The tragic image of a woman in literature. Women's images in world literature

Are you here: Holidays

The role of a woman has always depended on the time in which she lived. The woman was both the furniture in the house, and the servant in her own family, and the imperious mistress of her time and her destiny. And personally, as a girl, this topic is close and interesting to me. At sixteen, I want to find my place, understand my purpose in this world, so that, looking at my goals, I can achieve them. Naturally, I was interested in how the role of a woman in society is presented in literature, how her mission was understood, and how Russian writers answered this difficult question.

Our writers of the 19th century in their works often described the unequal position of Russian women. “You share! - Russian female share! It is hardly more difficult to find,” exclaims Nekrasov. Chernyshevsky, Tolstoy, Chekhov, and many others wrote on this subject. First of all, the writers expressed their dreams, their hopes in the heroines and compared them with the prejudices, passions and delusions of the society of the whole country. I learned a lot about the personality of a woman, about her purpose, place, role in the family and society. Literary works are a deep ocean in which you can dive in search of an answer to the questions of the soul and heart. There are truly lessons to be learned from these creations that are worth, and even necessary, to apply in our daily lives today. Even after so many years, the problems that authors posed to readers back in the 19th century are still relevant.

Russian literature has always been distinguished by the depth of its ideological content, the tireless desire to resolve issues of the meaning of life, a humane attitude towards a person, and the truthfulness of the image. Russian writers strove to reveal in female images the best features inherent in our people. Only in Russian literature is so much attention paid to the image of the inner world and the complex experiences of the female soul.

Different women, different destinies, different images are presented on the pages of fiction, journalism, painting, sculpture, on the movie screen. In Russian folklore, a woman appears in a wide variety of guises of a totem, an ancient pagan deity, often as a warrior, avenger, bearer of evil and a good enchantress, the Mother of God, the Tsar Maiden, sister, girlfriend, rival, bride, etc. Her image is beautiful and ugly, charming and repulsive. Folklore motifs are known to have influenced all aspects of the development of literature, art and culture in general. Everyone who has at least somehow touched this issue speaks and writes about the ratio of evil and good principles in a woman.

And she cross-posted him to all social networks: "Which female images from world literature and cinema seem to you the most powerful and attractive?" She herself refrained until the evening in order to compile the most complete list of those heroines who made an impression on me.

Of course, the most popular strong girl will always be recognized Scarlett O'Hara from Gone With the Wind by Margaret Mitchell. And I, too, fell under her spell from the first minute of the film of the same name. "I'll think about it tomorrow" - seems to be the motto of all the strong women of the planet. The book is a breeze to read, and the movie is my favorite Vivien Leigh (yes, I've read her biography a couple of times and watched ALL the movies I could get my hands on). One caveat: I like movie Scarlett much more than book Scarlett, yet the latter is too harsh and cold to children.

Probably the second most popular favorite girl look - Holly Galightly from "Breakfast at Tiffany's" by Truman Capote. The book Holly looks more like a real girl, but in the performance of Audrey Hepburn she is completely unearthly - she sings Moon River on the windowsill and needs only the Cat from all living creatures on this earth.

Well, going back to New York, two of my favorite TV shows immediately come to mind. "Sex and the City" with the heroine closest to me in mindset - Kerry Bradshaw. Her "And then I thought" is just a true story of ma life. It is so deep and at the same time touching that it is impossible to tear yourself away until you watch all the seasons avidly, having a snack on the first film as well. The second one does not need to be watched, otherwise it will work out how to lower the degree. My absolute ideal in terms of "realness".

The second New York heroine - Blair Waldorf from "Gossip Girl". An arrogant schemer with amazing English, a disarming sensibility, an unsurpassed sense of style and such an important quality: the ability to prioritize and distinguish your people from strangers. A vivid example of how a very vulnerable and tender girl hides behind an ideal mask, who dreams with the same Hepburn and writes a diary, and has kept it under her bed since the fifth grade.

A film from the 90s - "When Gary Met Sally" - about friendship, telephone conversations and kindred spirits - and the wonderful Meg Ryan in the role of light and humorous Sally.

The film itself is a miracle, it has one of my favorite quotes:

“I love that you get cold when it"s 71 degrees out. I love that it takes you an hour and a half to order a sandwich. I love that you get a little crinkle above your nose when you"re looking at me like I "m nuts. I love that after I spend the day with you, I can still smell your perfume on my clothes. And I love that you are the last person I want to talk to before I go to sleep at night. And it "s not because I" m lonely, and it "s not because it" s New Year "s Eve. I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.”

And what is the scene with an imitation of orgasm! I won't even say anything, just watch the video:

One of the most powerful heroines of Soviet cinema - Zosia from School Waltz. Not a very famous filmmaker, but the girl is Katya Tikhomirova from the school walls. A film about the impossibility of forgiving, even if you really want to. But what strikes me the most is how silent she is. She is silent throughout the film and looks at everyone with serious brown eyes.

But Vika Luberetskaya from "Tomorrow there was a war" by Boris Vasiliev - the ideal of a Woman. Let her never grow up, but she understands so precisely and clearly what art, love, happiness are.

Still love very much Katya Tatarinova from "Two Captains" by Veniamin Kaverin - a very holistic, harmonious and feminine image of a girl who at the same time madly loves her one and only Sanya Grigoriev, and at the same time exists as an independent and full-fledged person.

I know her monologue from besieged Leningrad from the seventh grade by heart and consider it the personification of faith in a man and love for him. "May my love save you."

http://youtu.be/mr9GpVv8qcM

"This heart beat and prayed on a winter night, in a hungry city, in a cold house, in a small kitchen, barely lit by the yellow light of an oil lamp, which flared faintly, struggling with the shadows that protruded from the corners. May my love save you! May my hope touch you "Stand beside me, look into your eyes, breathe life into dead lips! Press your face against the bloody bandages on your legs. Say: it's me, your Katya. I came to you, wherever you are. I'm with you, no matter what happens to let someone else help, support you, give you drink and feed - it's me, your Katya. And if death bends over your headboard and there is no more strength to fight it, and only the smallest, last strength remains in the heart - it will be me, and I will save you."

Well, speaking of love and the struggle for it, one cannot fail to mention Bulgakvskaya margarita. But I won’t even say anything here, everyone knows the story of how she walked with flowers of an alarming yellow color, and then shouted “Invisible and free” and stood at Satan’s ball. And all for what? For the Master, of course!

[It is so interesting what I can say about myself - I have never been Margarita for all my eccentricity. With the Masters, one must always be in the shadows. If one of the pair flies, then the second must stand firmly on his feet. So, I am the one who flies].

A separate category of interesting and strong in terms of artistry, but not fortitude - original and unearthly girls-artists-creative personalities.
This and Ellie from "Notebook" (the one with the seagull) with red hair, a narrow back and a boisterous laugh.

And Page from "The Oath". The film is worth watching for the one last line at the end.

And candy from the film of the same name with Heath Ledger. A kind of Requiem for a dream, but much more aesthetic.

With a wall on which a fairy tale is written: " There lived Den and Candy. And they were all great that time. day . And time went. He did everything for her. He stars could get from heaven. He did everything to win her. And the birds fluttered over her head...everything was perfect...everything was golden. One night her bed began to burn with fire. He was handsome, but he was a criminal. We lived among the sun, light, and everything sweet. It was Start ridiculous pleasure. Reckless Danny. Then Candy disappeared. The last rays of the sun frantically ran across the earth. This time I want to try how I did it you . You very quickly broke into my life and I liked it. We enjoyed this dirty pleasure. And it was very hard to give up. Then the earth suddenly tilted. it business . This is what we live for. When you are near I see meaningof death. Maybe we won't sleep again together . My monster is in the pool. The dog is used to barking the reasons . I have always tried to look far ahead. Sometimes I hate you. Friday. I did not want to offend. My

Women's images in the literature of the XIX century.

Literature is the source from which we, readers, draw information about a particular era. Works of the 18th century - early 19th century give us the opportunity to vividly, colorfully reproduce the picture of Russian society, taken at one of the most interesting moments of its development.

In my opinion, Russian classical literature is so rich and diverse that it can tell us about any problem that is still relevant today.

How many works exist in Russian literature that tell about women's fate. This is "Svetlana" V.A. Zhukovsky,
"Undergrowth" D.I. Fonvizin, "Woe from Wit" A.S. Griboedova, "Evgeny
Onegin" A.S. Pushkin. The heroines of these works lived at about the same time and were in the same circumstances. Sofia, niece
Staroduma from the comedy "Undergrowth", Sofya Famusova from the play "Woe from Wit", Tatyana Larina from the novel "Eugene Onegin" ... and this is not a complete list of heroines with whom the best pages of Russian classical literature are associated.
Studying these works in literature lessons, I began to think more and more often about the female share of these girls. Previously, it seemed to me that their life is full of something unusual, mysterious, but over time I began to understand that there is nothing mysterious here, they are ordinary, secular ladies, with their own problems and shortcomings. But nothing happens so simply, and no matter how simple they are, each of them has its own characteristics, qualities for which they should be valued and respected. And that's why I was interested in the theme of women's fate, set in the works of poets and writers of the XVIII century. - early 19th century
Some authors, creating their creations, sought to show female beauty and charm, talking about their “sweet ideal” of a woman.
Others spoke of femininity, spiritual purity, sincerity, strength of character.

The most famous, in my opinion, are Sofia Famusova from the play
A.S. Griboyedov "Woe from Wit" and Tatyana Larina from the novel by A.S. Pushkin
"Eugene Onegin".

In order to better understand them, to realize the depth of their characters, I took up research work. After all, these heroines are somewhat similar to us today. We also strive to find the answer to the eternal question: "What is love?" We also want to understand this feeling, we want to love and be loved, but at the same time make our choice consciously, without losing our own dignity.

I believe that there is a lot in common between Sofia Famusova and Tatyana Larina. They lived in about the same era when women were supposed to stay at home raising children, and only because they were noblewomen did parents take care of the education of their daughters, but this could only be at best.

One was brought up in the village and then comes to Moscow. The other lives in
Moscow, but then, in all likelihood, will be for some time in the countryside. And they probably read the same books. For father
Sophia in the books is all evil. And Sophia was brought up on them. Most likely, it was on those that were available to the "county young lady", Pushkin
Tatyana - Richardson, Rousseau, de Stael.
Sophia grew up in the house of her father, Pavel Afanasyevich Famusov, lost her mother in infancy. She was raised by Madame Rosier, who was her governess. Sofia got a good education

“We take the tramps, and into the house, and by tickets,

To teach our daughters everything, everything…”, said Famusov.
At seventeen, she not only “bloomed charmingly,” as the admiring Chatsky says about her, but also shows an enviable independence of opinion, unthinkable for people like Molchalin or even her father.
An important role in her is played by that immediacy, the integrity of her nature, which allowed Goncharov to bring Griboyedov's heroine closer to Pushkin's Tatyana Larina: ".
But there is also a significant difference. Tatyana is not only the ideal character of a Russian woman herself, as the author of the novel imagined him
"Eugene Onegin". She loves an outstanding person, worthy of her in a number of qualities.
Sophia's chosen one, unfortunately, is different. Therefore, we must evaluate her behavior, her courage, which so frightens this chosen one, in a different way.
Comparing Tatyana and Sophia, Goncharov wrote that “the huge difference is not between her and Tatyana, but between Onegin and Molchalin. Sophia's choice, of course, does not recommend her, but Tatyana's choice was also accidental ... ".
But he also noted further that “not immorality” (but not “God”, of course) “brought” her to Molchalin. But simply "the desire to patronize a loved one, poor, modest, who does not dare to raise his eyes to her, - to elevate him to himself, to his circle, to give him family rights." Goncharov thinks so.

