The history of the creation of the story "Asya". “Turgenev’s Girl” is a special female character in the story “Asya” Download presentation for Turgenev’s story Asya

What is hidden under the term “Turgenev girl”. Asya reads a lot. Asya's illegitimacy. A soul that is impossible not to love. The hero needed determination. Turgenev girl. A complete picture of Asya's character. Images of Turgenev's heroines. Asya's image is endlessly expanding. Evil rock. Reading of Goethe's poem. Asya’s imagination contains sublime human aspirations. Evaluation of the image by critics.

“Bazarov and Kirsanov” - Education. Main lines of dispute. Ideological differences between Bazarov and the elder Kirsanovs. Collection of material on heroes. Peasantry. Attitude towards others. Fathers and Sons. Disputes between the heroes of the novel “Fathers and Sons.” Test based on the novel by I.S. Turgenev. Nihilism. Bazarov's relationship with N.P. and P.P. Kirsanov. Text assignment. Ideological conflict. P.P. Kirsanov. The life story of Pavel Petrovich. Bazarov. Education. Quarrel between P.P. Kirsanov and E. Bazarov.

“Themes of Turgenev’s “Prose Poems”” - Ivan Sergeevich Turgenev. Illustration for the poem “Threshold”. For the literature lesson. Poems. Bougival. Polina Viardot. A cycle united by a common tonality. Illustration for the poem “Old Man”. Poems in prose. Themes of poems. Thoughts and feelings. Creativity of I.S. Turgenev. Ivan Sergeevich Turgenev “Poems in prose.” Laconism and freedom.

“The work “Fathers and Sons”” - The harness is being damaged. Meeting of N.P. Kirsanov with his son. Low porch. A crowd of street servants. Fussing with hired workers. Alexander I. Forest. Terms. Poor region. Stages of development of the economic history of Russia. Fathers and Sons. Concepts. Trouble. Tiny ponds with. Man and time. The process of decomposition of the feudal-serf system. Human.

“Gerasim and the heroes of the story” - Kapiton. Tatiana. The moral superiority of Gerasim over other heroes of the story. Physical handicap. Gerasim. Descendant's opinion. Lady. Russian prose writer. Moral superiority. Creation of the story "Mumu". Writer's creativity. Gavrila. Turgenev's childhood.

“The work “Bezhin Meadow”” - Slender boy. Bezhin meadow. Author. Events in the story. What the boys did at night in the meadow. What story was not in the boys' stories. Hunter. What struck the author about children. The face is small. White hair. Hair is disheveled. The boy was only seven years old. Ilyusha. Descriptions of the characters in the story.

The work was performed by: Gubaidullina Ilmira Ivan Sergeevich Turgenev

I.S. Turgenev Ivan Sergeevich TURGENEV (1818 - 1883), Russian writer, corresponding member of the St. Petersburg Academy of Sciences (1860). In the cycle of stories “Notes of a Hunter” (1847-52) he showed the high spiritual qualities and talent of the Russian peasant, the poetry of nature. In the socio-psychological novels “Rudin” (1856), “The Noble Nest” (1859), “On the Eve” (1860), “Fathers and Sons” (1862), the stories “Asya” (1858), “Spring Waters” (1872) ) images of the outgoing noble culture and new heroes of the era of commoners and democrats, images of selfless Russian women were created. In the novels “Smoke” (1867) and “Nov” (1877) he depicted the life of Russians abroad and the populist movement in Russia. In his later years, he created the lyrical and philosophical “Poems in Prose” (1882). A master of language and psychological analysis, Turgenev had a significant influence on the development of Russian and world literature.

