Author's assessment of Taras. Several interesting compositions

Nikolai Gogol wrote his work "Taras Bulba" in 1842 of his life. This piece has become a classic that has made many hearts beat faster and faster. This work was written not simply as a description and confirmation of the history of theses of times, Gogol decided to write such a plot in order to highlight and implement his conceived character, which you may not find until the end in life, into the plot of the work. His most the main character works - Taras Bulba.

Taras Bulba is the main character of the story under the title, very short and epic - "Taras Bulba". The author described this hero in his own words very briefly, but according to the plot of the story itself, one can understand that this person is a very strong, self-possessed and courageous person. This person is also in years, but his strength, both physical and moral, does not dry out from this, but on the contrary - becomes even stronger. Taras Bulba has two sons according to the book, as well as his wife, who is both a good mother and a good loving wife.

Nikolai Gogol loves his character very much, because it is such a brave and brave man he wanted to show in his story. Gogol wanted to portray a real patriot of his homeland, a brave and courageous fighter, for whom there are no barriers to victory. This is how Taras Bulba was created. Gogol loves and respects his hero very much, in every sense of the word.

No wonder he said: "There will not be those in the whole wide world who can overcome and break the great Russian power!" - he was referring to Taras Bulba, who, as it were, contained in himself all those devoted to his homeland, as true patriot... Also, Gogol said that such a character is very difficult, not everyone can withstand it, but it was precisely such people who won, won battles, and achieved their goal - "This character is very difficult, it is these character traits that emerged back in the fifteenth stone century." ...

Several interesting compositions

Image and characteristics of the Mistress of the Copper Mountain essay based on the story of Bazhov
The Mistress of the Copper Mountain is the main heroine of the children's fairy tale of the same name "Mistress of the Copper Mountain" by Pavel Bazhov. Everyone, in childhood, either saw a cartoon, or listened to a fairy tale from their parents' lips. The writer told us about this mythological creature.
The image and characteristics of Ferdyshchenko in the novel The Idiot of Dostoevsky composition

History and time of creation of the novel by I. S. Turgenev "Fathers and Sons". The idea of the novel arises from the writer in the pre-reform time (1860). It is important for the author to present the specificity of the depicted time period, and therefore the events in the work have an exact reference to May 1859 - the time of turning point and turmoil. A “scrapping” takes place in society, and the non-viable values of the “fathers” begin to be crowded under the pressure of the ideas of young and zealous people. Gradually, the conflict from the ideological and political flows into the protagonist's self-examination regarding the viability of his reasoning.

The image of the main character of the novel. Evgeny Bazarov represents a new worldview in romance. The author tried to convey the image of this character, his character, manners and thoughts in as much detail as possible, using for this a wide palette artistic means... Acquaintance with the hero begins with the ambiguous appearance of the character, in the description of which the author pays attention to a long hoodie and red, working hands. Everything in the hero's appearance emphasizes disregard for generally accepted norms. The portrait presented by the author completes the first acquaintance with Evgeny Vasilyevich: “A long and thin face, with a wide forehead, a flat, pointed nose down, big green eyes and hanging sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence. resilience and intelligence. "

Bazarov's manners are "careless." With his appearance, behavior, speech, the hero emphasizes adherence to democratic principles, which he denies in a dispute with Pavel Petrovich. An ideological dispute with Pavel Kirsanov reveals the worldview of the central character - ni-gilism. General denial, according to Bazarov, at the present moment historical development useful, and therefore, not in the least doubting the validity of his assertions, the hero boldly denies the state structure, and the aristocratic way of life, and art, and all manifestations of spiritual life: "A decent chemist is twenty times more useful than any poet." No less radically, Bazarov "cuts off" other human passions: "Nature is not a temple, but a workshop, and a person is a worker in it."

Some controversy of views, showing through in polemics with opponents, gives way in the second part of the novel to an assessment of the personality of the hero, who, no doubt, is characterized by inner strength, high working capacity, a constant desire for education and a desire to take nothing on faith, and test it empirically. The philosophy of Bazarov is subjected by the author to a difficult and painful test - a test of love, when such a well-constructed scheme of life begins to burst at the seams. The scene of the protagonist's declaration of love in the house of Anna Sergeevna Odintsova becomes Kulmi-national. And at this moment the contradictions that were seen earlier in the character of the character manifest themselves with all their might. And no matter how much Bazarov fights with himself, he is unable to resist love, one of the ideals of the fathers. The hero's surrender to the eternal feeling is shown at the end of his life's journey. Poetry, which Eugene considered a waste of time (“The day before yesterday, I’m watching, he reads Pushkin… Explain to him, please, that this is no good”), the scene of his farewell to Anna Sergeevna Odintsova is imbued: “Farewell ... Listen ... I did not kiss you then ... Blow on the dying lamp and let it go out, no ... ”This is how the author brings the hero to the recognition of some of the foundations of life, which are senseless to deny.