We don't understand her character. In her behavior and moods, there is a contradiction between a sober mind and sentimental experiences.

Despite the fact that she was brought up by “a foolish father and some kind of madam,” her ideal contradicts the rules of the Famus society. Although it arose under the influence of "French books", but in it one can feel the desire for an independent choice of one's love and one's destiny, disagreement with the fate prepared. Sophia is ready to protect her love - however, by the methods of the society that raised her: deceit and gossip.
This is manifested in relation to Chatsky. She starts a rumor that Chatsky has gone crazy, trying to take revenge on him.

Ah, Chatsky! You love to dress up everyone in jesters,

Feel free to try on yourself.
Sofya does not hide her alienation, and then hostility towards him, although she understands that pretending with this keen observer of her behavior would “make her life easier”. She even, without pretending, reveals to him her sympathy for Molchalin, admits trustingly and directly:

I did not try, God brought us together.

of the most wonderful property

He is finally: compliant, modest, quiet,

Not a shadow of worry on your face

And there are no misdeeds in the soul;

Strangers and at random does not cut, -

That's why I love him.
Sophia lives only with love, the low and dependent position of Molchalin seems to even increase her attraction to him. Her feeling is serious, it gives her the courage not to be afraid of the opinions of the world and go against all the norms and traditions of her environment.

What is a rumor to me? Whoever wants to, so judges ...

What am I to whom? Before them? To the whole universe?

Funny? - let them joke; annoying? - let them scold.
She makes her choice on her own and is not ashamed, almost does not hide it.

Molchalin! How intact my mind remained!

After all, you know how dear your life is to me!

V. G. Belinsky, in relation to Sophia, notes: “There is some kind of energy of character in her: she gave herself to a man, not being seduced by either wealth or his nobility, in a word, not by calculation, but, on the contrary, too not by calculation ... ". Indeed, it is somewhat suspicious that a girl of noble origin turns her attention not to a childhood friend whom she should know better, but to a servant whose main talents are cunning and the ability to adapt.
But, having learned what Molchalin did to her, Sophia rejects him with contempt, orders to leave the house tomorrow, threatening otherwise to reveal everything to her father.

Leave me alone, I say, now

I'll wake everyone in the house with a cry,

And I will destroy myself and you.

I haven't known you since then.

Reproaches, complaints, my tears

Do not dare to expect, you are not worth them;
Appreciating the mind, dedication, respect for people in a person, Sophia causes pity for herself, because she was cruelly mistaken in Molchalin.
And this mistake deals her a severe blow.

As K.A. Polevoy: "Sophia is a necessary face of the play, where you see modern society." She is, as it were, the initial stage of the future insidious, blasphemous, insensitive Khlestovs, Khryumins, Tugoukhovskys, who at one time, of course, were Sophias, but deprived of moral and mental upbringing , became gossips and destroyers of their young daughters, granddaughters and nieces. "The mind and soul, always idle and immersed in petty gossip and swagger of life, signified only by dinners and balls, must certainly bear the fruits that they have collected
Famusov at the end of the comedy,” K.A. came to this conclusion. Polevoy in his article dedicated to Sophia.
But Sophia is not like them, she is much smarter than her peers, she feels them more subtle. She is too full of sensitivity. She has the strong inclinations of a remarkable nature, a lively mind, passionate and feminine softness ... “she hides something of her own in the shadows, hot, tender, even dreamy,” said A.I. Goncharov. Sophia does not like empty cleverness, wit and slander, which distinguished people of the 19th century.
Therefore, she cannot understand Chatsky: she also refers his merciless witticisms to evil speaking.
I sincerely feel sorry for Sophia: she, with her lively mind, selflessness, became a victim of a society in which hypocrisy and self-interest prevail, and real feelings are depreciated. Her lesson is my lesson in life. She succumbed to the influence of the people around her; showed weakness, which means that you need to stick to your life principles, and trust only close and faithful people who can really give good advice.
As I.A. Goncharov: “Sofya is a mixture of good instincts with lies, a lively mind with the absence of any hint of ideas and beliefs, confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, but appears as common features of her circle ... "
And we do not know how the future fate of Sophia will turn out, but we want to believe that she will be able to preserve in herself the best that was given to her by nature.
Tatyana Larina is another heroine whose fate did not turn out the way she herself would like. Her love was most likely tragic. Although, I do not think that Tatyana was disappointed in life. Maybe it was just a test that she endured with dignity.
Tatyana is a very rare name for the 19th century. and maybe, naming his heroine like that, A.S. Pushkin already emphasized the unusualness, peculiarity, exclusivity of her nature. Using the particles NOT and NOR in the description
Tatiana, he talks not so much about what she was, but rather about what Tatiana was not: ordinary.

“Not by the beauty of your sister,

Nor the freshness of her ruddy

She would not attract eyes.

Dika, sad, silent,

Like a forest doe, timid ...

... She did not know how to caress

To my father, not to my mother;

A child by herself, in a crowd of children

I did not want to play and jump ...

Thoughtfulness and daydreaming distinguish her among the local inhabitants, she feels lonely among people who are not able to understand her spiritual needs. Her tastes and interests are not entirely clear to us:

... scary stories

In winter in the dark of nights

They captivated her heart more ...

... She loved on the balcony

Warn dawn dawn...

... She liked novels early on ...
Tatyana's only real pleasure and entertainment were books: she read a lot and indiscriminately.

"She fell in love with deceptions

And Richardson and Rousseau"
These romantic book heroes served as an example for Tatyana to create the ideal of her chosen one. We see the same thing with Sophia.
V.G. Belinsky, explaining Tatyana's character, said: “Tatyana's whole inner world consisted in a thirst for love; nothing else spoke to her soul; her mind was asleep ... Her girlish days were not busy with anything, they did not have their own series of work and leisure ... A wild plant, completely left to itself, Tatyana created her own life, in the emptiness of which the inner fire that devoured her burned all the more rebelliously, that her the mind is not occupied with anything ... ".
Pushkin writes about his heroine seriously, respectfully. He notes her spirituality, poetry.

Under the influence of the books she read, Tatyana creates her own romantic world, in the center of which - by the will of fate - was Onegin, whose unusualness and depth of personality Tatyana immediately felt. I should note that Onegin and Tatiana have a lot in common: mental and moral originality, a sense of alienation from their environment, and sometimes an acute feeling of loneliness. But if Pushkin is ambivalent about Onegin, then
Tatyana - with open sympathy. The poet's ideas about the Russian national character are connected with "dear Tatiana". Pushkin endowed his heroine with a rich inner world and spiritual purity:
“with a rebellious imagination, a living mind and will, and a wayward head, and a fiery and tender heart.”
No wonder the author remarks:

Tatyana (Russian soul,

I don't know why.)

With her cold beauty

I loved Russian winter...
She thinks and feels like a truly Russian person. She knows how to appreciate the natural beauty of nature. Not without reason, when Tanya found out that she was being sent to Moscow, with the first rays of the sun she got up and hurried to the fields:

"Sorry, peaceful valleys,

And you, familiar mountain peaks,

And you, familiar forests;

I'm sorry, heavenly beauty,

Sorry, cheerful nature;
Nature has a great influence on her. Thanks to her, Tatyana did not break, she withstood the pain inflicted on her by Onegin.
A.S. Pushkin emphasizes the spiritual connection of a girl who grew up in a provincial estate with the way of life, beliefs, folklore of the people.

"Tatyana believed the legends

common folk antiquity,

And dreams, and card fortune-telling,

And the predictions of the moon.

She was worried about signs;

This is also evidenced by Tatyana's dream, he speaks of her naturalness, honesty, sincerity, the folk, folklore perception of the world is so close to her.

And remember Sophia: after all, she also talks about sleep. And here for the first time
Sophia named those traits of her personality that were so highly appreciated
Goncharov. Sophia's dream is important for understanding her character, how important sleep is
Tatyana Larina to comprehend the character of Pushkin's heroine, although
Tatyana is actually dreaming her dream, and Sofya is making up a dream to deceive her father.

Suddenly a nice person, one of those we

We will see - as if we have known each other for a century,

Came here with me; and insinuating, and smart,

But timid... You know who was born in poverty...

Tatyana dreamed of Onegin in her dream. "She found out among the guests

The one who is sweet and terrible to her,

The hero of our novel!
As noted by V.G. Belinsky in his article: Tatyana - “this marvelous combination of rude, vulgar prejudices with a passion for French books and with respect for the profound work of Martyn Zadeka is possible only in a Russian woman ...
... And suddenly Onegin appears. He is all surrounded by mystery: his aristocracy, his undeniable superiority over all this calm and vulgar world ... could not but affect Tatyana's fantasy. With understanding, Pushkin describes how Tatiana's feeling of love wakes up:

For a long time her imagination

Burning with grief and longing,

Alkalo fatal food;

Long hearted languor

It pressed her young breast;

The soul was waiting ... for someone,

And waited ... Eyes opened;

She said it's him!

Interest is a combination of someone. Is it possible to just wait for someone? But Tatyana was waiting, and, probably, that's why she fell in love with a man without knowing him. She only knew that Eugene was not like everyone around - this is enough to get interested, and then fall in love. She knew very little about life, people, and even herself. “For Tatyana, there was no real Onegin, whom she could neither understand nor know; therefore, she needed to give it some meaning, borrowed from a book, and not from life, because life
Tatyana, too, could neither understand nor know, ”said V.G. Belinsky
But her love is a real, great feeling, no matter how it is borrowed from books. She loved with all her heart, with all her soul she gave herself to this feeling. With what sincerity she wrote a letter to Onegin, and despite the fact that she was the first to declare her love, the first to take a risky step, absolutely not accepted in society.
Tatyana's letter is an impulse, confusion, passion, longing, a dream, and at the same time it is all authentic. It was written by a Russian girl, inexperienced, tender and lonely, sensitive and shy.
Such an act only earns respect. After all, even in our time it is not customary for a girl to be the first to open her love.
But time passes, Tatyana is married, although her first love still lives in her heart. But she remains true to her duty. At the meeting, she says to Onegin:

“I love you (why lie?),

But I am given to another;

I will be faithful to him forever.
And now, in our time, every young man is looking for his ideal woman. And I think that for many this ideal is associated with Tatiana
Larina, because she combines the qualities that make a woman beautiful. Years pass, people change, social conditions, aesthetic principles, but those spiritual qualities that the “sweet ideal” of the great Russian poet A. S. Pushkin possesses will always be honored.

Summing up what I have said, I return to the comparison of Tatyana
Larina and Sofia Famusova.

For readers, Tatyana has become an ideal to follow. A convincing, psychologically truthful image of a Russian girl, silent and sad, timid and at the same time resolute, sincere in her feelings.
And Sophia is an example of a young girl in whom naivety and hypocrisy, a thirst for love and obstacles created by society and education are fighting.
The heroine of Pushkin's novel goes through a significant and very important part of her life and appears before us as a character that has developed, completed by the author. The heroine of Griboyedov's play, in fact, receives only the first cruel lesson. She is depicted at the beginning of those trials that fall to her lot. Therefore, Sophia is a character that can be further developed and revealed "to the end" only in the future.

In the process of studying this topic, I realized how difficult it was for women to make their choice, they did not have special rights, so no one considered their opinion. And how we, it turns out, are happier than them.
After all, we, living in the 21st century, have all the ways and roads open. But how important it is not to make a mistake in choosing and save yourself. In this, of course, we are helped and
Sofia Famusova and Tatyana Larina.

