Take with you on the journey, emerging from the soft youthful years into stern, embittering courage, take with you all human movements, do not leave them on the road, you will not pick them up later!
N.V. Gogol
Each writer has his own connections with the present, with the past, with the future. The larger it is, the more clearly the traditional and innovative, the universal in its heritage are captured. Direct exponents of their time, its spirit, and aspirations were Pushkin, Lermontov, Turgenev. The connections with time and the ideological quests of Gogol, Dostoevsky, and Tolstoy look more complex.
Chekhov was not a darling of success. The stories and skits that he published in humorous magazines in the first years of his writing were not immediately noticed by readers and critics. This took time. But it soon became clear that Chekhov’s stories, seemingly carefree and innocent each individually, taken together, add up to a picture of life that causes bewilderment with its incongruity, rudeness, vulgarity and boredom. Small but very capacious stories by A.P. Chekhov is not always easy to understand if you do not remember that one of the characteristic features of Chekhov’s artistic style is the presence of subtext, an “undercurrent,” if you do not remember the life position of the writer, who was strict, first of all, with himself. Everyone knows his statement: “Everything in a person should be beautiful: his face, his clothes, his soul, and his thoughts.” Less well known is another: “You must be mentally clear, morally pure and physically tidy.” And it is this, in the words of M. Gorky, “an ardent desire to see people simple, beautiful and harmonious” that explains Chekhov’s irreconcilability to all kinds of squalor, vulgarity, moral and mental limitations. Naturally, Chekhov wanted to see people cleansed of any malice, hatred and envy; he wanted to see them as kind, sympathetic, honest people. But, unfortunately, there is a lot that is imperfect in the world: almost all of humanity is dependent on material well-being, and because of this, people have a lot of evil, envy, and hatred of their neighbors. But we must believe that someday, when money means very little to a person and a person corrects all his mistakes and shortcomings, the earth will look bright, clean and kind.
Although what’s bad, it seems, is that a person wants to earn more money, like Doctor Startsev, who followed the path that led him to moral death. What’s special if he wanted to simultaneously serve in the zemstvo and have a large practice in the city? But, reading the story “Ionych,” we understand how money can gradually and imperceptibly displace a person’s living soul, and the desire to live calmly and hassle-free will make him physically and morally inferior.
Dmitry Ionych Startsev, the hero of the story “Ionych,” was appointed as a doctor at the zemstvo hospital in Dyalizh near the provincial town of S. He is a young man with ideals and a desire for something high. Let's think about what youth is? This is probably the time for moral and spiritual discoveries; it's time to acquire love, friendship, knowledge... At the time of youth, a person thinks keenly about his future life, sets goals and objectives for himself. What does Startsev gain in the end?
Which ways does it go? What does it come to? In S. he meets the Turkins family, “the most educated and talented” in the city. Ivan Petrovich Turkin played in amateur performances, hosted receptions, and made jokes. Vera Iosifovna wrote novels and stories for herself and read them to guests. Their daughter Ekaterina Ivanovna, a young pretty girl whose family name is Kotik, played the piano. When Dmitry Ionych Startsev visited the Turkins for the first time, he was fascinated.
Startsev was in a wonderful mood after the evening and, “having walked nine miles, did not feel the slightest fatigue.” He fell in love with Ekaterina Ivanovna. During his life in Dyalizh, this feeling turned out to be “the only joy and... the last.” For the sake of his love, he is ready, it would seem, to do a lot. But when Kotik refused him, imagining herself to be a brilliant pianist, and left the city, he suffered for only three days. And then everything went as before. Remembering his courtship and lofty reasoning (“Oh, how little those who have never loved know!”), he only lazily says: “How much trouble, however!” Physical obesity comes to Startsev unnoticed. He stops walking, suffers from shortness of breath, and likes to snack. Moral obesity is also creeping up. Previously, he favorably differed from the inhabitants of the city with the ardent movements of his soul and ardor of feelings. For a long time they irritated him “with their conversations, their views on life and even their appearance.” He knew from experience that you can play cards with ordinary people, have a snack and talk only about the most ordinary things. And if you start talking, for example, “about politics or science,” then the average person becomes confused or “gets into such a philosophy, stupid and evil, that all that remains is to wave your hand and walk away.” But gradually Startsev got used to such a life and got involved in it. And if he didn’t want to talk, he kept silent more, for which he received the nickname “the inflated Pole.” But at the end of the story we see Startsev’s favorite pastimes: “...played screw every evening, for three hours, with pleasure.”
“He had another pastime, which he got involved in imperceptibly, little by little, in the evenings, taking out of his pockets pieces of paper obtained by practice, and, it happened, pieces of paper - yellow and green, which smelled of perfume, and vinegar, and incense , and blubber - seventy rubles worth of rubles were stuffed into all his pockets...” I think this laconic scene gives an idea of Startsev’s expanded private practice, and of his indifference to where exactly the money is flowing into his pockets, and of his inattention Ionych as a doctor, the haste with which he visits his patients. Sometimes it seems that Ionych does not notice either the movement of time or the changes that have taken place in him. By inertia, he lives by his old ideas about himself, when he was still young, selflessly engaged in useful work, open to human feelings, to the perception of eternal poetic values. For Ionych, all impressions of life fade. He is immune to either the beauty of nature or the suffering of people: when buying a house, he walks without ceremony through all the rooms, “not paying attention to the undressed women and children who look at him with amazement and fear...”. But, perhaps, nothing speaks more clearly about the degradation of his personality than his alienation from people, his forgetting of one of the pages of his biography, the brightest page, the vulgarization of the pure and beautiful feeling of love. He has become too lazy spiritually and morally to be responsible for anyone. What if you think about it?! By the way, if Ekaterina Ivanovna had not been so absorbed in her time with dreams of fame, success, and the desire for “brilliant goals,” then perhaps her life and the life of Doctor Startsev would have turned out completely differently.
Startsev himself knows that he is “getting old, getting fat, declining,” but he has neither the desire nor the will to fight the philistine. The doctor's name is now simply Ionych. The journey of life is completed. Why did Dmitry Startsev from a hot young man become an obese, greedy and loud Ionych? After all, we know that he had internal possibilities for a life worthy of a person, but the philistine mire sucked him in, made him mediocre, and the best qualities of his soul died.