The final test of the hero's identity is accidental death. Bazarov before last minutes retains inner strength, although he is sad that he did not have time to do something meaningful: “And I also thought: I will break off a lot of things, I will not die, where! The task is there, because I am a giant! And now the whole task of the giant is how to die decently, although no one cares about this ... Russia needs me ... No, apparently, it is not needed. " Material from the site

Bazarov tries to be consistent (therefore, to Pavel Petrovich's astonished question whether the ni-gilists deny everything, he categorically answers: "Everything"), but to deny the foundations of the universe is an unproductive occupation. The hero comes to this idea on his deathbed: “Yes, go and try to deny death. She denies you, and that's it! "

Author's position is realized in the very structure of the Roma. IS Turgenev does not make a choice between the generation of "fathers" or "children", but his sympathies are easy to read. “I wanted to make a tragic face out of him - there was no time for tenderness. He is honest, truthful and a democrat to the end of his nails, ”the author noted in a letter to KK Sluchevsky. The writer strives for a philosophical generalization, in his article “Concerning“ Fathers and Children ”I. S. Turgenev pointed out:“ While drawing the figure of Bazarov, I excluded everything artistic from his circle of sympathies, I gave him sharpness and impudence tone - not out of an absurd desire to offend the younger generation, but simply as a result of observations of my acquaintance ... With the exception of views on art, I share almost all of his beliefs. "

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In 1842 N.V. Gogol wrote the story "Taras Bulba". For him, the historical accuracy of the events described was not important. The writer set himself a completely different task. He strove to show a hero who sees the main goal of his life in the liberation of his native land. And for the sake of achieving this goal, he does not spare anything and anyone.

This is the protagonist of the story, Taras Bulba. "It was one of those characters that could arise in the difficult 15th century ...". N.V. Gogol admires his hero, admires his intelligence, strength and mighty spirit. With all his appearance, Taras Bulba resembles the heroes of folk legends, epics, heroic songs. Describing the time when the old Cossack Bulba lived, Gogol writes that "here the Russian character acquired a mighty, wide sweep, a hefty appearance."

Gogol does not give a detailed portrait of the story's protagonist. Its appearance is drawn with a few scanty strokes. The reader receives the author's assessment of the image of Taras Bulba from the description first of the decoration of his house, and later from the description of his actions in various life situations: at home, among comrades in the Zaporizhzhya Sich, in battle; at the time of the execution by his own hands of the youngest son Andriy, who had betrayed his comrades; on the square in Warsaw during the execution of the eldest son Ostap; on the fire that burns under his feet.

And everywhere the writer emphasizes the remarkable strength of his hero, his loyalty to camaraderie, common cause, his mighty, unbending spirit, his intelligence and ingenuity. The peaceful, idle life in Sich is not to the liking of the old warrior. He wants a real job. But Koshevoy denies him in organizing a campaign against enemies. And the cunning warrior Taras Bulba, "in agreement with both," chooses another koshevoy.

Taras's fiery speech about comradeship before a decisive battle kindles a great fire of self-sacrifice for the common cause of the heart of both old and young Cossacks: and every adversity of life, or although he did not know them, he sensed a lot with a young pearl soul for eternal joy to the old parents who gave birth to them. "

Drawing pictures of the battle, N.V. Gogol uses the techniques adopted when depicting epic heroes: "Where the Nezaykivtsy passed - so there is a street where they turned - so there is a side street!" The old warrior Taras Bulba cuts "into the cabbage of oncoming and transverse". But the final words of Gogol about his hero, who is the embodiment of the Russian spirit, the mighty Russian power, sound with special force: "Can there be such fires, torments and such a force in the world that would overpower the Russian power!"

Gogol does not give a detailed portrait of the story's protagonist. Its appearance is drawn with a few scanty strokes. The reader receives the author's assessment of the image of Taras Bulba from the description, first of the decoration of his house, and later from the description of his actions in various life situations: at home, among his comrades in the Zaporizhzhya Sich, in battle; at the time of the execution by his own hands of the younger son Andriy, who had betrayed his comrades; on the square in Warsaw during the execution of the eldest son Ostap; on the fire that burns under his feet.

And everywhere the writer emphasizes the remarkable strength of his hero, his loyalty to camaraderie, to a common cause, his mighty, unbending spirit, his intelligence and ingenuity. The peaceful, idle life in Sich is not to the liking of the old warrior. He wants a real job. But Koshevoy denies him in organizing a campaign against enemies. And the cunning warrior Taras Bulba, "in agreement with both," chooses another koshevoy.