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Kalashnikova Irina

The image of a female heroine in literature.

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Gymnasium №107

Vyborgsky district

The image of a female heroine in literature.

Work completed:

10th grade student

Kalashnikova Irina

Address: Bolshoy-Sampsonievskiy pr-t

D.76, apt.91

Tel: 295-30-43

Teacher:

Lafirenko Larisa Ivanovna

St. Petersburg. 2012

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3
The image of a woman - a heroine in literature

Evaluation of the exploits of the wives of the Decembrists on the example of the work of N.A. Nekrasov “Russian Women”…………………………4 - 14
The exploits of women during the Great Patriotic War on the example of B. Vasilyev's story “The Dawns Here Are Quiet…”….15-17

Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .eighteen
List of used literature. . . . . . . . . . . . . . . . . . . . .19
Applications……………………………………………………….......20-23

" Women's feat for the sake of love"

Like right and left hand

Your soul is close to my soul.

(Marina Tsvetaeva)

Relevance of the research topic -in Russian literature you can find quite a few female names, whose exploits will forever be imprinted on the pages of many novels, poems and poems. Their exploits live in the heart of each of us, who cares about our national history.

A lot of poems, novels, stories are dedicated to the Russian woman. They give her music, for the sake of it they perform feats, make discoveries, shoot themselves. They go crazy because of her. They sing about her. In short, the earth rests on it. Women are especially impressively sung in Russian literature. Masters of the word, creating images of their favorite heroines, expressed their life philosophy. From my point of view, the role of women in society is great and irreplaceable. The epithet "captivating" is applied to the images of women in nineteenth century literature, and this is true. A woman is a source of inspiration, courage and happiness. Mikhail Yuryevich Lermontov wrote: "And we hate, and we love by chance, without sacrificing anything to either anger or love, and some kind of secret cold reigns in the soul, when the fire boils in the blood." Since the 12th century, the image of a Russian woman-heroine, with a big heart, a fiery soul and a readiness for great unforgettable deeds, has been passing through all our literature.

My decision to explore this topic was primarily influenced by the interest in the images of women in literature. While reading various works, I often had questions caused by interest in the fate of Russian women. The second significant factor that strengthened my decision was the history lessons, where I came across historical references and notes that interested me.

While working on my research, I resorted not only to the source texts of literary works by N. Nekrasov, B. Yosifova, B. Vasiliev, I used Internet resources, analyzing these works. Many of the materials influenced my opinion on some historical facts, and also became one of the factors that influenced my decision to use this topic.

Already from the first chronicle legends, it is known about the first Slavic women: Olga, Rogneda, Euphrosyne of Suzdal, Princess Evdokia, who are mentioned with great respect and reverence as active participants in the strengthening of the Russian Land, whose voice and word passed through the thickness of centuries. Their names can be ranked among those that are indicated in the classification in terms of stereotypes of female behavior, female attitude to life andfemale heroines. The hero, according to the definitions of the explanatory dictionary, is a person who has accomplished a feat of courage, valor, selflessness, or one who has attracted admiring attention to himself with something, has become a role model.

Purpose of the study - open in full all morality of the exploits of women-heroines on the example of literary works.

Objects of study- the feat of the Decembrist wives, the feat of women during the Great Patriotic War.

Research hypothesis- it was suggested that the act of a Russian woman is an example of selflessness, courage, firmness, with all her youth, tenderness, and weakness of the sex. We will certainly find in these women that extraordinary thing that amazed and delighted their contemporaries.

Chapter I

Captivating images! Hardly
In the history of any country
You have seen something more beautiful.
Their names must not be forgotten!

(N.A. Nekrasov "Russian Women")

For some reason, when it comes to women's feat for the sake of love in Russia, they immediately remember the wives of the Decembrists who followed their husbands to hard labor in Siberia.

Ladies belonging to the noble class, who often received an aristocratic upbringing, always surrounded by numerous servants, abandoned cozy estates in order to live next to people close to them, despite any hardships, like commoners. For a century and a half, Russia has kept a bright memory of them.Their wives followed the “state criminals” into the icy depths of Siberia, into the country of whips, slaves and fetters, and this was not only a feat of love, it was an act of protest against the Nikolaev regime, it was a demonstration of sympathy for the ideas of the Decembrists.

"Their cause is not lost." - wrote V.I. Lenin about the Decembrists.

Love, Faith, Memory of the heart - all this is eternal beauty, human strength. And how strong this power is in the soul of a Russian person, a Russian woman capable of great self-sacrifice for the sake of a loved one. But the moral choice in each specific case involves the solution of the main life question: between a righteous (beneficial for moral health) and an unrighteous (harmful) act, between “good” and “evil”. The prevailing, and sometimes unequivocal assessment of the "events of December 14" as an "uprising" or other protest action with positive ("progressive") goals leads to the fact that its participants become "advanced noble revolutionaries", and not state criminals who encroached not only on the legal norms in force in the state, but also on the lives of other people. In this system of values, the actions of the state power to punish them are seen as unfair and cruel. Therefore, the tsar's decree, equating the position of women leaving for Siberia with the position of the wives of state criminals and the prohibition to take with them children born before their fathers were sentenced, is regarded as "inhuman". A look at the problem from a different angle allows us to see behind this decree the desire of the authorities not to shift responsibility for the fate of their parents onto the shoulders of children, preserving for them all the rights and dignity of the estate in which they were born.

In this aspect, the choice of the wives of the Decembrists, who left for their husbands in Siberia, was not the only one and can hardly be considered indisputable: in European Russia there were children for whom the loss of parents who deliberately left them was a genuine personal tragedy. Thus, in essence, by choosing marriage, they consigned motherhood to oblivion.

Decembrist women were driven not only by love for their husbands, brothers, and sons, but also by a high consciousness of social duty, an idea of honor. The outstanding therapist N.A. Belogolovy, a pupil of the Decembrists, spoke of them as "high and whole in their moral strength types of Russian women." He saw in them "classic examples of selfless love, self-sacrifice and unusual energy, examples of which the country that raised them has the right to be proud of."

ON THE. Nekrasov, recreating in his poem "Russian Women" the feat of life of Ekaterina Ivanovna Trubetskoy and Maria Nikolaevna Volkonskaya, opened up new facets of the national female character. The original title of the work - "Decembrists" - was replaced by a new one, which enlarged and expanded the content of the author's intention: "Russian Women".

For the first publication of "Princess Trubetskoy" in the journal "Notes of the Fatherland", the poet made a note saying "that the self-denial expressed by them (the Decembrists) will forever remain evidence of the great spiritual forces inherent in a Russian woman, and is the direct property of poetry"

The main feature of the "Nekrasov Decembrists" is a high civic consciousness, which determines the program of life behavior. Their bold decision to follow their husbands into a remote Siberian exile is a feat not only in the name of love and compassion, but also in the name of justice.

The poem "Russian Women" consists of two parts. The first of them is dedicated to Princess Trubetskoy, and the second - to Princess Volkonskaya.

The author draws Princess Trubetskaya as if from the outside, describing the external difficulties encountered on her way. No wonder the central place in this part is occupied by a meeting with the governor, who is trying to intimidate the princess with the hardships awaiting her:

"Cautious hard cracker

And life is locked up

Shame, horror, labor

Step by step…”

But all his words about the hardships of the upcoming fate of the princess fade and lose their strength, overwhelmed by the courage and heroism of this woman, her readiness for any trials. Serving a higher goal and fulfilling one's duty for it is higher than personal:

“But I know: love for the motherland

My rival…”

"Not! What once decided -

I will complete it!

It's funny for me to tell you

How I love my father

How he loves. But the duty is different and higher and holy,

Calling me…”

“Leaving the homeland, friends,

beloved father,

Taking a vow in my soul

Fulfill to the end

My duty - I will not bring tears

To the damn prison

I will save pride-pride in him,

I will give him strength!

The narration in the second part of the poem is in the first person of Princess Volkonskaya. Thanks to this, one can more clearly understand the depth of suffering experienced by the heroine. Everything here is like family memories, like a grandmother's story addressed to her grandchildren (the subtitle is "Grandma's memories"). In this part there is a dispute very similar to the conversation between the governor and Trubetskoy.

“-You recklessly abandon everyone, for what?

I'm doing my duty, father."

There are also lines here where you can see the predestination of the fate of the princess:

"Share joy with him,

Share with him and prison

I have to, it’s heaven’s will!”

This is a socially significant act, it is a challenge to evil will, an open confrontation with the highest authority, therefore the moment of Volkonskaya's meeting with her husband is very clearly highlighted, where, first of all, she kisses his hard labor chains:

“I am only now, in the fatal mine,

Hearing terrible sounds

Seeing the fetters on my husband,

I fully understood his pain.

And his strength .. and willingness to suffer!

Involuntarily before him I bowed

On your knees, and before hugging your husband,

She put chains to her lips! .. "

In working on the poem, Nekrasov relied on historical sources. It was important for him to single out the ideological and emotional content and artistic expressiveness of the recreated situations of the episodes, the statements of the characters.

I used the notes of Princess Volkonskaya in my work. She wrote these letters to her children from Siberia, where she left after her husband. As an example, the first records about the decision of the princess to go after her husband are given.

NOTES

My Misha, you are asking me to write down the stories with which I entertained you and Nelly in the days of your childhood, in a word - to write your memoirs. But, before arrogating to yourself the right to write, you must be sure that you have the gift of narration, but I do not have it; besides, the description of our life in Siberia can only have meaning for you, as a son of exile; I will write for you, for your sister and for Seryozha, on the condition that these memories are not communicated to anyone except your children, when you have them, they will cuddle up to you, opening their eyes wide when they talk about our hardships and sufferings, with which, however, we have become so accustomed to that we have managed to be cheerful and even happy in exile.
I will here cut short what amused you so when you were children: stories of the happy time I spent under my parents' roof, of my travels, of my share of joys and pleasures in this world. I will only say that in 1825 I married Prince Sergei Grigoryevich Volkonsky, your father, the most worthy and noble of people; my parents thought they had secured me a secularly brilliant future. I was sad to part with them: as if through a wedding veil, I vaguely saw the fate awaiting us. Soon after the wedding, I fell ill, and I was sent with my mother, with my sister Sophia and my Englishwoman to Odessa for sea bathing. Sergei could not accompany us, as he had to remain with his division due to official duties. Before we got married, I hardly knew him. I stayed in Odessa all summer and thus spent only three months with him in the first year of our marriage; I had no idea of the existence of a secret society of which he was a member. He was twenty years older than me, so I could not have confidence in me in such an important matter.

He came for me towards the end of autumn, took me to Uman, where his division was stationed, and left for Tulchin - the main headquarters of the second army. A week later he returned in the middle of the night; he wakes me up, calls: “Get up soon”; I get up, trembling with fear. My pregnancy was coming to an end, and this return, this noise, scared me. He began to kindle the fireplace and burn some papers. I helped him as best I could, asking what was the matter? "Pestel is arrested." - "For what?" No answer. All this mystery disturbed me. I saw that he was sad, preoccupied. Finally, he announced to me that he had promised my father to take me to his village for the time of childbirth, and so we set off. He handed me over to the care of my mother and immediately left; immediately upon his return he was arrested and sent to Petersburg. Thus passed the first year of our marriage; he was still running out when Sergei was sitting under the gates of the fortress in Alekseevsky ravelin.