Chekhov, like a doctor writing a medical history, shows the process of gradual death of the soul. At the same time, as always with Chekhov, the moral death of an intelligent and educated person is not only to blame for the circumstances, conditions of provincial life, philistinism, but also for himself: he did not have enough vitality and stamina to withstand the influence of time and environment.
This story expresses an alarming thought about the most terrible loss for a person - the loss of a living spiritual principle, about the irreparable waste of time, the most valuable asset of human life, about a person’s personal responsibility to himself, to society. A thought that is relevant for all times...
M. Gorky wrote: “Reading the stories of Anton Chekhov, you feel like you are on a sad day in late autumn, when the air is so transparent and bare trees, dark houses, gray people are sharply outlined in it. Everything is so strange - lonely, motionless and powerless. The deep blue distances are deserted and, merging with the pale sky, breathe a dreary coldness onto the ground covered with frozen mud. The author’s mind, like the autumn sun, illuminates with cruel clarity the beaten roads, crooked streets, cramped and dirty houses, in which small, pathetic people are suffocating from boredom and laziness, filling their houses with thoughtless, half-asleep bustle.” And this is what makes the reader think and reject boredom and laziness, the meaninglessness and emptiness of life.
Amazing thing - a classic! Re-reading the works of masters of words at a new stage of your life, you never cease to be amazed at what is rediscovered in the process of reading. An example would be Chekhov's stories. They make it possible to evaluate the present time, the criteria that determine life interests, actions, when material values take precedence over spirituality, when for the sake of profit a person does not even spare himself. The story “Ionych” is especially interesting in this regard. It was written in the 90s of the 19th century. In this decade, motifs of movement and change are increasingly heard in Chekhov’s work.
Chekhov's heroes are tested by their involvement in life, by their ability to hear time, to understand the issues of time, and are determined by the quality of their dreams and the ways of realizing them. But these are all problems of our time. Therefore, approaches to studying the story -Ionych” and understanding the essence of the main character may be different. If we evaluate each work of art from the position of the unity of content and form, then, speaking about content, we can set the following goal: to trace how a person, climbing the steps up the ladder of material well-being, slides even faster down to moral devastation; trace how his attitude towards people changes; see pictures of the fall of man, so as not to repeat his mistakes.
Events are presented in chronological sequence, they are separated by insignificant periods, but during these small periods of time, big changes occur in the life and appearance of the hero. The plot develops all the faster because the background (the city of S. and the Turkin family), on which the action unfolds, remains completely motionless from beginning to end. Time passes, but life in the Turkins’ house stands as if enchanted, as if time is passing them by.
Already in the first chapter, the author’s remark about the main character is alarming, that he succumbs to the general hobby, appreciating the skill of Kotik. It seems that nothing yet portends a collapse, but this word involuntarily attracts attention, like the author’s other remarks: he did not yet have his own horses; “When I had not yet drunk tears from the cup of existence...” (lines from the romance). There will be horses, and a troika with bells, and a coachman in a velvet vest, and there will be tears. But that comes later. In the meantime, he is young, healthy, he has an interesting job, a noble goal - to help the sufferers, to serve the people. He is full of hope, expectation of happiness, and does not feel tired. This is what is called the scent of youth. Although the epigraph for the entire narrative is best suited to be the words of Ionych himself: “How are we doing here? No way. We get older, we get fatter, we get worse.”
The hero will say them a little later, when he has not yet lost the ability to give an honest assessment of his actions. In Chekhov's stories there are often interesting characteristics of life: sleepy, scanty, wingless, colorless. It seems that they all accurately express the process that took place with the young doctor. If in the first chapter, which can be called an exposition, only a hint is given, then in the second he is already a victim, although death is still far away. The scene of the failed date in the cemetery makes it clear that the illusion is over. “I’m tired,” he says, and the reader becomes sad, offended and sorry for Startsev, who just recently returned home smiling. We don’t want to forgive him either his prudence or his solidity, and it becomes a shame that he has lost his former freshness and spontaneity.
Chapter 3 is a new and turning point in the doctor’s life: the beginning of the decline of his youth and emerging commercialism, when he thinks not about his beloved, but about the dowry, when he betrays his youthful dream and the idea inherent in his profession (“Besides, if you marry her< … >then her relatives will force you to quit your zemstvo service and live in the city... Well, then? In the city, so in the city"). The author also draws attention to how Startsev was dressed (“Dressed in someone else’s tailcoat and a stiff white tie, which somehow kept puffing up and wanted to slide off his collar, he was sitting in a club at midnight...”), The author does not spare Startsev, because that he no longer loves his hero, who has entered a new phase of his life. His words about love, spoken to Kotik, did not at all agree with the thoughts about the dowry that were spinning in his head when he paid a visit to the Turkins to propose.
Startsev suffered after Kotik’s refusal for only three days: “His heart stopped beating restlessly and, apparently, forever.” The next four years (four in total!) brought Startsev a lot of practice, three horses with bells. He does not walk among people, but rides past them. In Panteleimon, as in a mirror, Startsev is vaguely reflected: the more (Panteleimon) grew in width, the sadder he sighed - wasn’t the same thing happening with Startsev?
Only Startsev was silent, did not sigh or complain - there was no one to complain to, and there was even no one to simply talk to. When visiting, “Startsev avoided conversation, but only had a snack and played vint, and when he found a family holiday in some house and he was invited to eat, he sat down and ate in silence, looking at his plate; and everything that was said at that time was uninteresting, unfair, stupid. He felt irritated and worried, but remained silent.”
What are his new entertainments, if he avoided the theater and concerts? The most powerful pastime, besides cards, was one that he got involved in unnoticed: in the evenings he took out pieces of paper from his pockets, obtained through practice. Seven lines - and what a picture of the moral decline of man! What is the smell of money! There is grief, suffering, tears, anxiety, hope, and death. He saves money, not experiences in life. He does not read the pages of human destinies in them, he counts them. This is complete alienation from people. And it's scary. What is still left of the old Startsev?
Of course, it is his intelligence that sets him apart from the common people; convictions remained, but he buried them in the depths of his soul; hard work remained, but it was now stimulated not by noble aspirations, but by the interests of profit, which he himself speaks of as follows: “Profit in the day, club in the evening.” The treatment of rural patients became secondary; here he received them in a hurry, and most importantly - urban patients who paid in cash. There was energy left, but it turned into vanity in pursuit of profit (he left every morning and returned home late at night). The ability to enjoy remains. But with what? In his youth - by nature, conversations with Kitty, love for her, later - by comforts, and now by vices: playing cards and acquisitiveness.