Turgenev's parents

Mother of I.S. Turgenev

Father of I.S. Turgenev

Turgenev in his youth

Asya (story) Turgenev worked on the story from July to November 1857. The slow pace of writing was due to the illness and fatigue of the author (the editors of Sovremennik expected the story much earlier). By Turgenev’s own admission, the idea for the story was connected with a fleeting picture he saw in a German town: an elderly woman looking out of a window on the first floor and the head of a young girl in the window above. Turgenev tried to imagine the fate of these people: this is how the idea of ​​“Asi” arose. Among the prototypes of the heroes of “Asia,” they call first of all Turgenev himself and his illegitimate daughter Polina Brewer, who was in exactly the same position as Asya: the daughter of a master and a peasant woman, she came from a peasant hut into the noble world, where she felt like a stranger. Another prototype of Asya could be V.N. Zhitova, Turgenev’s illegitimate sister.

ASYA is the heroine of I.S. Turgenev’s story “Asya” (1858). A. is one of Turgenev’s most poetic female images. The heroine of the story is an open, proud, passionate girl, who at first sight amazes with her unusual appearance, spontaneity and nobility. The tragedy of A.’s life lies in her origin: she is the daughter of a serf peasant woman and a landowner; this largely determines her behavior: she is shy, does not know how to behave in society, etc. After the death of her father, the girl is left to her own devices; she early begins to think about the contradictions of life, about everything that surrounds her. A. is close to other female images in Turgenev’s works; most of all, she has similarities with Liza Kalitina (“The Noble Nest”). What she has in common with them is moral purity, sincerity, the capacity for strong passions, and the dream of heroism. The heroine of the story Asya

Image of Asya Is Asya beautiful? External beauty is not the main feature of the “Turgenev girl” in any of the writer’s works. In the appearance of his heroines, the author values ​​personal charm, grace, and human uniqueness. This is exactly what Asya (Anna Nikolaevna) is like.

THANK YOU FOR YOUR ATTENTION

Goals and objectives of the lesson:

1. the formation of a sense of beauty through the poetic text of the story, music;
2. introduce students to a literary work of the 19th century, studying from the point of view of the concept of historicism in literature;
3. teach eighth-graders textual analysis of a story and analysis of an episode of a work, to see and understand the meaning of details in a literary work;
4. teach children to understand the “psychologism” of the story, to understand the means of expressive language.

Equipment:

1. portrait of I.S. Turgenev;
2. on the board:
   - topic of the lesson;
   - epigraph “And happiness was so possible” (A.S. Pushkin);
   - “Happiness has no tomorrow...It has a present - and that’s not a day - but a moment” (I.S. Turgenev);
3. “theater decoration”: one half of the board is designed as a window with a sill; on the windowsill there is a pot of blooming geraniums, a candlestick, an open book with a dried sprig of geranium on it, next to it are yellowed pieces of paper folded with notes.

During the classes.

Love, love is a mysterious word.
Who could fully understand you?
Are you always old or new in everything?
Longing of spirit or grace?

It was no coincidence that I started the lesson dedicated to I.S. Turgenev’s story “Asya” with these poetic lines. Why do you think? Yes, the main thing in the story is love. Everything about her, about love, about the serious and strict, about the intimate and important...

Love... is probably the most mysterious of all human feelings, and Turgenev, perhaps one of the few writers, perceived with poetic trepidation the birth of an eternally young feeling - love. How to cope with heart disease, how to overcome sadness? Unrequited love - what is it? How can you be the first to say “I love you” to a person you’re not entirely sure about? How to endure the suffering of rejected love and offended feelings? And in general, how this sacrament of love is performed, how a miracle happens: the world magically changes for the one who falls in love. The colors become brighter, the sounds become clearer! After all, having fallen in love, a person feels more subtly, sees more sharply, his heart opens to beauty, goodness...

Questions, questions... we won’t find direct answers from Turgenev, but all Turgenev’s heroes undergo a “test of love,” a kind of test for viability. A loving person, according to Turgenev, is beautiful and spiritually inspired. One of the researchers of creativity I.S. Turgenev, P. Annenkov, wrote that Turgenev’s stories and stories are united by one feature - each of them contains a “psychological riddle.” So today we have to try to solve this psychological riddle, to understand what means the writer uses in order to reveal to us the secret of spiritual experiences; trace how N.N. met with the Gagins develops into a love story, which turned out to be for the hero a source of both sweet romantic longing and bitter torment, which later, over the years, although they lost their sharpness, doomed the hero to the fate of a bore.