The birth was very difficult, without a midwife (she arrived only the next day). My father demanded that I sit in an armchair, my mother, as an experienced mother of the family, wanted me to go to bed in order to avoid a cold, and now an argument begins, and I suffer; finally, the will of the man, as always, prevailed; I was placed in a large armchair, in which I suffered severely without any medical assistance. Our doctor was absent, being with the patient 15 versts from us; some peasant woman from our village came, posing as a grandmother, but did not dare to approach me and, kneeling in the corner of the room, prayed for me. Finally, in the morning, the doctor arrived, and I gave birth to my little Nikolai, with whom I was subsequently destined to part forever (Son Nikolai was born on January 2, 1826, died in February 1828.- Note). I had the strength to walk barefoot to the bed, which was not warm and seemed to me cold as ice; I was immediately thrown into a strong fever, and inflammation of the brain set in, which kept me in bed for two months. When I came to, I asked about my husband; I was told that he was in Moldavia, while he was already in custody and went through all the moral tortures of interrogations. First he was brought, as they were all the others, to Emperor Nicholas, who attacked him, shaking his finger and scolding him for not wanting to betray any of his comrades. Later, when he continued to persist in this silence in front of the investigators, Chernyshev, the Minister of War, told him: "Be ashamed, prince, the ensigns show more than you." However, all the conspirators were already known: the traitors Sherwood, Mayboroda and ... issued a list of the names of all members of the Secret Society, as a result of which the arrests began. I do not dare to recount the history of the events of this time: they are still too close to us and beyond my reach; others will do it, and posterity will pronounce judgment on this impulse of pure and disinterested patriotism. Until now, the history of Russia has provided examples of only palace conspiracies, the participants of which found personal benefit in this.

Finally, one day, after collecting my thoughts, I said to myself: “This absence of a husband is unnatural, since I do not receive letters from him,” and I began to urgently demand that they tell me the truth. I was told that Sergei had been arrested, as well as V. Davydov, Likharev and Poggio. I announced to my mother that I was leaving for St. Petersburg, where my father was already there. The next morning everything was ready for departure; When I had to get up, I suddenly felt a strong pain in my leg. I send for the woman who then so earnestly prayed to God for me; she announces that it is a mug, wraps my leg in red cloth with chalk, and I set off on my journey with my kind sister and child, whom I leave on the way with Countess Branitskaya, my father's aunt: she had good doctors; she lived as a wealthy and influential landowner.

It was April and it was a complete shambles. I traveled day and night and finally came to my mother-in-law. It was in the full sense of the word court lady. There was no one to give me good advice: brother Alexander, who foresaw the outcome of the case, and my father, who was afraid of him, completely bypassed me. Alexander acted so cleverly that I understood everything only much later, already in Siberia, where I learned from my friends that they constantly found my door locked when they came to me. He was afraid of their influence on me; and despite, however, his precautions, I was the first with Katasha Trubetskoy to arrive at the Nerchinsk mines.

I was still very sick and extremely weak. I begged permission to visit my husband in the fortress. The emperor, who took every opportunity to express his generosity (in matters of secondary importance), and who knew my poor state of health, ordered that a doctor accompany me, fearing for me any shock. Count Alexei Orlov himself took me to the fortress. When we were approaching this dirty prison, I looked up and, while the gates were being opened, I saw a room above the entrance with wide open windows and Mikhail Orlov in a dressing gown, with a pipe in his hands, watching the entrants with a smile.

We went to the commandant; they immediately brought my husband into custody. This meeting in front of strangers was very painful. We tried to reassure each other, but we did it without conviction. I didn't dare question him, all eyes were on us; we exchanged handkerchiefs. When I returned home, I hurried to find out what he had told me, but found only a few words of comfort written on one corner of the handkerchief, which I could hardly make out.

The mother-in-law asked me about her son, saying that she could not decide to go to him, since this meeting would kill her, and the next day she left with the dowager empress for Moscow, where preparations for the coronation had already begun. My sister-in-law, Sofya Volkonskaya, was to arrive shortly; she accompanied the body of the late Empress Elizaveta Alekseevna, who was being taken to Petersburg. I eagerly desired to meet this sister whom my husband adored. I expected a lot from her arrival. My brother saw things differently; he began to inspire me with fears about my child, assuring me that the investigation would last a long time (which, incidentally, was fair), that I should personally verify the care of my dear child, and that I would probably meet the princess in road. Suspecting nothing, I decided to go with the idea of bringing my son here. I went to Moscow to see my sister Orlova. My mother-in-law was already there as an Obergofmeisterin. She told me that Her Majesty would like to see me and that she takes a great interest in me. I thought that the empress wanted to talk to me about my husband, because in such important circumstances I understood participation in myself only insofar as it concerned my husband; instead, they talk to me about my health, about the health of my father, about the weather ...

After that, I immediately left. My brother arranged for me to part with my sister-in-law, who, being aware of everything, could initiate me in the direction taken by the case. I found my child pale and frail; he was vaccinated with smallpox, he fell ill. I didn't receive any news; only the most empty letters were sent to me, the rest were destroyed. I looked forward to the moment of my departure; Finally, my brother brings me newspapers and announces that my husband has been sentenced. He was demoted at the same time as his comrades at the glacis of the fortress. This is how it happened: on July 13, at dawn, they were all collected and placed in categories on a glacis against five gallows. Sergey, as soon as he arrived, took off his military coat and threw it into the fire: he did not want to be torn off him. Several bonfires were laid out and lit to destroy the uniforms and orders of the condemned; then they were all ordered to kneel, and the gendarmes came up and broke the saber over each head as a sign of demotion; this was done awkwardly: several of them were injured in the head. Upon returning to prison, they began to receive not their ordinary food, but the position of convicts; they also received their clothes - a jacket and trousers of coarse gray cloth.

This scene was followed by another, much heavier one. Five people sentenced to death were brought in. Pestel, Sergey Muravyov, Ryleyev, Bestuzhev-Ryumin (Mikhail) and Kakhovsky were hanged, but with such terrible awkwardness that three of them fell off and were again brought to the scaffold. Sergei Muravyov did not want to be supported. Ryleev, who returned the opportunity to speak, said: "I am happy that I die twice for the fatherland." Their bodies were placed in two large boxes filled with quicklime and buried on Golodaev Island. The sentry did not allow to the graves. I cannot dwell on this scene: it upsets me, it hurts me to remember it. I do not undertake to describe it in detail. General Chernyshev (later count and prince) pranced around the gallows, looking at the victims in a lorgnette and chuckling.

My husband was stripped of his title, estate, and civil rights, and sentenced to twelve years' hard labor and life exile. On July 26, he was sent to Siberia with the princes Trubetskoy and Obolensky, Davydov, Artamon Muravyov, the brothers Borisov and Yakubovich. When I learned about this from my brother, I announced to him that I would follow my husband. My brother, who was supposed to go to Odessa, told me not to move until he returned, but the very next day after his departure, I took my passport and left for St. Petersburg. My husband's family was angry with me for not answering their letters. I couldn't tell them that my brother intercepted them. They told me taunts, but not a word about money. Nor could I talk to them about what I had to endure from my father, who did not want to let me go. I pawned my diamonds, paid off some of my husband's debts, and wrote a letter to the sovereign asking permission to follow my husband. I relied especially on the concern that his Majesty showed to the wives of the exiles, and asked him to complete his favors by allowing me to leave. Here is his answer:

“I have received, Princess, your letter dated the 15th of this month; I read in it with pleasure an expression of feelings of gratitude to me for the part that I take in you; but in the name of this participation, I also consider myself obliged to repeat here once again the warnings that I have already expressed to you regarding what awaits you, as soon as you pass beyond Irkutsk. However, I leave it entirely to your discretion to choose the course of action that seems to you the most appropriate for your present position.

favored to you
(signature) Nicholas »

"Russian women" and that says it all: about the proud consciousness of one's dignity, one's rightness, and about the great power of love for her husband and respect for his work, about admiration for his suffering, about the steadfastness of the decision.

As a result of the analysis of the work and historical materials, it can be concluded that the exploits of these women, even after many years, were not forgotten. These deeds were elevated to a sublimely religious level, women became folk heroes. And their feat will never be forgotten and erased from the memory of many generations for many more years.

Chapter II.

“And the one that today says goodbye to the dear, -

Let her melt her pain into strength.

We swear to children, we swear to graves,

That no one will force us to submit!

(Anna Akhmatova)

The Great Patriotic War is a great misfortune, the misfortune of the country, of the entire Russian people. Many years have passed since then, but the events of those years are still alive in the memory, they are alive largely thanks to the stories of veterans and writers who devoted themselves and all their work to the truth about the war, the echoes of which are alive to this day.
During the war, 87 women became Heroes of the Soviet Union. They are real Heroes and they canbe proud.
In the countries participating in the Second World War, the position and conditions of women were certainly different. In the USSR and Germany, there were laws that easily allowed women to be drafted into military service. In America and England, women fought on their own initiative.
In Germany, the Germans did not send their women to the front itself in the fighting. On the fronts, the Germans did not even have female nurses (only nurses).
The USSR, unlike Germany, brutally exploited women. For example, female pilots. Mostly women were sent on slow-moving whatnots, which for some unknown reason were called bombers. The female pilots of these whatnots were victims of the air war, as women had very little chance of surviving after the flight.

It was certainly violence against the female essence and violence against Soviet women.
According to statistics, more than 980,000 women were drafted into the Red Army during the war years. These women participated in the fighting, they served in the air defense forces, drove bombers, were snipers, sappers and nurses. For example: after 1943, when the male reserve was exhausted, women were called up in Germany, but they were called up by about 10,000 people. But German women did not take part in the fighting, did not participate in hand-to-hand combat, did not clear the fields, did not fly planes and did not shoot at enemy bombers. The Germans worked as communications operators, typists on trains, and cartographers at headquarters. They have never been in combat. Only in the USSR they got used to the fact that a woman serves in the army shoulder to shoulder with men. It has become a terrible reality.
Everyone has their own idea of war. For some, war is destruction, famine, bombing; for others - battles, exploits, heroes.
Boris Vasiliev sees the war in a completely different way in his story “The Dawns Here Are Quiet…”. This is a story about the feat not just of the Russian people, but about the feat of women; about how fragile creatures, to which the most diverse weaknesses have long been attributed, fought the Germans, repelling enemy fire no worse than men. There are no exciting battle scenes, courageous heroes, but perhaps this is where the beauty lies.

In the story, the author draws before us five difficult female destinies, several life lines that, perhaps, would never have crossed in ordinary life, if not for the war, which united them into one whole, forcing them to be participants and victims of a colossal tragedy.
Five young girls die, but at the cost of their lives they stop the movement of the German landing force. Moreover, the girls die among natural peace and silence. Everyday life and unnaturalness - this is what helps B. Vasiliev prove that "war has not a woman's face", that is, women and war are incompatible concepts. Women must not be allowed to die, because their purpose is to live and raise children, to give life, not to take it away. But all this peaceful life runs through the whole story, only emphasizing the horror of war.

The girls-heroines differ in characters, they are completely different from each other. All the characters are different, but the fate of these girls is the same - to die while performing a combat mission, having completed it against everything, including common sense.

Liza Brichkina immediately attracts attention with her restraint, reticence and complaisance. “Ah, Lisa-Lizaveta, you should study!” Never found her happiness, an orphanage girl, never matured, funny and childishly clumsy.

Galya Chetvertak is childlike, she is subject to fear and emotions. Her death was stupid, but we have no right to condemn her. She was too weak, too feminine and insecure, but a woman should not be at war at all! Although she did not accomplish a direct feat, “she did not enter into a direct battle with the enemy, but she stubbornly walked forward and carried out the orders of the foreman.