Does Startsev understand what is happening to him? Does he give an account of his actions? Perhaps yes. When Kotik, returning from Moscow, began to say that she was a failure, that she lived in illusions, and he had a real job, a noble goal in life, that she remembered how he loved to talk about his hospital, that it was happiness to be a zemstvo doctor, to help to the sufferers, to serve the people, he remembered the pieces of paper that he took out of his pockets with such pleasure in the evenings, and the light in his soul went out. Now definitely forever.
In the last chapter, the author shows us how much Startsev has changed not only externally, but also internally. He has lost all respect for people, he is unceremonious when he walks around a house scheduled for auction, when he shouts at patients and hits the floor with a stick. Tenth-graders understand well why he bought two houses and is looking at a third.
But not everyone can answer the question of whether the work of a doctor and commerce in the form shown through Ionych are compatible, since today’s children do not see the disadvantages in such a union. And Chekhov, back in the 90s of the 19th century, made us think about an active civic position, about a person’s responsibility for his work, profession, place in life and society. Gorky understood this well and wrote to Chekhov: “You are doing a great job with your little stories - arousing in people disgust for this sleepy, half-dead life...” The story “Ionych” is relevant in all respects. The work of a doctor and profit are incompatible concepts.
This should be so, although our life today provides many counter-examples. Hence the indifference that reaches the point of callousness, callousness to the point of cruelty, rudeness to the point of rudeness. In the era of current changes, you can see everything, and the teacher’s task is to ensure that students understand and appreciate not only the hero, not only his principles, but also relate them to what is encountered in life more and more often.
But when comprehending the story “Ionych”, you can think through another aspect related to its artistic originality, basing the conversation on the study of time. The category of time can even be singled out as the main one. If the student understands the movement of time, then he will also understand everything that happens to Startsev.
So, the time used in the story is 10 years. On the surface one can clearly see a seemingly progressive movement: young hero - maturity - old age. And deep down there is a reverse movement: from living reactions to mortification, the loss of normal human feelings.
And the title foreshadows the ending. The story is narrated in chapter V, the last, in the present tense, and in chapters
I-IV - in the past. This compositional structure is also interesting, since it is in Chapter V that the temporal center of the narrative is located. Here the author’s attitude towards the hero is most clearly expressed. In chapters I-IV there is an excursion into the past, where the situation of life and
Doctor Startsev’s internal resources, which led him to Ionych.
Words are constantly repeated in the story: more, already, before, now, situations, actions, movements and thoughts are repeated. For example, time leaves its mark on the appearance of Vera Iosifovna; Ivan Petrovich does not change at all, he is frozen both physically and spiritually. Kotik's relationship with time turned out to be more complex: both her appearance and her inner world are changing, and a reassessment of values has occurred. She was able to understand her ordinariness, but her attitude towards Startsev was the same: what was desired was taken as reality.
Why is the main character subjected to the greatest test of time? Startsev does not stand the test of time, does not
withstands tests of resistance to the case environment, although he believes that he is not like the ordinary people (chapter IV: “Startsev visited different houses and met many people, but did not get close to anyone. The ordinary people were annoying with their conversations, views on life, and even their appearance him." And at the end of Chapter IV - about the Turkins family: "All this irritated Startsev. Sitting in the carriage and looking at the dark house and garden, which were so dear and dear to him once, he remembered everything at once - and Vera’s novels. Iosifovna, and the noisy play of Kotik, and the wit of Ivan Petrovich, and the tragic poses of Pava, and I thought that if the most talented people in the whole city are so mediocre, then what must the city be like).
Did he have the right to such an opinion in Chapter 1? Yes. In Chapter 1, the author’s attitude to what is happening coincides with Startsev’s attitude. He does not feel intoxicated in relation to the Turkins. He has his own ideals and dreams. But in Chapter IV, Startsev loses this right; he only distinguishes himself by inertia. He sees no change in himself. He freezes in time, just like Ivan Petrovich’s puns. It is during this period of life that Startsev undergoes a test of love. Of the entire stream of time allotted for Startsev’s life (10 years), the author singles out two days, pages from chapters 2-3, where he talks about the hero’s love.
It was on these two days that those qualities of nature manifested themselves that could have taken him out from among ordinary people, and those that could not resist (“I haven’t seen you for a whole week,< … >and if you only knew what suffering this is!< … >I haven't heard from you for so long."). I crave, I long for your voice.” “She delighted him with her freshness, the naive expression of her eyes and cheeks... she seemed very smart to him... With her he could talk about literature, about art, about anything...” And in the same chapter a little further: “... Is it becoming for him, a zemstvo doctor, an intelligent, respectable man, to sigh... to do stupid things...
Where will this novel lead? What will your comrades say when they find out? When a person starts asking such questions, it means that something in the relationship is not as it should be if it is love. And the ending of Chapter 2 is not surprising: “I’m tired... Oh, I shouldn’t get fat!” The chapter is not long, but how succinctly it is said about the changes in Doctor Startsev, about the emerging contradictions. In chapters 2-3, the author carefully examines the climactic moment associated with the hero’s love, because for Chekhov’s heroes it is love that often becomes a test of strength, of the title of personality. Love is a way out into the world, since in love a person becomes more attentive to life in general. So the lover Startsev begins to worry about philosophical questions and the state of his soul. He not only opens the world, but he himself is accessible to the world. But the light goes out.
5 / 5. 1
The story told by Chekhov in “Ionych” (1898) is built around two declarations of love, just as, in fact, the plot was built in Pushkin’s “Eugene Onegin”. At first he confesses his love to her and does not reciprocate. And a few years later, she, realizing that there was no better person than him in her life, tells him about her love and with the same negative result. All other events and descriptions are needed as a background, as material to explain why mutual love did not take place, the mutual happiness of two people did not work out.
Who is to blame (or what is to blame) for the fact that the young, full of strength and vitality Dmitry Startsev, as we see him at the beginning of the story, turned into Ionych of the last chapter? How exceptional or, conversely, ordinary is the story of his life? And how does Chekhov manage to fit entire human destinies and ways of life into just a few pages of text?
