. The hero accidentally kills a monk who fell asleep on a hay cart. It happens in excitement, while driving fast. In his youth, Ivan Severyanovich is not very burdened by this sin, but over the years the hero begins to feel that he will someday have to atone for it.

Despite this case, we see that Flyagin's speed, agility and heroic strength are not always destructive forces. While still a child, this hero travels to Voronezh with the count and countess. During the trip, the wagon almost breaks into the abyss.

The boy saves his owners by stopping the horses, but he himself barely escapes death after falling off a cliff.

Courage and patriotism of the hero

Ivan Flyagin demonstrates courage during the duel with the Tatar. Again, because of his reckless daring, the hero is captured by the Tatars. Ivan Severyanovich yearns for his homeland, being in captivity. Thus, the characterization of Ivan Flyagin can be supplemented by his patriotism, love for the motherland.

Flyagin's secret of optimism

Flyagin is a man endowed with remarkable physical and spiritual strength. This is how Leskov portrays him. Ivan Flyagin is a man for whom nothing is impossible. The secret of his unchanging optimism, invulnerability and strength lies in the fact that the hero in any, even the most difficult situation, acts exactly as the situation requires. The life of Ivan Flyagin is also interesting because he is in harmony with those around him and is ready at any time to fight the dashing that gets in his way.

Features of the national character in the image of Flyagin

Leskov reveals to readers the qualities of the national, creating the image of Ivan Flyagin, "the enchanted hero." This character is not perfect. Rather, it is characterized by inconsistency. The hero is both kind and merciless. In some situations he is primitive, in others he is cunning. Flyagin is bold and poetic. Sometimes he does crazy things, but he also does good to people. The image of Ivan Flyagin is the personification of the breadth of Russian nature, its immensity.