Sonya Gurvich was a serious girl, with "intelligent penetrating eyes." Romantic by nature, she lived in dreams, and like other girls, she got into anti-aircraft gunners quite by accident. Her death seems to be an accident, but it is connected with self-sacrifice. After all, when she ran towards her death, she was led by a natural spiritual movement to do something pleasant for the kind and caring foreman - to bring the left pouch.

Rita Osyanina was a strong-willed girl. But her death was also painful. She was severely wounded in the stomach, she had no strength left to run away, and she put a bullet in her forehead.

The war did not spare the beautiful Zhenya Komilkova, a red-haired beauty with great energy, unusually artistic, which helped her more than once both in life and in battle. Looking at her, the admiring girls said: “Oh, Zhenya, you need to go to the museum. Under glass on black velvet. The general's daughter Zhenya shot at a shooting range, hunted wild boars with her father, rode a motorcycle, sang with a guitar and had affairs with lieutenants. She knew how to laugh just like that, just because she lives. That was until the war came. In front of Zhenya, her entire family was shot. The last to fall was the younger sister: she was specially finished off. My wife was then eighteen years old, she had to live the last year. And when her hour came, “the Germans wounded her blindly through the foliage, and she could hide, wait, or maybe leave. But she shot while lying down, no longer trying to run away, because strength was leaving along with the blood. And the Germans finished her off at close range, and then looked at her for a long time and after death, a proud and beautiful face ... "

The war distorted the fate of many heroes: not only the girls died, but also the foreman Vaskov. He was the last to die, having survived the death of all his fighters, who died like real heroes, saving their homeland, Russia, all living things. He takes the death of the girls hard, feels guilty:

“As long as the war is clear. And then when will there be peace? Will it be clear why you had to die? Why didn’t I let these Fritz go further, why did I make such a decision? What to answer when they ask: what is it that you, men, couldn’t protect our mothers from bullets? Why did you marry them with death, and you yourself are whole?

There are not so many books devoted to the topic of women in war, but those that are in the library of Russian and world literature are striking in their seriousness and globality. Reading Boris Vasiliev's story “The Dawns Here Are Quiet…”, you involuntarily put yourself in the place of those girls, you involuntarily think how I would behave if I found myself in such terrible circumstances. And you involuntarily understand that not very many people are capable of such heroism as the girls showed.

So, war is an unnatural phenomenon. It is doubly strange when women die, because it is then that "the thread leading to the future breaks." But the future, fortunately, is not only eternal but also grateful. It is no coincidence that in the epilogue, a student who came to rest on Lake Legontovo wrote in a letter to a friend:

“Here, it turns out, they fought, old man. We fought when we were not in the world .. We found the grave ... But the dawns are quiet here, only today I saw it. And clean, clean, like tears ... "

The heroines of the story, young girls, were born for love and motherhood, but instead they picked up rifles and engaged in an unfeminine business - war. Even this already consists of considerable heroism, because all of them voluntarily went to the front. The origins of their heroism are in love for the Motherland. From here begins the path to achievement.

Fiction is considered to be based on fiction. This is partly true, but Boris Vasilyev is a writer who went through the war, who knew firsthand about its horrors and was convinced from his own experience that the theme of a woman in war deserves no less attention than the theme of male heroism. The feat of the girls is not forgotten, the memory of them will be an eternal reminder that "war does not have a woman's face."

Conclusions.

In my work, I tried to look at the exploits of Russian women from the other side. I wanted to emphasize the special significance of female heroism through the analysis of literary works. I researched several historical reference books, looking for answers to my questions about the heroism of Russian women in the 19th century. She also analyzed the reviews of well-known critics on the work of B. Vasiliev “The Dawns Here Are Quiet…”. With this work, I wanted to suggest that we have no right to divide heroism into male and female. As a result of my research, we can conclude that women fought on equal terms with everyone else against the injustice of the law and fought against enemies, defending their homeland.

The feats performed by the women I have chosen as an example will never be forgotten in history. All of them were accomplished, first of all in the name of Love. Love for close people, love for the Motherland and their fellow citizens. Feats were also in the name of Honor and Valor. Thanks to these girls, the concept of these words has not lost its true meanings. And I would like to complete my work with the lines of the famous poet Alexei Khomyakov, which, it seems to me, reveal the whole essence of Russian heroism, and especially female.

“There is a feat in battle,
There is a feat in the struggle.
The highest feat in patience
Love and prayer."

Bibliography.

Forsh. Z.O. Russia's faithful sons; A series of books "History of the Fatherland"; Memoirs, notes, letters; "Young Guard", Moscow 1988

Nekrasov N.K. Literary - Art edition; “Poems. Poems. Memoirs of contemporaries"; publishing house "Pravda"; Moscow; 1990
Brigita Yosifova "Decembrists" Publisher: "Progress" 1983
Vasiliev B. "The Dawns Here Are Quiet..." 1992
M.N. Zuev "History of Russia"; publishing house "Drofa", 2006

Internet resources

Portraits of Princess Volkonskaya

Fragments from the film "The Dawns Here Are Quiet..."

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Chapter 1. Introduction. The theme of the image of a woman in Russian literature

Chapter 2. Types of female images and stereotypes of their behavior

Chapter 3. Yaroslavna. The image of a Russian woman-heroine

Chapter 4. A.S. Pushkin and his ideals

Chapter 5. The world of Ostrovsky. The tragedy of the female soul

5.1 The social role of women in the 19th century

5.1.1 The conflict between the "dark kingdom" and the spiritual world of Katerina

5.1.2 A dowry girl is a commodity whose beauty is played in toss

5.2 The family in the work of Ostrovsky and the place of women in it

5.2.1 Ostrovsky's portrayal of the heroine's two worlds

5.2.2 Europeanized family relationships break the life of the heroine

5.3 The versatility of Ostrovsky's depiction of the image of a woman in the 19th century

Chapter 6. Ivan Sergeevich Turgenev - the artist of sacrificial women

Chapter 7

Chapter 8. Karamzin's poor Liza is one of the very first female sufferers in Russian literature. Type development

Chapter 9

Chapter 10 Ideals of Chernyshevsky and Tolstoy

Chapter 11

Chapter 12 Real feeling of love

12.1 Feature of female nature

12.2 Truth

12.3 "Master and Margarita". A hymn to a woman of inspiration

Chapter 13

Chapter 14 Parallels

Bibliography

Chapter 1. Introduction. The theme of the image of a woman in Russian literature

Chapter 2times and stereotypes of their behavior

In general, Russian thinkers are characterized by the idea expressed by F. M. Dostoevsky about the combination in a woman of the “ideal of the Madonna” and the “ideal of Sodom”, which, in my opinion, is quite close to the truth. The image of a woman, real and created by the imagination of the creator, can be found in all genres and types of artistic creativity: from folklore to the most modern manifestations of cultural thought. According to S. N. Bulgakov, "every true artist is truly a knight of the Beautiful Lady." According to Berdyaev, a woman inspires a man to creativity, and through creativity he strives for integrity, although he does not achieve it in earthly life; "A man always creates in the name of the Beautiful Lady." However, no matter how many-sided and unique female images are, represented by the artist’s brush, the word of a writer or poet, no matter how subtly they are recreated by the hand of a master sculptor, the composer’s enchanting sounds, from the whole countless arsenal of sounds, tones, halftones, colors, words it is possible to single out well-defined types of female images and stereotypes of their behavior. Researchers distinguish three stereotypes of female images in Russian literature, which "entered into girlish ideals and real female biographies." The first is the image of a "tenderly loving woman, life, whose feelings are broken", the second is "a demonic character, boldly destroying all the conventions of the world created by men", the third typical literary and everyday image is a "woman heroine". A characteristic feature is "inclusion in the situation of opposing the heroism of a woman and the spiritual weakness of a man." We take these three stereotypes as a starting point in discovering different types of women from different historical periods who played one role or another in the development of culture.

One of the types can be called traditional. It includes tenderly loving women, capable of self-sacrifice for the sake of others, who "always have both a table and a house ready," who sacredly keep the traditions of the past. The concept of "traditional" includes not the traditional, mediocre, ordinariness of women of this type, but the usual approach to defining a woman in general: compassion, the ability to sympathize, empathize, self-sacrifice. To this type, it seems to me, first of all, one can attribute the “woman-hostess” and neo-traditionalists, as well as “cross sisters” (as Remizov defined), “humble women”.

The next type is represented by a female heroine. These are, as a rule, women who constantly overcome any difficulties or obstacles. Close to this type is a female warrior, an indefatigable activist, for whom the main form of activity is social work. Homework, family - far from the main thing in her life. This type also includes Sovietized women, Russofeminists, feminists of the Western type. This type also includes "hot hearts" (the term was first used by A.N. Ostrovsky) and the so-called "pythagoras in skirts", "learned ladies".

The third type of women, it seems to me, is the most diverse, heterogeneous and to some extent polar, truly combining both "Madonna" and "Sodom" principles - demonic, "boldly violating all the conventions created by men." This includes a woman-muse, a woman-prize, as well as escapists. In my opinion, women with a "demonic character", the so-called "femme fatales", are also of interest. This "literary and everyday image" is the least studied in the scientific literature in comparison with the type of female heroine (at least in the Russian one), except for individual magazine and newspaper variants. In this type of women, in turn, you can find other subtypes, considering the stereotypes of female images of a later period. These are, according to the terminology of the Russian classics, "shameless" (A. M. Remizov) and "jumpers" (A. P. Chekhov).

Despite a certain scheme characterizing this or that type of woman, of course, it cannot be considered, as already noted, that any classification, system, scheme gives reason to rigidly designate certain aspects of a woman. It is quite natural that any type implies the presence of other features, but the qualities that form the type to which it belongs can be considered decisive. In the course of the report, we will consider in more detail each of the selected types.

Chapter 3. Yaroslavna. The image of a Russian woman-heroine

Since the 12th century, the image of a Russian woman-heroine, with a big heart and a fiery soul, has been passing through all our literature. It is enough to recall the captivating image of the ancient Russian woman Yaroslavna, full of beauty and lyricism. She is the embodiment of love and loyalty. Her sadness in separation from Igor is combined with civil grief: Yaroslavna is experiencing the death of her husband's squad and, turning to the forces of nature, asks to help not only her “lada”, but also all his soldiers. Her crying was heard in Putivl, on the city wall, it was her, Yaroslavna, that Yevgeny Osetrov, a researcher of ancient Russian culture, a connoisseur of ancient Russian literature, called "beautiful, touching, heroic." One cannot but agree with such an assessment. In his opinion, we find the image of Yaroslavna in different centuries, which is quite fair. During the Tatar yoke, she was called Avdotya Ryazanochka, during the Time of Troubles she was Antonida, who blessed her father Ivan Susanin for a feat of arms, in the memorable year 1812 she was the elder Vasilisa. The author of the "Word" managed to give the image of Yaroslavna an unusual vitality and truthfulness, he was the first to create a beautiful image of a Russian woman.

ChAva 4. A.S. Pushkin and his ideals

A.S. became his follower. Pushkin, who painted us an unforgettable image of Tatyana Larina. Tatyana is "a deep, loving, passionate nature." Whole, sincere and simple, she "loves without art, obedient to the attraction of feelings." She does not tell anyone about her love for Onegin, except for the nanny. But Tatyana combines her deep feeling with a sense of duty to her husband:

I love you /why lie?/

But I'm given to someone else

And I will be faithful to him forever.

Tatyana has a serious attitude to life, to love and to her duty, she has a complex spiritual world.