As if on the surface lies the first explanation of why the hero degrades by the end of the story. The reason can be seen in the unfavorable, hostile environment of Startsev, in the philistine environment of the city of S. And in the absence on the part of the hero of a fight against this environment, of protest against it. “The environment is stuck” is a common explanation for such situations in life and in literature.
Is the environment to blame for the transformation of Startsev into Ionych? No, that would be at least a one-sided explanation.
A hero opposed to the environment, sharply different from the environment - this was a typical conflict in classical literature, starting with “Woe from Wit”. In “Ionych” there is a word directly taken from the characteristics of Famus’ society (“wheezers”), but it, perhaps, only more sharply highlights the difference between the two relationships: Chatsky - Famusov’s Moscow and Startsev - the inhabitants of the city of S.
Actually, Chatsky was kept in an environment alien and hostile to him only by his love interest. He was initially confident of his superiority over this environment, denounced it in his monologues - but the environment pushed him out like a foreign body. Slandered, insulted, but not broken and only strengthened in his convictions, Chatsky left Famusov’s Moscow.
Dmitry Startsev, like Chatsky, falls in love with a girl from an environment alien to him (for Chatsky this separating barrier is spiritual, for Startsev it is material). As an outsider, he enters the “most talented” house in the city of S. He does not have any initial aversion to this environment; on the contrary, for the first time in the Turkins’ house everything seems pleasant to him, or at least entertaining. And then, having learned that he is not loved, unlike Chatsky, he does not rush to “search the world,” but remains to live in the same place where he lived, so to speak, by inertia.
Even if not immediately, but at some point he also felt irritation against those people among whom he had to live and with whom he had to communicate. There is nothing to talk about with them, their interests are limited to food and empty entertainment. Anything truly new is alien to them, the ideas by which the rest of humanity lives are beyond their understanding (for example, how can passports and the death penalty be abolished?).
Well, at first Startsev also tried to protest, convince, preach (“in society, at dinner or tea, he talked about the need to work, that one cannot live without work”). These monologues of Startsev did not receive a response from society. But, unlike the Famusov society, which is aggressive towards the freethinker, the inhabitants of the city of S. simply continue to live as they lived, but on the whole they remained completely indifferent to the dissident Startsev, turning protest and propaganda on deaf ears. True, they awarded him a rather ridiculous nickname (“inflated Pole”), but this is still not a declaration of a person as crazy. Moreover, when he began to live according to the laws of this environment and finally turned into Ionych, they themselves suffered a lot from him.
So, one hero remained unbroken by the environment, the other was absorbed by the environment and subjected to its laws. It would seem clear which of them deserves sympathy and which deserves condemnation. But the point is not at all that one of the heroes is nobler, higher, more positive than the other.
The two works organize artistic time differently. Just one day in the life of Chatsky - and Startsev’s whole life. Chekhov includes the passage of time in the “hero and environment” situation, and this allows us to evaluate what happened differently.
“One day in the winter... in the spring, on a holiday - it was the Ascension... more than a year passed... he began to visit the Turkins often, very often... for about three days things fell out of his hands... he calmed down and healed as before... experience taught him little by little... imperceptibly, little by little... four years passed... three days passed, a week passed... and he never visited the Turkins again... . a few more years have passed...”
Chekhov introduces into the story the test of the hero by the most ordinary thing - the unhurried but unstoppable passage of time. Time tests the strength of any beliefs, tests the strength of any feelings; time calms and consoles, but time also drags on - “imperceptibly, little by little” remaking a person. Chekhov writes not about the exceptional or extraordinary, but about what concerns every ordinary (“average”) person.
That bundle of new ideas, protest, and sermons that Chatsky carries within himself cannot be imagined stretched out like this - over weeks, months, years. The arrival and departure of Chatsky is like the passage of a meteor, a bright comet, a flash of fireworks. And Startsev is tested by something that Chatsky was not tested by - the flow of life, immersion in the passage of time. What does this approach reveal?
For example, it is not enough to have some beliefs, it is not enough to feel indignation against alien people and customs. Dmitry Startsev is by no means deprived of all this, like any normal young man. He knows how to feel contempt, he knows what is worth being indignant about (human stupidity, mediocrity, vulgarity, etc.). And Kotik, who reads a lot, knows what words to use to denounce “this empty, useless life,” which has become “unbearable” for her.
No, Chekhov shows, against the passage of time, the Protestant fervor of youth cannot hold out for long - and can even turn “imperceptibly, little by little” into its opposite. In the last chapter, Ionych no longer tolerates any judgments or objections from the outside (“Please answer only questions! Don’t talk!”).
Moreover, a person can have not only denying enthusiasm - he can also have a positive life program (“You need to work, you can’t live without work,” Startsev claims, and Kotik is convinced: “A person must strive for a higher, brilliant goal... I want to be an artist, I want fame, success, freedom...”). It may seem to him that he lives and acts in accordance with the correctly chosen goal. After all, Startsev doesn’t just pronounce monologues in front of ordinary people - he really works, and he sees more and more patients, both in the village hospital and in the city. But... again “imperceptibly, little by little” time made a destructive substitution. By the end of the story, Ionych works more and more, no longer for the sake of the sick or some kind of lofty goals. What was previously secondary - “pieces of paper obtained through practice”, money - becomes the main content of life, its only goal.
In the face of time, the invisible but main arbiter of destinies in Chekhov's world, any verbally formulated beliefs or beautiful-hearted programs seem fragile and insignificant. In youth, you can despise and be beautiful as much as you want - lo and behold, “imperceptibly, little by little” yesterday’s living person, open to all the impressions of existence, turned into Ionych.
The motive of transformation in the story is associated with the theme of time. The transformation occurs as a gradual transition from the living, not yet settled and unformed to the established, once and for all formed.
In the first three chapters, Dmitry Startsev is young, he has not quite defined, but good intentions and aspirations, he is carefree, full of strength, it costs him nothing to walk nine miles after work (and then nine miles back), music constantly sounds in his soul; like any young man, he is waiting for love and happiness.
But a living person finds himself in an environment of mechanical wind-up dolls. At first he doesn't realize it. The witticisms of Ivan Petrovich, the novels of Vera Iosifovna, Kotik’s play on the piano, the tragic pose of Pava for the first time seem to him quite original and spontaneous, although observation tells him that these witticisms were developed by “long exercises in wit,” that the novels say “about , which never happens in life,” that there is a noticeable stubborn monotony in the young pianist’s playing, and that Pava’s idiotic remark looks like an obligatory dessert to the regular program.