Drawing pictures of the battle, N.V. Gogol uses the techniques adopted when depicting epic heroes: "Where the Nezamaikovites passed - so there is a street where they turned - so there is a lane!" The old warrior Taras Bulba cuts "into the cabbage of oncoming and transverse". But the final words of Gogol about his hero, who is the embodiment of the Russian spirit, the mighty Russian power, sound especially powerful:

History and time of creation of the novel by I. S. Turgenev "Fathers and Sons". The idea of the novel arises from the writer in pre-reform times (1860). It is important for the author to represent the specificity of the depicted time period, and therefore the events in the work have an exact reference to May 1859 - a time of turning point and turmoil. A “scrapping” takes place in society, and the non-viable values of the “fathers” begin to be crowded under the pressure of the ideas of young and zealous people. Gradually, the conflict from the ideological and political flows into the protagonist's self-examination regarding the viability of his conclusions.

The image of the main character of the novel. Evgeny Bazarov presents a new worldview in the novel. The author tried to convey the image of this character, his character, manners and thoughts in as much detail as possible, using for this a wide palette of artistic means. Acquaintance with the hero begins with the ambiguous appearance of the character, in the description of which the author pays attention to a long robe and red, working hands. Everything in the hero's appearance emphasizes disregard for generally accepted norms. Completing the first acquaintance with Evgeny Vasilyevich is the portrait presented by the author: "A long and thin face, with a wide forehead, a flat upward, pointed nose, large greenish eyes and hanging sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence."

Bazarov's manners are "careless." With his appearance, behavior, speech, the hero emphasizes adherence to democratic principles, which he denies in a dispute with Pavel Petrovich. An ideological dispute with Pavel Kirsanov reveals the worldview of the central character - nihilism. General denial, according to Bazarov, at the present moment of historical development is useful, and therefore, without doubting the validity of his assertions, the hero boldly denies the state structure, and the aristocratic way of life, and art, and all manifestations of spiritual life: “A decent chemist in twenty times more useful than any poet. " No less radically Bazarov "cuts off" other human predilections: "Nature is not a temple, but a workshop, and man is a worker in it."

A certain controversy of views that appears in polemics with opponents gives way in the second part of the novel to an assessment of the personality of the hero, who, no doubt, is characterized by inner strength, high working capacity, a constant desire for education and a desire not to take anything for granted, but to test it empirically. Bazarov's philosophy is subjected by the author to a difficult and painful test - a test of love, when such a well-built scheme of life begins to burst at the seams. The climax is the scene of the protagonist's declaration of love in the house of Anna Sergeevna Odintsova. And at this moment, the contradictions that were previously seen in the character of the character manifest themselves with all their might. And no matter how much Bazarov fought with himself, he is unable to resist love, one of the ideals of the fathers. The hero's surrender to the eternal feeling is shown at the end of his life's journey. Poetry, which Yevgeny considered a waste of time (“The day before yesterday, I’m watching, he reads Pushkin… Explain to him, please, that this is no good”), the scene of his farewell to Anna Sergeevna Odintsova is imbued: “Farewell… Listen… I’m you did not kiss then ... Blow on the dying lamp, and let it go out ... ”This is how the author brings the hero to the recognition of some of the foundations of life, which is meaningless to deny.

The final test of the hero's identity is accidental death. Bazarov retains inner strength until the last minutes, although he is sad that he did not have time to do something meaningful: “And I also thought: I’ll break off a lot of things, I won’t die wherever! The task is there, because I am a giant! And now the whole task of the giant is how to die decently, although no one cares about this ... Russia needs me ... No, apparently, it is not needed. "

Bazarov tries to be consistent (therefore, to Pavel Petrovich's astonished question whether the nihilists deny everything, he categorically answers: "Everything"), but to deny the foundations of the universe is an unproductive occupation. The hero comes to this idea on his deathbed: “Yes, go and try to deny death. She denies you, and that's it! "

The author's position is realized in the very structure of the novel. I. S. Turgenev does not make a choice between the generation of "fathers" or "children", but his sympathies are easy to read. “I wanted to make a tragic face out of him - there was no time for tenderness. He is honest, truthful and a democrat to the end of his nails, ”the author noted in a letter to KK Sluchevsky. The writer strives for a philosophical generalization, in his article “Concerning“ Fathers and Children ”I. S. Turgenev pointed out:“ While drawing the figure of Bazarov, I excluded everything artistic from his circle of sympathies, I gave him a sharpness and impudence of tone - not out of an absurd desire to offend the younger generation, but simply as a result of observations of my acquaintance ... With the exception of views on art, I share almost all of his beliefs. "