Pushkin also showed another, seemingly less outstanding image of a modest Russian girl. This is the image of Masha Mironova in The Captain's Daughter. The author also managed to show a serious attitude towards love, the depth of a feeling that she does not know how to express in beautiful words, but which she remains faithful to for life. She is ready to do anything for the one she loves. She is able to sacrifice herself to save Grinev's parents.

Chapter 5Rovsky. The tragedy of the female soul

We must not forget another image of a woman, full of beauty and tragedy, the image of Katerina in Ostrovsky's drama "Thunderstorm", which, according to Dobrolyubov, reflected the best character traits of the Russian people, spiritual nobility, the desire for truth and freedom, readiness for struggle and protest.

Alexander Nikolayevich Ostrovsky truly discovered the tragedy of the female soul in his plays. They reflected the most burning issues of contemporary reality: the deepening of irreconcilable social contradictions, the plight of workers who are completely dependent on the power of money, the powerlessness of women, the dominance of violence and arbitrariness in family and social relations.

5.1 The social role of women in the XIXcentury

The life of any person cannot be imagined outside of any society - be it a family or an urban community. In his plays, A. N. Ostrovsky traces the path of a woman from city acquaintances to family. He enables us to fully understand and imagine the social life of a woman in his time. But not one play imitates another. Although "Thunderstorm" and "Dowry" were created by the same author, they show completely different social views.

5.1.1 Conflict between the "dark kings"yours" and the spiritual world of Katerina

The city of Kalinov is a provincial town, so we can say that in the play the description of the life of this city is part of the description of the life of the entire Russian province in general. In everyday life, several points can be noted: this is a social, family and economic situation. The inhabitants of a provincial town live a life closed and alien to public interests, in ignorance of what is going on in the world, in ignorance and indifference. The scope of their interests is limited to household chores. Behind the outward calmness of life lie gloomy thoughts, the dark life of tyrants who do not recognize human dignity. A common social group in society is merchants. Their way of life and customs form the basis of the life of the province. In general, one can say about the life of the city in the words of Kuligin: “This is what a little town we have! They made a boulevard, but they don’t walk. They work day and night." According to Kuligin, provincial society is sick. And it all has to do with family relationships. Hierarchy had a strong effect on relations in it, and hence on relations in society.

Bright representatives of the "dark kingdom" are Wild and Boar. The first is a complete type of tyrant merchant, whose meaning of life is to make capital by any means. Ostrovsky draws Kabanikha as a staunch defender of the foundations of the "dark kingdom". The boar complains bitterly, feeling how life destroys her usual relationships: “They don’t know anything, there’s no order. They don’t know how to say goodbye. I don't know if the light is on. Well, it's good that I won't see anything." Beneath this humble complaint of Kabanikhi is misanthropy, inseparable from religious bigotry.

Katerina finds herself in an environment where hypocrisy and hypocrisy are very strong. Her husband's sister Varvara clearly speaks of this, arguing that "the whole house rests" on their deceit. And here is her position: "Ah, in my opinion: do what you want, if only it was sewn and covered." "Sin is not a problem, rumor is not good!" - so many people argue. But not so Katherine. In this world of the Wild and Boars, Katerina is a poetic, dreamy, freedom-loving nature. The world of her feelings and moods was formed in her parents' house, where she was surrounded by the care and affection of her mother. In an atmosphere of hypocrisy and importunity, petty guardianship, the conflict between the "dark kingdom" and the spiritual world of Katerina is gradually maturing. Katerina suffers only for the time being. “And if I get very sick of it here, then no force can hold me back. I’ll throw myself out the window, throw myself into the Volga, I don’t want to live here, so I won’t, even if you cut me!” she says. Katerina is an extremely honest person, she is sincerely afraid of sinning, even in her thoughts to cheat on her husband. But not finding an echo in the heart of a narrow-minded and downtrodden husband, her feelings turn to a person who is unlike everyone around. Love for Boris flared up with the force characteristic of such an impressionable nature as Katerina, it became the meaning of the heroine's life. It is this struggle between her duty, as she understands it (and she understands, I think, correctly: her husband cannot be changed) and a new feeling and breaks her fate. Katerina comes into conflict not only with the environment, but also with herself. This is the tragedy of the position of the heroine.

5.1.2 The dowry girl is a commodity whoseyu beauty is played in toss

The life and customs of the province in the play "Dowry" differ from the life of "Thunderstorm". This is due to the fact that in the play "Dowry" Ostrovsky illuminated a narrow circle of people - provincial nobles and businessmen. The conversation with which the play begins is a conversation between two servants. They talk about the patriarchal life, the rules of which are strictly adhered to by the townspeople and merchants of the city of Bryakhimov ("we live in the old days"): "From late mass everything to pie and cabbage soup, and then, after bread and salt, rest."

The world of wild and boar in "Dowry" has undergone significant changes. Here "significant persons in the city" are Europeanized businessmen Mokiy Parmyonych Knurov and Vasily Danilych Vozhevatov; the ignorant Kabanikha was replaced by the prudent Harita Ignatievna, the mother of Larisa Ogudalova, who deftly sells her daughter's beauty. Here the gentleman shines - the shipowner Sergey Sergeevich Paratov (there was a rapprochement between the merchant class and the nobility, who once eschewed entrepreneurship). Rich people in the provinces are different. Some are generous (Paratov), while others are stingy (Knurov). The merchants in "Dowry" are more moral people than the merchants in "Thunderstorm". This is expressed primarily in relation to other people. This is respect, but not the furious malice of the Wild. However, even here people of the rich class prefer to communicate with rich people too. But behind the external gloss of these masters of life is the heavy breathing of a heartless world, buying and selling, cynical bargaining, merciless acquisition. The main thing for a girl in this society is to get married successfully, and this is the ability to entertain guests, and the presence of a dowry. If one of these components is missing, then the girl will have to wait a long time for her happy day.

Both Knurov and Vozhevatov are indifferent to what is happening in the soul of Larisa, the dowry girl is only a commodity for them, they simply play her beauty in a toss. Karandyshev, before the fatal shot, tells Larisa: "They do not look at you as a woman, as a person ... they look at you as a thing." And the heroine agrees, she finally begins to see clearly and understands her place in this society: "Thing ... yes, thing! They are right, I am a thing, I am not a person ..." Karandyshev's shot brings her deliverance from a terrible life trap: after all she was already ready to accept the conditions of the rich Knurov: "... Now gold glittered before my eyes, diamonds sparkled ... I did not find love, so I will look for gold." The mortally wounded woman thanks the killer, she does not want to live in a world in which "I have not seen sympathy from anyone, I have not heard a warm, heartfelt word. But it's cold to live like that." Gold is the same pool, and Larisa was ready to rush into it.

So the cynical and cruel power of the mercantile world kills the "hot heart" of a woman who has not found a man worthy of high feelings. In this "dark realm" beauty is a curse, beauty is death, either physical or spiritual.

5.2 Family in the work of OsTrovsky and the place of a woman in it

The social position of a woman is directly related to her role in the family. The family is a small cell of society, and the attitude, views, addictions, delusions of people in society naturally affect the atmosphere in the family. Although there is not a very long time interval between "Thunderstorm" and "Dowry", Ostrovsky shows a rapid change in the relationship between mother and daughter, man and woman.

5.2.1 Imagese Ostrovsky of the two worlds of the heroine

In Groz, the family side of life in the 19th century was expressed in the fact that all people lived according to the laws of Domostroy. There was a rigid hierarchy in the family, that is, the younger ones obeyed the elders. The duty of the elders is to instruct and instruct, the duty of the younger ones is to listen to instructions and unquestioningly obey. One remarkable thing is observed - the son should love his mother more than his wife. Be sure to observe all sorts of centuries-old rituals, even if they look funny. For example, Katerina was supposed to arrange a "cry" when Tikhon left on his own business. I would also like to note the lack of rights of his wife in the house. Before the wedding, a girl could walk with anyone, like Varvara, but after the wedding, she belonged entirely and completely only to her husband, like Katerina. Treason was ruled out, after her, the wife was treated very harshly, and she generally lost all rights.

In the play, Ostrovsky, in the words of Katerina, compares two families as two lives of Katerina. As a child, she grew up in a wealthy merchant's house easily, carefree, joyfully. Telling Varvara about her life before marriage, she says: “I lived, didn’t grieve about anything, like a bird in the wild. doing." Growing up in a good family, she acquired and retained all the beautiful features of the Russian character. This is a pure, open soul that does not know how to lie. “I don’t know how to deceive; I can’t hide anything,” she says to Varvara. And it is impossible to live in the husband's family, not knowing how to pretend.

Katerina's main conflict is with her mother-in-law Kabanikha, who keeps everyone in the house in fear. The philosophy of Kabanikhi is to frighten and humiliate. Her daughter Varvara and son Tikhon adapted to such a life, creating the appearance of obedience, but took their souls away (Varvara - walking at night, and Tikhon - getting drunk and leading a wild life, breaking out of the house). The inability to endure the oppression of the mother-in-law and the indifference of her husband pushes Katerina into the arms of another. In fact, "Thunderstorm" is a double tragedy: first, the heroine, violating the moral law for the sake of personal feelings, recognizes the higher power of the law and obeys it. Invoking the law of marital fidelity, she again violates it, but not in order to unite with her beloved, but in order to gain freedom, paying for it with her life. Thus, the author transfers the conflict to the sphere of the family. On the one hand, there is an imperious despotic mother-in-law, on the other, a young daughter-in-law who dreams of love and happiness, which are inseparable from freedom. The heroine of the drama finds herself among two opposite feelings: religious duty, fear of sinning, that is, cheating on her husband, and the impossibility of continuing her former life because of her love for Boris. Katerina follows her feelings. But the deception is revealed, because she, because of her purity and openness, is not able to restrain such a burden on her soul. Subsequently, Ostrovsky leads her to commit an even more terrible, mortal sin. A tender and fragile girl is simply not able to endure such general contempt. "Where now? Go home? No, it's all the same to me whether it's going home or going to the grave. ... It's better in the grave. ... It's so quiet! It's so good. It seems to be easier for me! But I don't even want to think about life. . ... People are disgusting to me, and my house is disgusting to me, and the walls are disgusting!... You come to them, they walk around, they say, but what do I need it for? Oh, how dark it has become!... I would die now... "- Katerina argues in her last monologue. In search of peace, she decides to commit suicide. Dobrolyubov in his article "A Ray of Light in the Dark Kingdom" will say: "She is eager for a new life, even if she had to die in this impulse ... A mature demand from the depths of the whole organism that arises for the right and spaciousness of life."

5.2.2 Europeanized relationsia in the family break the life of the heroine

Unlike "Thunderstorm", where folk motifs predominate, "Dowry" is already a little Europeanized. But Ostrovsky also paints us a picture of a girl's life before marriage. This picture is the exact opposite of Katerina's girlish life, in which "mother did not look for a soul." Kharita Ignatyevna’s attitude is completely different: “After all, she betrayed two. ... Ogudalova did not discriminate stupidly: her fortune is small, there is nothing to give a dowry from, so she lives openly, accepts everyone ... the house of singles is always full ... ". The mother of her daughters “gave out” something, and for whom, what will happen to them later, she doesn’t even worry: “The eldest was taken away by some mountaineer, a Caucasian prince. He married and left, yes, they say, he didn’t take him to the Caucasus , stabbed to death on the road out of jealousy. The other also married some foreigner, but he turned out to be not a foreigner at all, but a cheat." So she wants to marry Larisa as soon as possible to the one who will be the first to woo a "dowry";

Romances sound in the house, Larisa plays the guitar. The creative beginning of the heroine is not aimed at satisfying her personal needs (to be consoled, calm down, singing a song), but, on the contrary, for the pleasure of others. In general, against the background of general conservatism, the Ogudalovs' house is distinguished by a freer form of communication, it is in it that special relations between a man and a woman appear. That is, acquaintances, meetings at home with men were not shameful. Dancing is already appearing in the Ogudalovs' house, only it looks very, very vulgar. Moral standards are also changing. You can ask for money for a gift from a stranger, while subsequently not repaying the debt. A wife can cheat on her husband, and at the same time her conscience will not torment her. In the house of Karandyshev, Larisa, having forgotten all promises and obligations, runs after Paratov: (Paratov) “I will give up all calculations, and no power will snatch you from me; except with my life ... We are going to ride along the Volga - let's go! - (Larisa) Oh! And here? ... Let's go ... Wherever you want. " Thus, undoubtedly, a huge, and perhaps the main difference in the life and customs of the "Dowryless" is manifested in the fact that emancipation appears in society.