The author of the story resorts to repetition. In the 1st chapter, the Turkins show the guests “their talents cheerfully, with heartfelt simplicity” - and in the 5th chapter, Vera Iosifovna reads her novels to the guests “still willingly, with heartfelt simplicity.” Ivan Petrovich does not change his program of behavior (with all the changes in his repertoire of jokes). The grown-up Pava is even more ridiculous in repeating his line. Both talents and simplicity of heart are not at all the worst qualities that people can display. (Let’s not forget that the Turkins in the city of S. are really the most interesting.) But their programming, routine, and endless repetition ultimately cause melancholy and irritation in the observer.
The rest of the residents of the city of S., who do not have the talents of the Turkins, also live in a routine way, according to a program about which there is nothing to say except: “Day and night - a day away, life passes dimly, without impressions, without thoughts... During the day profit, and in the evening a club, a society of gamblers, alcoholics, wheezing...”
And so, by the last chapter, Startsev himself turned into something ossified, petrified (“not a man, but a pagan god”), moving and acting according to some forever established program. The chapter describes what Ionych (now everyone calls him that only) does day after day, month after month, year after year. Somewhere, all the living things that had worried him in his youth had disappeared, evaporated. There is no happiness, but there are surrogates, substitutes for happiness - buying real estate, pleasing and fearful respect for others. The Turkins remained in their vulgarity - Startsev degraded. Unable to even stay at the level of the Turkins, in his transformation he slipped even lower, to the level of the “stupid and evil” man in the street, for whom he spoke of contempt before. And this is the result of his existence. “That’s all that can be said about him.”
What was the beginning of the transformation, the slide down the inclined plane? At what point in the story can we talk about the guilt of the hero who did not make efforts to prevent this slide?
Maybe this was the effect of failure in love, becoming a turning point in Startsev’s life? Indeed, throughout his life, “love for Kotik was his only joy and probably his last.” A frivolous girl’s joke - to make a date at the cemetery - gave him the opportunity for the first and only time in his life to see “a world unlike anything else - a world where the moonlight is so good and soft,” to touch a secret that “promises a quiet life, beautiful, eternal.” The magical night in the old cemetery is the only thing in the story that does not bear the stamp of familiarity, repetition, or routine. She alone remained stunning and unique in the hero’s life.
The next day there was a declaration of love and Kitty’s refusal. The essence of Startsev’s love confession was that there are no words that can convey the feeling that he experiences, and that his love is limitless. Well, we can say that the young man was not particularly eloquent or resourceful in his explanation. But is it possible on this basis to assume that the whole point is in Startsev’s inability to truly feel, that he didn’t really love, didn’t fight for his love, and therefore couldn’t captivate Kotik?
That’s the point, Chekhov shows, that Startsev’s confession was doomed to failure, no matter how eloquent he was, no matter what efforts he made to convince her of his love.
Kotik, like everyone else in the city of S., like everyone else in the Turkins’ house, lives and acts according to some, seemingly predetermined program (the puppet element is noticeable in her) - a program compiled from books she has read, fed by praise for her piano talents and age, as well as hereditary (from Vera Iosifovna) ignorance of life. She rejects Startsev because life in this city seems empty and useless to her, and that she herself wants to strive for a higher, brilliant goal, and not at all become the wife of an ordinary, unremarkable man, and even with such a funny name. Until life and the passage of time show her the fallacy of this program, any words here will be powerless.
This is one of the most characteristic situations for Chekhov’s world: people are separated, they each live with their own feelings, interests, programs, their own stereotypes of life behavior, their own truths; and at the moment when someone most needs to meet a response, understanding from another person, the other person at that moment is absorbed in his own interest, program, etc.
Here, in “Ionych,” the feeling of love that one person experiences is not reciprocated due to the fact that the girl, the object of his love, is absorbed in her own life program, the only one interesting to her at that moment. Then ordinary people will not understand him, here a loved one does not understand.
Having lived for some time, having taken a few sips “from the cup of existence,” Kotik seemed to understand that she had not lived like that (“Now all the young ladies play the piano, and I also played like everyone else, and there was nothing special about me; I she’s as much a pianist as her mother is a writer.” She now considers her main mistake in the past to be that she did not understand Startsev then. But does she truly understand him now? Suffering, the awareness of missed happiness make Ekaterina Ivanovna out of Kotik, a living, suffering person (now she has “sad, grateful, searching eyes”). At the first explanation, she is categorical, he is unsure, at their last meeting he is categorical, but she is timid, timid, and insecure. But, alas, only a change of programs occurs, but the programming and repetition remain. “What a joy it is to be a zemstvo doctor, to help the suffering, to serve the people. What happiness!<...>When I thought about you in Moscow, you seemed so ideal, sublime to me...” she says, and we see: these are phrases straight from Vera Iosifovna’s novels, far-fetched works that have nothing to do with real life. It’s as if she again sees not a living person, but a mannequin hero from a novel written by her mother.
And again they are each absorbed in their own things, speaking different languages. She is in love, idealizes Startsev, and longs for a reciprocal feeling. With him, the transformation is almost complete; he is already hopelessly sucked into philistine life, thinking about the pleasure of “pieces of paper”. Having flared up for a short time, “the fire in my soul went out.” From misunderstanding and loneliness, a person, alienated from others, withdraws into his shell. So who is to blame for Startsev’s failure in life, for his degradation? Of course, it is not difficult to blame him or the society around him, but this will not be a complete and accurate answer. The environment determines only the forms in which Ionych’s life will take place, what values he will accept, what surrogates of happiness he will console himself with. But other forces and circumstances gave impetus to the hero’s fall and led him to rebirth.
How to resist time, which does the work of transformation “imperceptibly, little by little”? People are led to misfortune by their eternal disunity, self-absorption, and the impossibility of mutual understanding at the most crucial, decisive moments of existence. And how can a person guess the moment that decides his entire future fate? And only when it is too late to change anything, it turns out that a person has only one bright, unforgettable night in his entire life.