So, let's turn to the text of the story.

The story is written in the form of a story by N.N. about how many years ago he traveled around Europe and in a small German town he met and became friends with Russians: Gagin and his sister Asya. The narrator reports not only on events, conversations, describes the situation, but, most importantly, reproduces the story of his love, relives the past.

- What can you say about N.N. , on whose behalf the story is told? How did he perceive the world around him?

N.N. - a rich nobleman, an artist at heart; he is obsessed with observing, especially people; he is an idle traveler, an observer.

- What amazed N.N. Gagins? when we first met?

N.N. perceives brother and sister as people of different psychological levels, and the portrait characteristics amaze the reader with accuracy and brevity. The narrator noted the obvious dissimilarity and internal contrast of the Gagins. This further sharpened his curiosity and receptivity. True to the habit of observing people and reading their souls by the expressions of their faces, by involuntary gestures, the narrator, at his first acquaintance with Asya, notes something of his own, special in the features of her dark face, in her hairstyle, in her demeanor. He describes Asya’s behavior in detail and devotes himself entirely to observing her movements, gaze, and smile.

- The story about the first day of meeting the Gagins ends with a lyrical landscape; read it.(Reading the text of the story is accompanied by Strauss's waltz “Over the Blue Danube”).

- Does this landscape correspond to N.N.’s mood?

Landscape miniature becomes a means of expressing the romantic exaltations of the hero. The meeting with the Gagins sharpened his attention to beauty. Therefore, he devotes himself entirely to contemplation and an elevated mood.

- What is N.N.’s state of mind? after the first day of dating?

Mr. N.N. all pampered with sweet languor and expectation of happiness.

- Where did you meet N.N. with Gagin Asya on the second day of meeting?

Asya sat on the ledge of the wall on the ruins of a feudal castle directly above the abyss. This speaks about the romantic nature of the heroine.

- What feeling does Asya evoke in N.N.? Can you confirm it with the text of the story?(Hateness, annoyance.)

According to her brother, Asya is “a free spirit, crazy.” N.N. she appears to be a semi-mysterious creature, a “chameleon”.

- What “roles” does Asya play? Why is she doing this? Can N.N. answer this question now?

She played the role of a soldier marching with a gun, and this shocked the prim British; at the table she played the role of a well-bred young lady; the next day she introduced herself as a simple Russian girl, almost a maid... To answer the question why Asya behaves this way, N.N. he still can’t, because he doesn’t understand either Asya or himself.

- How does the second day of dating end?

The hero is not aware of what is happening to him. He feels some kind of vague uneasiness, which grows into an incomprehensible anxiety, an unpleasant annoyance; that jealous suspicion that the Gagins are not relatives.

- How is the hero’s moral and psychological state conveyed through the landscape?

Some obscure dark forces burst into the hero’s consciousness, remaining vague, alarming and even annoying. The “deadly” heaviness, incomprehensible to the hero, as the first bursts of unconscious feeling, resolved in the hero’s consciousness into a bitter, burning excitement, into longing for his homeland.

Two weeks of daily meetings have passed, N.N. He became increasingly upset by jealous suspicions and, although he did not fully realize his love for Asa, she gradually took possession of his heart. He found himself at the mercy of this feeling . What was the dominant mood during this period?

Persistent curiosity and some annoyance at the girl’s mysterious behavior, the desire to understand her inner world. (Read the beginning of Chapter 6.)

- How is N.N.’s suspicion confirmed? that Gagin and Asya are not brothers and sister?(Overheard conversation in the gazebo)

- What feelings take possession of the hero after this? (end of 6 - beginning of chapter 7)

The hero himself does not find a definition for his feelings. But we, the readers, understand that he was already captured by a deep and disturbing feeling of love. It is from her that he leaves for the mountains, and when he returns, after reading a note from Gagin, the next day he goes to them.

- What did N.N. learn? about Asa from Gagin's story? ( Selective retelling of Asya's story).

