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The image of Liza Muromtseva in the story “The Young Lady-Peasant Woman” by A. S. PushkinThe works that are included in the cycle of “Belkin's Tales” were created in one of the bright and joyful days of the poet. They are filled with sincere love for a person. The series of stories includes the work “The Young Lady-Peasant Woman”. The theme of the story is the development of the relationship between a girl and a young man who fell in love with each other. Lisa Muromtseva learns from the surrounding people in the estate about the beauty and mind of Berestov Jr. Their families have been at war with each other for a long time. But Lisa's interest is so great that she decides to take a rash step - she dresses up as a commoner in order to secretly look at her neighbor's son. Lisa is a bright and sincere girl. She has a sharp mind and a subtle soul. Like all young ladies of her age, romanticism is inherent in the young lady. In the village where the heroine lives, there are no secular entertainments, so the girl decides on an adventure. Turning into an ordinary peasant woman, she goes to the forest for mushrooms, although in fact Liza pursued other goals. When the young lady entered the forest, the comic mood disappeared somewhere. She felt the approach of something big and joyful in her life. Her heart was beating violently, and her blood froze in her veins. Lisa knew that the young gentleman must definitely come to the forest. Indeed, at this time, the owners of their district have a habit of going hunting. And indeed, young Berestov suddenly appeared, the girl struck up a conversation with him, during which sincere and bright feelings arose between them. Now our hero has forgotten about peace. The beauty and wit of the young peasant woman so sunk into his soul that he could no longer think of anyone else. Our heroine was also captivated by the nobility of the young man. Fate bound forever the souls and hearts of two people. Thus, Akulina (the heroine came up with such a new name for herself) and Alexei began to meet. The young master was more and more attracted by the immediacy and beauty of a new acquaintance. And Lisa coped very well with the role of a simpleton. As you can see, the girl skillfully reincarnated as a peasant woman, so Alexei did not have a drop of doubt about her sincerity. But the feelings of the heroine were not false. What at first seemed like light fun and a joke, over time turned into a serious feeling. But before young people there was an insurmountable barrier - this is social inequality, as it seemed to Berestov. For Lisa, there was also a disappointment - feuding families. After all, she knew that her proud father would never agree to marry her to the son of an enemy. So, young people did not talk about their sad thoughts, but they understood that it was not so easy for them to be together. Lisa could no longer stop her game. She did not know how to confess everything to the young man. Her inexperience and youth played a cruel joke on her. Berestov Jr. acutely felt the pain of a possible loss of the image of a dear person when his father spoke about marriage. He faced a choice - wealth and unloved, or poverty and joy of the heart. After all, a father disinherits his son if he marries a commoner. But

The character of a person is not determined at birth, it develops on the basis of natural data under the influence of the environment and society, manifesting itself especially clearly at turning points in life.
Pushkin does not give evaluative definitions to the characters of Berestov and Muromsky, Alexei and Lisa.
A confidently drawn life story of the characters, laconic lines of portraits, brief and capacious speech characteristics, including improperly direct speech, the very behavior of the characters in the current situation - all these are artistic means of creating characters in the story.
In fact, the time limits of the action of the Young Lady-Peasant Woman are defined. This is two or three months, starting from Nastya's visit to the cook's wife and up to the recognition scene. However, the boundaries are pushed apart when we restore the biographies of Muromsky and Berestov and, looking ahead, we see how two estates merge into one, two families - one rich, the other noble, and the old people nurse their grandchildren.

Ivan Petrovich Berestov

in his youth he served in the guards. Under Catherine II, service in the guards was a privilege of wealthy noble families. The guards have always been the backbone of the Empress. It is no coincidence that Berestov retires at the beginning of 1797, when, after the death of Catherine II, Paul I, who imposed the Prussian order in Russia, was on the throne. A young, passionate guardsman, Berestov, like most Russian people, does not want to obey Paul I, and his protest against the new order is expressed by a letter of resignation. Berestov at that time was about 30 years old, that is, he was born around 1767.
In 1801, Alexander I became emperor. Serfdom seemed unshakable. The nobility enjoyed all the privileges. The nobles understood that manufactories and factories were a profitable business, so the number of industrial enterprises in Russia increased significantly. Becoming the sole owner of the estate, Berestov was not satisfied with his parental home, but decided to build his own, according to his own plan (he had something to compare with - he served in St. Petersburg!). The money invested in the construction of the factory quickly returned, revenues tripled. The serfs did not have to be paid like hired laborers. Berestov became one of the richest landowners in the province, sent his son, who had grown up by that time, to study in the capitals, and then to the university (Göttingen University was the most popular among Russian students), he himself received guests, took care of horses, dogs, did not read anything, except for the Senate Gazette, he himself recorded the expense.
Out of attachment to everything domestic, Russian - or out of economy, bordering on stinginess, he wore a frock coat made of homemade cloth, but on weekdays he went in a plush jacket. It seemed that he was a hospitable host, but for the treat, the neighbors paid him loud praises for economic orders, agreed that he was the smartest person, did not interfere with his narcissism, portrayed humility, and then went to talk about Berestov of Murom and entertained Grigory Ivanovich's rage.
Of course, Berestov was a good host. Russian people said about such people: “The arrogance is noble, but the mind is peasant” (V. I. Dal). He knew the value of labor and time, he knew the value of money, and therefore he could not understand Muromsky's folly. Self-confidence allowed Ivan Petrovich to feel at home everywhere. He was accustomed to the fact that those around him listened to him, and did not particularly think about the mood of people.
In the first place in the value range of Berestov was welfare, the estate. He does not miss an opportunity to emphasize his wealth: in order to travel three miles, he harnesses six horses; stubborn Alexei, who does not want to marry Liza Muromskaya, is threatened with deprivation of inheritance. He looks at his son’s marriage as a bargain: “Grigory Ivanovich was a close relative of Count Pronsky, a noble and strong man; the count could be very useful to Alexei ... "
From the image of Berestov there are only a few steps to the image of Kirila Petrovich Troekurov. The main, most prominent, convex character trait of both is love for oneself.
If we conditionally divide the story, like a play, into five acts, then in the first two acts we see an allegedly pronounced conflict between Berestov and Murom.