Such sobriety, even cruelty in depicting the tragedy of human existence seemed excessive to many in Chekhov's works. Critics believed that Chekhov was thus “killing human hopes.” Indeed, “Ionych” may seem like a mockery of many bright hopes. We need to work! You cannot live without work! A person must strive for a higher, brilliant goal! Helping the suffering, serving the people - what happiness! Writers before and after Chekhov very often made such and similar ideas central to their works, proclaiming them through the mouths of their heroes. Chekhov shows how life and the passage of time devalue and make meaningless any beautiful ideas. All these are common (albeit indisputable) passages, which cost absolutely nothing to say and write. The graphomaniac Vera Iosifovna, who writes “about what never happens in life,” can fill her novels with them. Startsev would never have become the hero of Vera Iosifovna’s novel: what happened to him is what happens in life.
“Ionych” is a story about how incredibly difficult it is to remain human, even knowing what you should be. A story about the relationship between illusions and real (terrible in its everyday life) life. About real, not illusory difficulties of life.
So, does Chekhov really look so hopelessly at the fate of man in the world and leaves no hope?
Yes, Dmitry Startsev inevitably moves toward becoming Ionych, and in his fate Chekhov shows what can happen to anyone. But if Chekhov shows the inevitability of degradation of an initially good, normal person with the imperceptible passage of time, the inevitability of abandonment of dreams and ideas proclaimed in youth, does it mean that he really kills hopes and calls for leaving them at the threshold of life? And he states together with the hero: “How, in essence, Mother Nature plays bad jokes on man, how offensive it is to realize this!”? So you can understand the meaning of the story only by inattentive reading, without reading the text to the end, without thinking about it.
Isn’t it clear in the last chapter how everything that happened to Ionych is called by its proper name, sharply, directly? Greed has overcome. My throat was swollen with fat. He is lonely, his life is boring. There are no joys in life and there won’t be any more. That's all that can be said about him.
How much contempt is contained in these words! It is obvious that the writer, who throughout the entire story carefully traced the spiritual evolution of the hero, making it possible to understand him, here refuses to justify, does not forgive the degradation leading to such an end.
The meaning of the story told to us can thus be understood at the junction of two principles. Mother Nature really plays a bad joke on man; man is often deceived by life and time, and it is difficult to understand the degree of his personal guilt. But it is so disgusting what a person who has been given everything for a normal, useful life can turn into that there can be only one conclusion: everyone must fight against becoming Ionych, even if there is almost no hope of success in this fight.
Gogol, in a lyrical digression included in the chapter about Plyushkin (and the evolution of Ionych is somewhat reminiscent of the changes that occurred with this Gogol hero), appeals to his young readers with an appeal to preserve with all their might the best that is given to everyone in their youth. Chekhov does not make such special lyrical digressions in his story. He calls for resistance to degradation in an almost hopeless situation throughout his entire text.
Story by A.P. Chekhov's "Ionych" was published in the "Monthly Literary Supplements" to the magazine "Niva" in the same year, 1898, in which it was written. This work cannot be attributed to a specific topic. It simultaneously talks about the development of man and the degradation of his soul. On the one hand, Ionych becomes a significant person in the city, he is wealthy and has special authority, but, on the other hand, material wealth negatively affects the spiritual development of the hero. Depending on what question the reader asks himself when reading this story, it can be attributed to a social theme (what role did society play in the development of Ionych’s character?), psychology (can a person resist society?) or philosophy (why does the hero choose such life path, does not continue to struggle?).
From the author's notebooks and diaries, literary scholars were able to recreate the writer's original intention, which had both differences and similarities with the published text. What is the author's original thought? What changes did his idea undergo during the process? How radically different is it from the source material? What happened and what happened?
Initially, Chekhov wanted to write a story centered on the Filimonov family. It is not difficult to understand that this is a kind of prototype of the future Turkins. In the final edition, the main features of the members of this family were preserved. What is the difference then? It lies in the fact that at first there was no main character in the story, that is, Ionych himself. What does this change? At first glance, the theme of the story does not change: the spiritual poverty of the Filimonov (Turkin) family. But the appearance of Startsev in the work entails a change in the main idea of the work. If initially we were talking about the mental poverty of one particular family, then in the final version the Turkins are shown to be the best in the city, which makes you think about what the rest of the residents are like, and how the society of these people changed the life of the main character.
When you start reading Chekhov's story, you assume that the focus of his attention will be on the Turkin family: a detailed description of each of its members is given with their character and habits. Only later does the reader realize that the title is connected with the main character. Ionych is Dmitry’s patronymic. In its rough sound, the author conveys the essence of the metamorphosis that the doctor underwent. People use their patronymics to familiarly address those they know, but they don’t really respect them. Usually they talk about a person like this behind his back, wanting to emphasize their short acquaintance with him or even belittle him. All the inhabitants of the city intuitively understood that the promising young man had become one of them, a tradesman and everyman who had become isolated in the routine of days, had become flabby and had lost his purpose. If earlier he was respected, then by the end he became an ordinary resident of a county town, gray and faceless.
Ionych is Dmitry Ionovich Startsev. The chosen title focuses on the hero's nickname, which is given to him at the end of the story. This is precisely the meaning of the work. Having chosen this title for the story, Chekhov poses the question to the reader: “How did the zemstvo doctor Startsev turn into Ionych?” Only that reader can be said to have understood the essence of the work and was able to find the answer to this question in the text.
Anton Pavlovich Chekhov is known as the author of plays and short prose. His work “Ionych” is a realistic story. A striking feature of this direction and the main theme of “Ionych” are the social problems raised by the author. Also, belonging to realism is evidenced by an objective description and the presence of typical characters.
In a work, everything always follows one goal - the embodiment of the author’s thoughts. The composition follows this. This story by Chekhov consists of five chapters. Thus, the third chapter is the golden ratio. It turns out to be a turning point for the main character. In it, Startsev proposes to Kitty and is rejected. From this moment the hero's spiritual fall begins.
This is a story about a zemstvo doctor who walked, practiced and believed in love, but in a few years he turned into an “idol”, owning his own three, a plump man in the street, whose favorite pastimes were games and counting money.
The author talks about how, in the absence of the possibility of development and the desire for self-improvement, a person quickly gets used to a new, simpler pace of life - degradation. Having started with ambitious plans and good intentions, the hero lowers the bar and simplifies life, becoming an ordinary tradesman with a banal set of values: gambling, personal enrichment, a good reputation. Chekhov also reflects on the reasons for this transformation. Kotik had a strong influence on Startsev. Perhaps, if she had not treated her lover Dmitry Startsev so cruelly, if she had not mocked his love, then everything would have turned out differently. But these are just guesses and assumptions...