- How does the hero’s state of mind change?

He instantly regains his lost balance and defines his state this way: “I felt some kind of sweetness, precisely sweetness in my heart: as if honey had been secretly poured into me. I felt at ease after Gagin’s story.”

After the conversation about Asa, a new phase of the love relationship between Turgenev’s heroes followed: now there is mutual trust and rapprochement. What did N.N. discover? for yourself in Asa? Why did he like her?

Reassured, N.N. realized that the strange girl attracted him not only with her semi-wild charm, but he liked her soul.

Everything around the lovers is illuminated with a magical light: “I looked at her, all bathed in a clear ray of sunshine, all calm and meek. Everything shone joyfully around us, below, above us - sky, earth and waters; the very air seemed to be saturated with shine.” (Ch. 9) Asya says to her beloved: “If you and I were birds, how we would soar, how we would fly. They would have drowned in this blue…” How to understand these words?

Love inspires a person, lifts him up from everyday life. Literary critic M. Gershenzon wrote: “Here is the image of love, according to Turgenev (he loved allegorical scenes): love swoops down on a person like a thunderstorm on a clear day, and in the stunning whirlwind of it, the soul suddenly grows wings, the person turns into a bird, with swift flight birds, with their indomitable will."

What did N.N. feel? on this day after Gagin’s message about his sister’s story, a cheerful waltz with Asya and her call to imagine that they had grown wings?

N.N. I felt, on the one hand, a secret anxiety in my heart, on the other, an intoxication with the joy of getting closer; The thirst for happiness was kindled in him.

- How does Turgenev help us, readers, understand the psychological state of the hero at this moment?

Through a landscape sketch. (Artistic reading of an excerpt from chapter 10 against the background of the sounds of a Strauss waltz) The landscape, as it were, absorbs the psychological state of a person, becoming the “landscape” of the soul.

Poisoned by the sweet poison of a boiling feeling, the romantic hero finds anxious anticipation and anxiety in everything: “there was no peace in the sky,” in the “dark, cold depths” of the river with the quiet murmur of water behind the stern, in the whisper of the wind - an alarming revival was felt everywhere. It is at this moment of merging with nature that a new leap is made in the hero’s inner world: what was vague, anxious, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with Asya’s personality, but which the hero has not yet dared to name.

Time seems to stop for the hero, overflowing with the expectation of happiness, and only after Asya’s bitter admission that “her wings have grown, but there is nowhere to fly” (what did Asya hide under these words, how can we understand them?), our hero decides to think about the question : “Does she really love me?”

- And what does the hero himself feel, what is happening in his soul?

His own feeling developed “in the half-asleep of consciousness,” according to his own recollections. Sweetness in the heart, the joy of trust and the thirst for happiness still leave the hero in semi-conscious contemplation. The hero prefers to madly surrender to the oncoming impressions: “I’m not only thinking about the future, I didn’t think about tomorrow, I felt very good.” The psychology of a contemplator who comprehends beauty and experiences romantic love presupposes a slow pace and internal stop, deepening into oneself, reflection (reflection full of doubts, contradictions; analysis of one’s own psychological state).

And Asya? Close to the “earth”, passionately and wholeheartedly feeling, she could not be satisfied with pointless dreams. And so, without thinking about the consequences, without calculation and caution, she makes an appointment with her beloved. “Another would have been able to hide everything and wait, but not she,” - according to his brother’s correct understanding (chap. 14)

- In what condition was N.N. walking? on a date with Asya?(Doubt, hesitation)

And here it is, the most exciting scene of the story - the date scene. (Selective reading of the scene by the teacher).

Did you like N.N. in this scene?

- What didn’t you like?

- What does he accuse Asya of?

What does he want to justify himself in?

The hero's behavior in the dating scene seemed outrageous to many critics - Turgenev's contemporaries. However, without justifying the hero or condemning him, let’s try to understand. The date scene is an example of Turgenev’s psychologism. The author focuses on the development and change in the psychological state of the hero.

- Why N.N. came on a date?