5.3 The versatility of Ostrovsky's image of the image of a woman XIXcentury

In Ostrovsky's forty original plays from contemporary life, there are practically no male heroes. Heroes in the sense of positive characters that occupy a central place in the play. Instead, Ostrovsky's heroines have loving, suffering souls. Katerina Kabanova is just one of their many. Her character is often compared with the character of Larisa Ogudalova. The basis for comparison is love suffering, indifference and cruelty of others and, most importantly, death in the finale.

However, no final conclusion can be drawn. People's opinions are divided: some believe that Ostrovsky in his plays, and in particular in The Thunderstorm and The Dowry, endowed his heroines with weak characters; others - that the heroines of plays - strong, strong-willed personalities. Both of these views have evidence.

Indeed, Katerina and Larisa can be assigned both weakness and strength of character. Some believe that Katerina's suicide is not a protest against the old foundations, but, on the contrary, admiration for them. She, having no more strength to resist the "dark kingdom", chose the easiest way - to lay hands on herself. Thus, she threw off all obligations and shackles. And all the more confirmation of the weakness of character is the fact that a believing girl committed such a terrible, deadly sin as suicide, only because it became difficult for her to live. This is not an excuse. DI. Pisarev wrote: "Katerina's whole life consists of constant contradictions, every minute she goes from one extreme to another ..." And at the present time there are such families where the mother-in-law takes all power into her hands, and young wives also have a hard time. But that's no reason to end up like this. The real protest could be a struggle against these prejudices of the past, but a struggle waged not by means of death, but by means of life! Larisa, on the contrary, understanding the recklessness of such a step, decides to live on, by all means, in spite of everything, to achieve happiness in her lifetime. And only fate saves her from the suffering of a cruel world. But not all readers and critics are of this opinion! There is also a completely opposite point of view.

Many critics entered into fierce disputes, wanting to prove that Ostrovsky painted significantly different characters, wanting to show the strength of Katerina Kabanova and the failure of the image of Larisa Ogudalova. They say that only a strong person is capable of committing suicide. With this act, Katerina drew people's attention to the terrible situation in which they lived: "It's good for you, Katya! And why am I left here alone to live in the world and suffer!" Dobrolyubov said: "She tries to smooth out any external dissonance ... she covers every flaw from the fullness of her inner strengths ..." About Larisa, one can say that she does not have the integrity of character like Katerina. It would seem that the educated and cultured Larisa should have expressed at least some kind of protest. No, she's weak. Weak, not only in order to kill herself when everything collapsed and everything became disgusting, but even in order to somehow resist the norms of life that are in full swing around her, deeply alien to her. Do not be a toy in foreign, dirty hands.

Chapter 6. Ivan Sergeevich Turgenev - artist of sacrificial women

I.S. was a great master in creating female images, a fine connoisseur of the female soul and heart. Turgenev. He painted a whole gallery of amazing Russian women. Sacrifice is inherent in all Turgenev's heroines. In his novels, many integral images are recreated, as literary critics like to define, heroines with the character of humble women and sacrificial women. At the beginning of the novel "The Nest of Nobles" we will see a portrait of Liza Kalitina, standing in a white dress over a pond in the Lavretsky estate. She is bright, clean, strict. A sense of duty, responsibility for her actions, deep religiosity bring her closer to the women of Ancient Russia. At the end of the novel, Liza, who sacrificed her happiness in the monastery, quietly passes Lavretsky without looking at him, only her eyelashes tremble. But Turgenev also gave images of new women: Elena Stakhova and Marianna. Elena is an "extraordinary girl", she is looking for "active good". She strives to get out of the narrow confines of the family into the scope of social activities. But the conditions of Russian life at that time did not allow a woman the possibility of such an activity. And Elena fell in love with Pisarev, who devoted his whole life to the cause of the liberation of his homeland. He captivated her with the beauty of feat in the struggle for the "common cause". After his death, Elena remains in Bulgaria, devoting her life to a holy cause - the liberation of the Bulgarian people from the Turkish yoke. And this is not a complete list of the names of humble women and warm hearts in the works of I. S. Turgenev.

Chapter 7amazing images of women

Turgenev's motives are continued by I. A. Goncharov, who, in his ordinary stories, tells about the course of life that is ordinary for Russian reality. The writer draws amazing, but, in essence, also ordinary against the backdrop of Russian life, images of women who are able to humbly and heroically make sacrifices for the well-being of others. In the novel "An Ordinary Story" the author introduces the reader to Lizaveta Alexandrovna, who surrounds the younger Aduev with spiritual care and maternal warmth, being far from happy herself. Maternal feeling, friendly affection, she completely gives attention to Sasha, her husband's nephew. And only in the finale will her own longing, illness, the crisis of her whole life become apparent. In Goncharov's way, an ordinary phenomenon is slowly described: the slow death of a woman's soul, ready for self-sacrifice, but not understood even by close people.

Chapter 8Russian literature. Type development

female image Russian literature

As a rule, in critical literature, the images presented by the writers of Russian literature nature, are attributed to the ideal of a female character, filled with high spiritualized beauty. According to many literary critics, the type of woman-sufferer, silently carrying her cross, her unrequited love, although often reciprocal, ready for self-sacrifice, originates from Karamzin's "Poor Liza". The fate of poor Lisa, "dotted by Karamzin", is quite carefully spelled out in Russian literature. This combination of sin and holiness, the atonement of one's sin, sacrifice, and to a certain extent masochism can be found in many heroines of Russian literature.

Philosophical and ethical concepts, voluntarily or involuntarily laid down by the author in this, at first glance, purely sentimental work, will be developed in the literature of a later time. To some extent, this is Pushkin's Tatyana Larina, and the heroine of the story "The Stationmaster". True, the seduction of Dunya by the hussar of Minsk turned into a tragedy for her father, Samson Vyrin. However, the whole course of the story for some reason suggests that Minsky will leave Dunya, make her unhappy, the intoxication with joys is short-lived. However, in the final we already see her misfortune due to the death of her father. The motive of suicide is replaced by the motive of extreme social humiliation.

The shadow of poor Lisa can be found in most of the works of F. M. Dostoevsky. Even the semantic components of this phrase (poor Liza) run through all the writer's work: "Poor people", "Humiliated and Insulted", "Crime and Punishment", etc. The name Liza is quite often found in his works. Lizaveta Ivanovna, the victim of Raskolnikov, to some extent the cross sister of Sonechka Marmeladova.

In "The Enchanted Wanderer" by N. S. Leskov, a deeply philosophical work, there is another version of "poor Liza". The beautiful gypsy Grushenka, feeling that she "has not become sweet" to the prince who was once in love with her, by persuasion and cunning, forces the hero to deprive her, unloved, of her life, thereby forcing the other "to suffer for her and rescue her from hell." A motif similar to Karamzin's is evident in A. Blok's poem "On the Railroad" and in Nekrasov's "Troika". The lines of Blok's poem can be regarded as a kind of generalization of the female Russian fate of the cross sister:

Don't approach her with questions

You don't care, but it's enough for her:

Love, dirt or wheels

She is crushed - everything hurts.

Chapter 9Yankees in the works of Nekrasov

The real singer of the Russian woman was N.A. Nekrasov. Not a single poet, either before Nekrasov or after him, paid so much attention to a Russian woman. The poet speaks with pain about the hard lot of the Russian peasant woman, about the fact that "the keys to the happiness of women have been lost for a long time." But no slavishly humble life can break the pride and self-esteem of the Russian peasant woman. Such is Daria in the poem "Frost, Red Nose". As if alive, the image of a Russian peasant woman rises before us, pure in heart and bright. Nekrasov writes with great love and warmth about the Decembrist women who followed their husbands to Siberia. Trubetskaya and Volkonskaya are ready to share hard labor and prison with their husbands who have suffered for the happiness of the people. They are not afraid of disaster or deprivation.

Chapter 10 Che's idealsRNyshevsky and Tolstoy

Finally, the great revolutionary democrat N.G. Chernyshevsky showed in the novel "What is to be done?" the image of a new woman, Vera Pavlovna, resolute, energetic, independent. How passionately it is torn from the "basement" to the "free air". Vera Pavlovna is truthful and honest to the end. She seeks to make life easier for so many people, to make it beautiful and extraordinary. She is a true female heroine. In Russian literature, the origins of this type come precisely from Chernyshevsky, from Vera Pavlovna Kirsanova, with her masterful and numerous dreams about a brighter future, which will definitely come if a woman changes the role of the keeper of the hearth for the role of a female warrior (in the terminology of Veselnitskaya). Many women of that time read the novel and tried to imitate Vera Pavlovna in their lives.

L.N. Tolstoy, speaking out against the ideology of the raznochintsev democrats, opposes the image of Vera Pavlovna with his ideal of a woman - Natasha Rostova / "War and Peace" /. This is a gifted, cheerful and determined girl. She, like Tatyana Larina, is close to the people, to their life, loves their songs, rural nature. Tolstoy emphasizes practicality and thriftiness in Natasha. During the evacuation from Moscow in 1812, she helps adults pack their things and gives valuable advice. The patriotic upsurge that all layers of Russian society experienced when Napoleon's army entered Russia also embraced Natasha. At her insistence, the carts intended for loading property were released for the wounded. But the life ideals of Natasha Rostova are not complicated. They are in the family realm.

Chapter 11"Hot Hearts"

In Russian classical literature, we will find somewhat different ideals of heroines, the so-called "hot hearts", destroying the usual norms of female behavior. Such images are most clearly presented in the works of the Russian playwright of the second half of the 19th century A. N. Ostrovsky. In his plays, such bright and somewhat unusual heroines for the stereotypes of female behavior as Larisa Ogudalova, Snegurochka, Katerina are displayed, distinguished by an indomitable desire for will, freedom, self-affirmation. Close to the heroines of Ostrovsky and Grushenka from N.S. Leskov "The Enchanted Wanderer", Sasha from A.P. Chekhov's drama "Ivanov". We see "cross sisters", "hot hearts" and at the same time heroines on the pages of the works of N. A. Nekrasov. The "Russian Women" of the writer-democrat is a generalized image of a female heroine, a humble woman, a cross sister and a warm heart.

Chapter 12images. Real feeling of love

Positive female images in Russian literature, unlike male ones, are practically devoid of any evolution and, for all their artistic originality, have a certain common denominator - they have common features that correspond to traditional ideas about the positive qualities of the national character of a Russian woman.

This is a fundamental property of our entire culture, in which the female character is seen primarily as ideal, in a far from perfect reality.