Despite the presence of several themes in the story, the focus is on one issue - the relationship between man and society. No one will argue that by the end of the novel Startsev becomes as colorless a commoner as any citizen of the city. When comparing the portrait of the hero presented at the beginning of the book with Startsev’s lifestyle and appearance at the end, the impoverishment of his soul and the disappearance of high aspirations become obvious. If earlier his plans included a calling, expressed in an interest in medicine, then by the end it became clear that Dmitry had not fulfilled his destiny. According to Chekhov, it is passionate, conscious work that purifies and elevates us, pulling people out of the vanity and vulgarity of the world of things, everyday life and routine. Losing his love for his life’s work, being lazy and mingling with a crowd of worthless onlookers, Startsev betrays his dream and loses himself.
The author emphasizes the vulgarity of the hero with the help of details. This impression is also strengthened by the presence of Startsev’s double – the coachman Panteleimon. Complementing the characteristics and descriptions of Dmitry Ionych and the changes in his lifestyle, this helps to create a complete picture in the reader’s imagination.
Your opinion about A.P.’s story Chekhov's “Ionych” was expressed by many literary scholars, writers and critics. It is quite difficult to generalize, since it is not unambiguous. Dmitry Ovsyaniko-Kulikovsky, a literary critic and linguist who was one of the first to write his review, in “Etudes on Chekhov’s Work” noted the unusual character of the hero: he does not oppose society, but succumbs to its influence.
Writers such as Kireev and Solzhenitsyn were more impressed by the episode of the characters' explanation in the cemetery, rather than by the main storyline. In connection with this scene, in their opinion, the story raises the theme of a person’s attitude towards death.
There are also negative reviews of this work, which emphasize the simplicity of the images of the heroes, their lack of openness and detail. There are no less positive reviews about this story. The words of R.I. Sementkovsky reflect their general thought:
Interesting? Save it on your wall!Read the last works of Mr. Chekhov, and you will be horrified by the picture of the modern generation that he painted with his characteristic skill.
A.P. Chekhov presents the reader with a broad picture of provincial Russia. The writer shows the “case” life of people, explores various facets of spiritual slavery, the influence of the environment on human destinies, he writes about the false ideas that control a person and determine his actions. In the story “Ionych,” written in 1898, Chekhov introduces us to the dramatic fate of a capable man, sincerely passionate about his work, who over time turned into a narrow-minded, greedy and indifferent man in the street. The author of the work asks the readers: “Why is such a transformation possible, what contributed to the moral degradation of the young zemstvo doctor Dmitry Ionych Startsev?
Life and inhabitants of city C.
The events of the story take place in the district town of C, similar to many provincial towns in Russia. introduces readers to the most talented and interesting Turkin family in the city: the head of the family Ivan Petrovich, his wife Vera Iosifovna and their daughter Ekaterina Ivanovna, a spoiled, eccentric creature - Kotika. Gradually getting to know the Turkins, we understand that they are rather limited and boring people. Ivan Petrovich practices his wit, repeating the same flat jokes each time; Vera Iosifovna reads her novels “about what never happens in life,” which do not find any response in the listeners; Kotik performs long and monotonous passages on the piano, considering himself a talented performer; 14-year-old footman Pavlusha, who is called Pava, entertains the guests with a dramatically spoken Shakespearean line. Years pass, but the Turkin family does not change. What seemed funny at first becomes depressing over time. The spiritual limitations of these generally good and in some ways even capable people become more and more apparent as the plot develops. But the main thing that causes a feeling of melancholy is the puppet-like, monotonous nature of their lives. And they themselves are no longer perceived as people, but as wound up puppets. At the very end of the story we learn that “Ivan Petrovich has not aged, has not changed at all, and still makes jokes and tells jokes; Vera Iosifovna reads her poems to the guests. novels
Chekhov paints a collective portrait of the inhabitants of city C, living according to a long-established order. There is nothing to talk about with them, their interests are limited to food, empty talk and playing screw, any new ideas are alien to them. A living person finds himself in this mechanistic, stagnant environment - the young doctor Dmitry Startsev, full of strength and energy.
The plot and composition of the story.
The narrative of the story is determined by two interconnected plot lines. The first line develops externally - this is the story of the relationship between Startsev and Kotik, which is built around two declarations of love. At first, the hero confesses his feelings to Kotik, but does not meet reciprocity, and after a while she, appreciating his confession, speaks of her love, but it’s too late - time has passed. The second storyline is addressed to the inner world of the character and reflects the stages of life that the hero goes through - the devastation of the inner world of Dmitry Startsev.
The beginning The events of the story are connected with the hero’s arrival in the provincial town of S. Work that completely absorbs him, acquaintance with the Turkin family, an affair with Kotik that did not end in anything, the growth of his material interests, a new meeting with Kotik and the Turkin family and the final parting with them - these are the events and milestones that marked the ordinary, unremarkable life of Dmitry Startsev. Climax In the development of the hero's feelings and his relationship with Kotik, there is a scene of declaration of love, during which Startsev proposes to the girl. The denouement of the heroes' relationship follows their second explanation - they again and this time break up completely. Denouement taken outside the story - the author leaves the hero to live out his days among the inhabitants of the city of S.
When describing events and heroes, Chekhov resorts to the technique of repetition. The Turkins are shown several times in the story, and each time they still demonstrate “their talents cheerfully, with heartfelt simplicity.” The technique of repetition helps to emphasize the programmed nature of their existence. Repetitions when describing Startsev’s life, his work, communication with the Turkins and the inhabitants of the city of S. emphasize the changes that happened to him.
The motif of transformation runs through the entire narrative, defining composition works. Parts of the story correspond to the stages of Dmitry Startsev’s life, marking each subsequent stage of the hero’s devastation in life.
Startsev and Kotik.
In the spotlight writer There are two images - Dmitry Startsev and Ekaterina Turkina. The story of their relationship develops throughout the story and is built around two lyrical meetings, which most clearly characterize the motif of transformation, which is so significant for the author.
Both Startsev and Kotik go their own way. But the paths of the heroes differ significantly. Dmitry Startsev turns into Ionych (a common appeal to the hero by ordinary people). And the heroine from Kotik (a diminutive name that her relatives call the girl) becomes Ekaterina Turkina. Observing the changes of the heroes and the story of their love, we see that their paths are not paths of gain, but of loss.