Judging prudently, N.N. I came on a date in order to part with Asya forever. “I can’t marry her. She won’t know that I loved her too.” However, something touching, helpless in Asya’s timid immobility touches the hero so much that he surrenders to the impulse of natural feeling and thereby comes into conflict with the decision made and with the word that he gave to Gagin. Implicitly, he understands that the decision to break up with Asya does not correspond to the truth of his feelings (remember, “I still didn’t know how the date could be resolved”?). the hero sincerely felt that his feeling was in the ripening stage, and the situation required an immediate solution. Hence his annoyance at the frankness and haste of Asya and Gagin. He condemns in his heart what he says to Asya on a date, since the words do not correspond to his feelings. At the same time, the hero, together with the author, tries to understand the state of another person, but only captures the external manifestations of someone else’s “I”.

- How does Asya behave during N.N.’s reprimand?

N.N. wanted to torment the girl by clarifying his attitude towards her. He, the contemplator, needed time, stopping and thinking about his experiences. And he was surprised by Asya’s reaction to the rebuke.

So, the hero himself came to his misfortune: where an impulse of selfless love was required, he surrenders to reflection (chap. 17).

- And when does the hero realize that he loves?

Later, after the date, when he is looking for Asya, when he is afraid that misfortune is possible, that Asya might kill herself. (Chapter 19).

Why didn’t N.N., having heard from Gagin that Asya had been found, insist on talking right away? How does the author feel about this behavior of the hero?

Turgenev condemns his hero. And N.N. himself speaks sarcastically about his decision to be happy tomorrow (chap. 20).

But these are the words of a man twenty years older than the young N.N. we are talking about now. And then, in what state does N.N. return? home?(end of chapter 20)

- What happened the next day? Did N.N. understand? your mistake, have you condemned yourself?? (end of chapter 21).

- Why didn’t the heroes’ happiness take place? Why did they split up?

Because Asya and N.N. have spiritual life. proceeded differently. Asya experienced a climax of feelings during a date, and N.N. at that moment he was ready only to enjoy romantic contemplation; he did not then feel in himself that he was removing prudence and caution. The awareness of the feeling of love came to him later.

The reason for the life drama of the heroes lies in the difference in their psychological make-up and their temperaments. N.N. – a romantic with a contemplative attitude towards the world; this in some situations does not allow the hero to comprehend his attitude towards people in time and even to understand himself; this does not allow him to take the right action. Asya lives by the direct movement of her heart: not a single feeling in her is half-hearted.

So, we traced the development of the hero’s feelings, experienced with him the psychological changes in his soul.

Love is a mystery. The narrator had to face it, and Ase fully realized his feelings only when everything was lost, lost because of a word not spoken at the right time. But the feelings were not forgotten: twenty years have passed, and N.N. remembers everything down to the smallest detail, sacredly preserves the “sacred relics” of love. (We turn to the theatrical decoration of the lesson: a dried sprig of geranium, notes...)

The seal of first love will not be erased.
We will remember each other all our lives;
Both will have common dreams;
Let's deceive the mind and close the heart -
But longing for the past will not die,
And love won’t come, won’t come -
No, love won't come!
V.S.Kurochkin

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Presentation on the topic: Turgenev's story Asya

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All of Turgenev’s prose is permeated by Pushkin’s motifs. Pushkin was the most important reference point in Russian literature for Turgenev. No less important for Turgenev was the German literary and philosophical tradition, primarily in the person of I.V. Goethe; It is no coincidence that Asya takes place in Germany. The main features of a love story are a small circle of characters. Love stories are also often called “elegiac” not only for the poetry of feeling and the beauty of landscape sketches, but also for their characteristic motifs, which turn from lyrical to plot. With purely romantic idealism, Turgenev's heroes demand everything or nothing from life. All of Turgenev’s prose is permeated by Pushkin’s motifs. Pushkin was the most important reference point in Russian literature for Turgenev. No less important for Turgenev was the German literary and philosophical tradition, primarily in the person of I.V. Goethe; It is no coincidence that Asya takes place in Germany. The main features of a love story are a small circle of characters. Love stories are also often called “elegiac” not only for the poetry of feeling and the beauty of landscape sketches, but also for their characteristic motifs, which turn from lyrical to plot. With purely romantic idealism, Turgenev's heroes demand everything or nothing from life.