In Russian classical literature, the positive traits of a female character are rigidly determined by popular ideas about the obligatory presence of moral qualities in a woman, which are more characteristic of an ideal than a real person. This largely explains the real humiliation that a Russian woman has experienced and continues to experience from society throughout its history. On the other hand, as we see in the work of L.N. Tolstoy, in the customs and customs of people's life, only that which allows peoples to survive and preserve their national identity is fixed and lives. Thus, the ideal female character in reality turns out to be not only possible, but also existing. Any inconsistency with the ideal is by no means proof of its failure in life. If a woman is unhappy in the real world, then this only means that this world is bad and imperfect.

It is moral categories that are the basis of the positive qualities of a female character: with external dissimilarity and often polarity of behavior in Tatyana Larina, Sonya Marmeladova, Natasha Rostova, Katerina Kabanova, Matryona Timofeevna and others, they are the same and can be listed in a specific list. The first, that is, the main ones, in this list will certainly be fidelity, kindness, sacrifice, perseverance, diligence, modesty ... But the concept of love in the form of the right to free will, from the point of view of popular morality, occupies one of the last places in this list and serves most often cause for condemnation.

This is explained by the fact that in the national consciousness, a woman's love feeling is necessarily associated with self-sacrifice and resubordination to a sense of duty, and sensual passion is initially condemned as something opposed to moral service to higher values, which requires the rejection of personal well-being.

The real feeling of love, without the realization of which a woman by nature cannot be happy, in the popular consciousness and in literature is necessarily determined by the moral service of a higher goal, which can mean both the revolutionary idea of changing society and the religious idea, that is, the idea of enlightenment supposedly dark - instinctive-sensual - female nature under the influence of the ideal of higher morality - that is, Jesus Christ, according to the traditions of Russian Orthodoxy. You can treat the idea of female nature as originally obscured as you like (in any religion this is enshrined at the level of an axiom), you can ignore the female images of Russian literature created under the influence of the idea of revolutionary service that turns a woman into a “comrade”, but both of these polarities have a common the denominator that determined the main point of view on the heroine in the literature of the 19th century, according to which a woman became an ideal only on the path of moral enlightenment - that is, under the influence of some external source of light. It is easy to be convinced of the validity of this statement, remembering Katerina Kabanova, Sonya Marmeladova and even Nilovna from the novel by M. Gorky.

In general, in art, ideas about a positive female character are largely due to the traditions of the Middle Ages with its cult of chivalrous service to the Beautiful Lady. In itself, this is not bad, and even very beneficial for art. Only now the true female nature in such art is ignored and replaced. The medieval canon of veneration of the Beautiful Lady is subject to a strict hierarchy of values that a woman must comply with and which are determined by the laws of specific logic.

12.1 Feature of female nature

Meanwhile, the main property of female nature is the ability to be enlightened through love even in the absence of external sources of light. Moreover - without even delving into questions of faith and unbelief - it is permissible to assume that it is the heart of a loving woman that is the only source of light of higher morality in a darkened reality, which is again noted in our literature, starting from the image of Fevronia of Murom. This point of view on the ideal female character is closer to the truth than the one mentioned above. But it could become clearer for the reader's perception only in the twentieth century. After Vladimir Solovyov, Evgeny Trubetskoy, Nikolai Berdyaev, poets of the Silver Age, against the tragic background of Russian history...

"What does God give you?" asks Raskolnikov. "Everything!" Sonya answers. Everything is what if there is no God? Approximately in this logic, Raskolnikov argues and silently calls Sonya a holy fool. From the standpoint of rational logic, he is absolutely right: Sonya, having sacrificed herself, destroyed herself in vain and did not save anyone. The world exists according to its own - quite materialistic - laws, to ignore which, hoping for a miracle, is naive or stupid. Only a miracle is happening thanks to Sonya! Faith in God at the esoteric level of consciousness is faith in the Absolute Ideal of truth, goodness, love and mercy. Unconditionally, despite everything, keeping faith in her heart and sacrificing everything without a trace, Sonya reveals to the world a moral ideal in herself, exercising the right to the miracle of divine salvation, first through the moral “straightening” of Lebezyatnikov, and then the revival of the dying Raskolnikov, who believed in Sonya, boundless mercy which acts as a fundamental part of the natural female nature at the level of instinct. And Svidrigailov dies not only because suicide for him is a natural and fair retribution for the perversion of his own - originally moral! - human nature, but also because (primarily because) that Dunya, for obvious reasons (understandable again from the standpoint of reason, not feelings!) He refuses mercy and love.

For the same reasons, Mikhail Berlioz dies a terrible double death, knowing the truth: “There is not a single Eastern religion ... in which, as a rule, an immaculate virgin would not give birth to God ...” - but trying to interpret it to please rational logical theories, thereby refusing to believe in Truth.

12.2 True

Truth is unknowable, inaccessible to the human mind because of the relativity of all scientific methods of cognition and the limited duration of human life. But the sensual perception of the Truth in full is possible as a revelation - through the ethical and aesthetic categories, originally inherent in human consciousness as a sense of perception of beauty, if, of course, this feeling is developed, and not distorted or perverted by facts: good cannot be ugly, and where there is no beauty, there is no Truth. Therefore, female sensuality and sensitivity - this is the shortest way to perceive the Truth. Moreover, one cannot feel what is not there, and a woman, embodying beautiful features, carries the Truth in herself. Any woman is beautiful when she is loved... This means that a man is able to perceive the Truth through love for a woman: Onegin - in Tatyana, Raskolnikov - in Sonya, Pierre - in Natasha, Master - in Margarita.

12.3 The Master and Margarita. A hymn to a woman of inspiration

If we turn to the twentieth century, we can find a huge number of works of art, where they sang the praises of inspiring women. A hymn to the woman-muse is given in M. A. Bulgakov's surprisingly penetrating and deeply philosophical novel "The Master and Margarita". And this is quite natural. Biographers of the writer's life and work speak of a touchingly harmonious and almost fantastic love story, of unearthly, almost "bookish" relations between Elena Sergeevna and Mikhail Afanasyevich Bulgakov. From 1923 until the last days of the writer's life, the Bulgakovs were as happy as it is possible to be happy in the "earthly" sense of the word. This high love nourished the work of one of the brightest Russian writers of the 20th century, it was thanks to her that a brilliant monument of the inaccessible eternal harmony of the "master" and the ordinary-extraordinary woman - "The Master and Margarita" was born.

In terms of artistic expressiveness, the image of Bulgakov's Margarita is equal to the best female images of the previous century, although at first glance it may seem that it seems to destroy the harmonious concept of the ideal female character that developed in the 19th century. It is precisely the fact that Margarita does not fit into this concept that seems to be a remarkable circumstance and again requiring a special, metaphysical or even mystical understanding, otherwise the perception of this image is simplified to a stereotyped instructive, which inevitably leads to an incomplete and simplified perception of the entire novel.

Moreover, unfortunately, we have to state that in the minds of modern schoolchildren, the revelation of F.M. Dostoevsky: “Beauty will save the world” still sounds like a cliché: in modern reality, a type of behavior and character similar to Sonya Marmeladova, revealing the meaning of the above words, is absolutely impossible. Therefore: “Sonechka! Eternal Sonechka while the world stands ... "- but in a world that is collapsing and in which people, having forgotten God, have surrendered to the power of the devil, Margarita must certainly be the hostess at Satan's ball ... Because only true beauty, in front of which the devil is powerless, can save the world. If it can still be saved.

Bulgakov was a great artist. Few people have been able to show love in such a way - the same feeling that the whole public has been delighted with for two thousand years.

Let us digress for a moment from the satirical structure of the novel. Let's forget about the mighty Woland and his associates, about the mysterious incidents that swept over Moscow, let's skip the wonderful insert "poem" about Pontius Pilate and Jesus of Nazareth. Let's sift through the novel, leaving everyday reality.

It has always been: hot Moscow, lindens slightly green, tall houses bordering the Patriarch's Ponds. Happiness and flight, streets and roofs flooded with the dawn sun. Wind-soaked air and sunny turquoise skies.

Two people saw themselves there.

The Master and Margarita. Once they found each other among the endless moments, the change of numbers, lilac, maple and the intricacies of the narrow streets of the Old Arbat. A woman in a black spring coat carrying "disgusting, disturbing yellow flowers" in her hands, and a man in a gray suit. They met and walked side by side. In life. Into the light Lanterns and rooftops have seen them, the streets know their steps, and the shooting stars remember everything that should come true for them at the turns of time.

The hero is struck not so much by the beauty of Margarita as by "an extraordinary, unseen loneliness in the eyes." What is missing in her life? After all, she has a young and handsome husband, who, moreover, “adored his wife”, lives in a luxurious mansion, does not need money. What did this woman need, in whose eyes an incomprehensible fire burned? Is he, the Master, a man from a wretched basement apartment, lonely, withdrawn? And before our eyes a miracle happened, so colorfully described by Bulgakov: “Love jumped out in front of us, like a murderer jumps out of the ground in an alley, and hit us both at once.”

This woman became not just the secret wife of the Master, but his Muse: "She promised glory, she urged him on and that's when she began to call him the master."

So, a modest, almost beggarly life and vivid feelings. And creativity.

Finally, the fruits of this creativity are brought to the literary community of the capital. The same public that persecuted Bulgakov himself: some out of envy of his talent, some at the instigation of the "competent authorities". The reaction is natural - tubs of dirt disguised as "benevolent" criticism.

Bulgakov is trying to convey to us the idea that it is impossible to understand true love and beauty without knowing hatred and ugliness. Perhaps it is to evil and suffering that we owe the fact that, in comparison with them, we know goodness and love. Everything is known in comparison: “What would your good do if evil did not exist, and what would the earth look like if shadows disappeared from it?”

The Master is depressed. He is placed in a psycho-neurological hospital. Margarita is in complete despair, she is ready to sell her soul to the devil in order to return her beloved.

Here is such a typical for that cruel time, a simple story. Everything else is imagination. Imagination turned into reality. Fulfillment of desires.

And it is not at all strange that it is not God who restores justice, but the black forces cast down from heaven, but remaining angels. Those who honor the bright martyr Yeshua, who can appreciate high feelings and high talent. It's not strange, because Russia is already ruled by the "unclean" of the lowest rank.

It is Love for the Master that illuminates the road leading Margarita to Woland. It is Love that causes the respect of Woland and his retinue for this woman. The darkest forces are powerless before Love - they either obey it or give way to it.

The reality is cruel: in order to reunite with souls, one must leave the body. Margarita happily, like a burden, like old linen, sheds her body, leaving it to the miserable geeks who rule Moscow. Mustachioed and beardless, party and non-party.

Now she is free!

It is curious that Margarita "appears" only in the second part. And immediately follows the chapter "Cream Azazello": "The cream was easily smeared and, as it seemed to Margarita, immediately evaporated." Here the writer's dream of freedom is especially clearly manifested. Satire develops into allegory. The actions of Margarita the witch are partly vengeful, they express Bulgakov's squeamish attitude towards those opportunists who have taken warm places in the writer's workshop, to literary opportunists. Here one can find similarities with the "Theatrical Novel" - the prototypes ridiculed by Bulgakov among writers and theatergoers are concrete and long established.

Starting from this chapter, the phantasmagoria grows, but the theme of love sounds stronger and stronger, and Margarita is no longer just a woman in love, she is a queen. And she uses the royal dignity to forgive and pardon. Not forgetting the main thing - the Master. For Margarita, love is closely connected with mercy. Even after becoming a witch, she does not forget about others. Therefore, her first request is for Frida. Conquered by the nobility of a woman, Woland returns to her not only her beloved, but also a burnt novel. After all, true love and true creativity are not subject to either decay or fire.

The tragic image of a woman in literature. Women's images in world literature

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