The first meeting of the heroes occurs when Dmitry Startsev meets the Turkin family. Kitty, like everyone else in town C, lives according to her own pre-prepared program with the illusion that she is a talented pianist. Admired by the charm and spontaneity of youth, Startsev does not notice the girl’s shortcomings, her unfounded conviction in her talent.
The sympathy that arises in the hero is supported by his practicality and calculation (“And they must give a lot of dowry”), which together lead him to the idea of marriage. The story of Startsev's courtship is marked by a very important episode in the story of a meeting at a night cemetery, where the hero ends up at the whim of Kotik. This girl’s whim unexpectedly showed Startsev’s ability to see another world full of poetry, to touch the secret of eternal life. This night will forever remain in the memory of the hero.
The harmonious landscape, reflecting, on the one hand, Startsev’s state and revealing in him living feelings and sublime aspirations, at the same time warns him about the painful state of “dull melancholy of non-existence.” It is to this state that the author ultimately leads his hero.
The next part is the culmination of the development of the relationships between the heroes and the spiritual development of Startsev. We see how, overwhelmed with feelings, he proposes to Kotik and is refused. False illusions determine the heroine’s life at this stage. She is now unable to assess Startsev’s feelings. However, consolation surprisingly quickly comes to him after the refusal, involuntarily alarming the reader and indicating that irreversible changes have already begun to occur in the hero’s soul.
A new meeting between Kotik and Startsev shows heroes who have changed a lot since their last meeting. Dmitry Startsev has lost his previous dreams and aspirations, and Kitty has matured and understood a lot. Faced with real life, so different from the life in her mother’s novels, she became convinced of the falsity of many of her illusions. Now she is no longer Kotik, but Ekaterina Ivanovna. Her former self-confidence, her conviction in the correctness of her life are gone. programs. But she still had memories of the old Startsev, so passionate about his work, and his love, which she abandoned for a higher goal than to be the wife of an ordinary person and live an empty and meaningless life in the city of S. “When I thought about you, you seemed to me so ideal, sublime...” - these words of the heroine remind text from fictional novels. And we understand that this is her new illusion, which she is also destined to part with. In Ionych, an echo of past feelings flares up only for a moment, and this helps him realize the vulgarity and meaninglessness of existence. In the world where the heroes live, everyone expects spiritual degeneration, loss of hope, everyone is doomed to a meaningless and empty life.
The story of the transformation of Dmitry Startsev into Ionych.
The hero of Chekhov's story is a young zemstvo doctor, Dmitry Startsev. Throughout the story, changes occur with the hero, forcing readers to think about a lot. Who is to blame for such an unsuccessful life of the hero, for the transformation of Dmitry Startsev into Ionych? Is this story ordinary or exceptional?
The motif of transformation in the story is associated with the theme of time. Chekhov subjects his hero to a serious test of time, which has enormous power over people, forcing them to accept their laws, delaying and remaking them.
At the beginning of the story, Chekhov depicts a young man passionate about his work, who spends his time “in labor and solitude,” walks to work and receives patients even on holidays; he is full of strength and expectation of love and happiness. Startsev is interested in literature, art, beauty nature does not leave him indifferent. But a living person finds himself in an inanimate environment. At first he pays little attention to this, moreover, he has no initial rejection of this environment. Having got to the Turkins, he, along with other guests, happily communicates with them, although he cannot help but pay attention to some unnaturalness of their behavior. Startsev is busy with his work and has almost no time to communicate with the residents of the city of S. But over time, the narrow-mindedness and vulgarity of ordinary people begin to irritate him. Startsev's protest against their way of life and attempts to propagate high truths do not meet with understanding. His life program: “You have to work, you can’t live without work” does not suit those around him. Lonely and misunderstood, he withdraws into himself, for which he receives the nickname “inflated Pole.”
Over time, Startsev changes. He tries to treat city patients who pay him more; plays vint in the evenings and counts the money received from practice. A number of artistic details emphasize the changes occurring with the hero. The appearance of a carriage drawn by a pair of horses and a velvet vest for Panteleimon, and then a troika with bells testifies not only to the growth of Startsev’s well-being, but also symbolizes the stages of his spiritual decline. Dmitry Startsev turns into Ionych.
At the end of the story, the hero is rich and lonely. His life is monotonous, one day is similar to another. The main and only purpose of Ionych’s existence becomes acquisition - another type of “case”. He himself no longer tolerates any other people's opinions or objections. The hero has turned into something petrified, into a stupid and evil everyman whom he previously despised. Living feelings disappeared, everything that worried him in his youth, and other, imaginary values took their place. Neither work, nor love, nor lofty goals stopped the transformation of Startsev into Ionych. The Turkins remained as spiritually poor as they were, and Startsev degenerated. The immutability of the Turkins is terrible, but the human metamorphosis that happened to the hero is also terrible.
When did the transformation begin? Was it inevitable? Could the hero have prevented the changes that had begun? The most important question: “What determined the hero’s fate?” - leads us to the answer: “Wednesday.” The environment and circumstances contributed to the gradual degradation of Startsev, turning him into his opposite. Many writers of the 19th century addressed the problem of confrontation between man and the environment, showing how the environment disfigures, makes intelligent, extraordinary people unhappy, and does not allow them to realize themselves and find a purpose in life. Of course, the environment played an important role in changing the spiritual appearance of Chekhov's hero. She determined the forms and values of his life. But the influence of the environment alone does not exhaust the author’s thought in the story. There is something in the hero himself that does not stand the test of life and time. “How, in essence, Mother Nature plays bad jokes on man, how offensive it is to realize this!” These words echo Gogol’s lyrical digression about youth, which concludes the story about Plyushkin in “Dead Souls,” and the great old man’s call to preserve the human in himself; Chekhov leads the reader to the conclusion: what happened to Ionych can happen to anyone.
“Ionych” is a story about how difficult it is to remain human, about the relationship between illusions and reality, about the search for the meaning of life.
The author does not give direct assessments of the characters and what is happening, and does not offer any comforting saving recipes. It creates a certain mood in the reader, and we guess the author’s position, the writer’s attitude towards the depicted.
Literature. 10 grades : textbook for general education. institutions / T. F. Kurdyumova, S. A. Leonov, O. E. Maryina, etc.; edited by T. F. Kurdyumova. M.: Bustard, 2007.
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