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Turgenev began “Asya” in the summer of 1857 in Sinzig on the Rhine, where the story takes place, and finished it in November in Rome. Turgenev began “Asya” in the summer of 1857 in Sinzig on the Rhine, where the story takes place, and finished it in November in Rome.

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"Turgenev's girl" This term carries all the most tender and wonderful female character traits. "Turgenev's girl" This term carries all the most tender and wonderful female character traits. If the author makes the image of Gagin completely clear to the reader, then his sister appears as a riddle, the solution to which N.N. gets carried away first with curiosity, and then selflessly, but still cannot comprehend it to the end. Her extraordinary liveliness is bizarrely combined with timid shyness caused by her illegitimacy and long life in the village. This is where her unsociability and pensive dreaminess stem from (remember how she loves to be alone, constantly runs away from her brother and N.N., and on the first evening of meeting her she goes to her place.

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It is very difficult to form a complete picture of Asya’s character: she is the embodiment of uncertainty and variability. (“What a chameleon is this girl!” involuntarily exclaims N.N.) Either she is shy of a stranger, then she suddenly bursts out laughing (“Asya, as if on purpose, as soon as she saw me, burst out laughing for no reason and, according to her habit, immediately ran away." Either she climbs the ruins and sings songs loudly, which is completely indecent for a society young lady, then she begins to portray a well-bred person, prim in maintaining decorum. Get a complete picture of Asya’s character very complex: it is the embodiment of uncertainty and changeability. (“What a chameleon this girl is!” N.N. involuntarily exclaims) First she is shy of the stranger, then she suddenly bursts out laughing (“Asya, as if on purpose, as soon as she saw me, burst out laughing for no reason and, according to her habit, she immediately ran away." Either she climbs the ruins and sings songs loudly, which is completely indecent for a society young lady, then she begins to portray a well-bred person, prim in maintaining decorum.

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After listening to the reading of Goethe's poem "Herman and Dorothea", she wants to seem homely and sedate, like Dorothea. Then she “imposes fasting and repentance on herself” and turns into a Russian provincial girl. It is impossible to say at what point she is no longer herself. Her image shimmers, shimmering with different colors, strokes, and intonations. The rapid change of her moods is aggravated by the fact that Asya often acts inconsistently with her own feelings and desires. After listening to the reading of Goethe's poem "Herman and Dorothea", she wants to seem homely and sedate, like Dorothea. Then she “imposes fasting and repentance on herself” and turns into a Russian provincial girl. It is impossible to say at what point she is no longer herself. Her image shimmers, shimmering with different colors, strokes, and intonations. The rapid change of her moods is aggravated by the fact that Asya often acts inconsistently with her own feelings and desires.

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The image of Asya expands endlessly, because the elemental, natural principle reveals itself in her. Asya's amazing diversity and liveliness, irresistible charm, freshness and passion stem precisely from here. Her timid “wildness” also characterizes her as a “natural person”, far from society. When Asya is sad, shadows “run across her face,” like clouds across the sky, and her love is compared to a thunderstorm, as if having guessed N.N.’s thoughts, and the heroine shows her “Russianness.” The image of Asya expands endlessly, because the elemental, natural principle reveals itself in her. Asya's amazing diversity and liveliness, irresistible charm, freshness and passion stem precisely from here. Her timid “wildness” also characterizes her as a “natural person”, far from society. When Asya is sad, shadows “run across her face,” like clouds across the sky, and her love is compared to a thunderstorm, as if having guessed N.N.’s thoughts, and the heroine shows her “Russianness.”

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Asya reads a lot indiscriminately (N.N. catches her reading a bad French novel and, according to literary stereotypes, invents the hero Asya “not a single feeling is half”). Her feeling is much deeper than that of the hero. Asya reads a lot indiscriminately (N.N. catches her reading a bad French novel and, according to literary stereotypes, invents the hero Asya “not a single feeling is half”). Her feeling is much deeper than that of the hero. For all her loftiness and selfishness in its orientation, Asya’s desire for a “difficult feat”, the ambitious desire to “leave a mark” presupposes life with others and for others.

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In Asya’s imagination, lofty human aspirations and high moral ideals do not contradict the hope of achieving personal happiness; on the contrary, they presuppose each other. In Asya’s imagination, lofty human aspirations and high moral ideals do not contradict the hope of achieving personal happiness; on the contrary, they presuppose each other. She is demanding of herself and needs help to achieve her aspirations. Asya’s “wildness” is especially evident when she climbs alone through the ruins of a knight’s castle overgrown with bushes. When she, laughing, jumps on them, “like a goat.” she fully reveals her closeness to the natural world. Even her appearance at this moment speaks of the wild unbridledness of a natural being: “as if guessing my thoughts, she suddenly cast a quick and piercing glance at me, laughed again, jumped off the wall in two leaps. A strange smile slightly twitched her eyebrows, nostrils and lips; dark eyes squinted.

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A soul that is impossible not to love. A soul that is impossible not to love. Tenderness, the ability to have sincere strong feelings, the absence of artificiality, falsehood, and coquetry. Focus on the future. Strong character, willingness to sacrifice. Activity and independence in deciding your own destiny.

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And at the same time, Turgenev’s heroines seem to be dominated by “evil fate”: they are all united by “a strict attitude towards life and a premonition of the inevitability of retribution for the pursuit of personal happiness.” And at the same time, Turgenev’s heroines seem to be dominated by “evil fate”: they are all united by “a strict attitude towards life and a premonition of the inevitability of retribution for the pursuit of personal happiness.”

SHORT PLOT Written far from Russia, the story tells about the events that took place in a small German town. A certain gentleman meets a girl, falls in love with a dog, dreams of happiness, but immediately does not dare to offer her his hand, and having decided, he finds out that the girl has left, disappearing from his life forever.

Asya is the daughter of a nobleman and a serf peasant woman. Her mother was a proud woman and did not allow her father to take part in raising her daughter. After the death of her mother, the girl from the peasant hut ended up in her father's manor house. Since childhood, Asya realized the complexity of her situation. The girl developed a strong sense of pride and distrust, her peasant simplicity disappeared, but some bad habits took root. Despite all the vicissitudes of fate, the girl grew up very attractive. She has a darkish-round face with a small thin nose, almost childish cheeks and large black eyes. Asya is very mobile and does not sit still for a minute. There is something incomprehensible and mysterious in Asya’s behavior. Often her actions are daring and defiant.

Mr. N.N., a young man of about twenty-five, an attractive and wealthy nobleman, travels around Europe “without any purpose or plan.” In almost every town he has a lady of his heart. In one German town, the hero meets Asya and Gagin. A good relationship develops between them. A strong feeling gradually arises between Asya and N. The heroine is ready to do anything for love, but N. was afraid of responsibility.

The content of “Asi” is not limited to a psychological study of a certain social phenomenon. The story also touches on problems that are timeless, non-social in nature, and, above all, the problem of true and false values. Even in episodes not directly related to the movement of the plot, Turgenev sought to express his sense of the richness of the world, the beauty of man, who “is the highest moral value.” The limitations of reason and the disharmony of human relationships are contrasted in the story with the life of the soul, its ability to reject the false and strive for the true.

After reading the story, I see that Turgenev loves his heroine very much. I also like Asya. But I think it will be difficult for her to find her place in life. It was as if she had sailed from one shore, but did not land on the other... This duality of her position will prevent Asya from communicating with people and building her family. This can be seen in her attitude towards N.N. Asya fell in love deeply, strongly and recklessly. But such a girl needs either everything or nothing. And not finding N.N. in the heart. With the same reciprocal feeling, Asya leaves forever without saying goodbye.