Grigory Ivanovich Muromsky

was a close relative of Count Pronsky, had a significant fortune. Perhaps he was born in Moscow and, if he was a child, he rarely visited his estate. It was these people who did not know the value of labor and the time spent on work, who had no idea how bread would be born, carelessly squandered their fortune in the capitals, lost at cards, held balls (remember Father Eugene Onegin). Muromsky served, but probably not for long (“the old people remembered the old days and anecdotes of their service”). Perhaps he traveled abroad, where he became infected with Anglomania, that is, he became a passionate supporter of all things English.
In Moscow, his daughter was born and grew up. After the death of his wife, Muromsky left with his daughter for his village. His “pranks” are the English garden, the costumes of English jockeys on the grooms, the maintenance of “Madame Miss Jackson”, who “received ... two thousand rubles and died of boredom in this barbarian Russia, all this turned into new debts, besides, the peasants of the estate, mortgaged by Grigory Ivanovich to the Board of Trustees, had to pay interest on the amount that the landowner safely spent. The peasants went bankrupt, and the neighbors admired how Muromsky loves and pampers his daughter, whom he left without an inheritance, in fact with only debts (“... all her mother’s diamonds, not yet pawned in the pawnshop, shone on her fingers, neck and ears” ). In addition, he never tried to penetrate her inner world. All actions incomprehensible to him, he interpreted in a way convenient for himself: after Lisa's first early walk, he talks about "the principles of human longevity, gleaned from English magazines"; after dressing Lisa for dinner, he asks her a question and, without waiting for an answer, advises her daughter to use whitewash.
Just as Berestov does not see and does not understand his son, so Muromsky sees in Lisa only a naughty and naughty Betsy. But if Berestov looks like the industrious Krylovsky Ant, then his neighbor glides through life like a Moth. This sliding, the habit of avoiding serious problem solving, carelessness and irresponsibility are also manifested in his speech. ("What, are you out of your mind? - objected the father, - how long ago did you become so shy, or do you harbor hereditary hatred for them, like a romantic heroine?")
We see the same thoughts of Muromsky about Lisa's marriage: “... upon the death of Ivan Petrovich, all his estate will pass into the hands of Alexei Ivanovich; that in this case Alexei Ivanovich would be one of the richest landowners in that province, and that there was no reason for him not to marry Lisa. Muromsky's thought about of death neighbor contributed to the transformation of acquaintance into friendship!
Just as easily as with financial matters, Muromsky treats matters of the heart: “... if Alexei is with me every day, then Betsy will have to fall in love with him. It's okay. Time will take care of everything." Grigory Ivanovich wants to get rid of his daughter as soon as possible, because the heaviest burden is the burden of responsibility.
Pushkin himself, thanks to the narrator - Belkin, does not give a direct assessment of the life of an "educated European", only once with sober eyes - the eyes of Alexei - we see Muromsky as simply a "narcissistic Angloman", and Berestov - "prudent landowner".
So, the life positions of Berestov and Muromsky are built on the same platform - self-love. It was this, and not the "shyness of a short filly" that caused the feud "old and deeply rooted" to end. Was there any hostility? It could not be ancient, Muromsky did not live in Priluchino for so long, and the neighbors portrayed its depth, zealous in conveying the words of one landowner to another.
The author parodies the theme of the enmity of the fathers, popular thanks to W. Shakespeare, and therefore uses so many words suddenly, unexpectedly, hatred, adversary and promising "suddenly found himself at a distance of a pistol shot." But the enmity is inflated by the neighbors and bursts like a soap bubble at the first meeting of the two landowners.
It should be noted that in "Dubrovsky" the conflict is already real, it is based on the independence of one and the lust for power of another neighbor.
Berestov and Muromsky are two typical representatives of the nobility of the early 19th century, their images will be continued in the heroes of I. S. Turgenev, L. N. Tolstoy, I. A. Goncharov and I. A. Bunin.

Alexey Berestov.

In the 19th century, the relative speed of the flow of time intensifies even more, and long before I. S. Turgenev, A. S. Pushkin outlines the theme of the conflict between fathers and children. Ivan Petrovich Berestov, reading the Senate Gazette on his estate, has no idea what the life of a student of *** university is filled with. The father is a monolithic figure, frozen in his habits. In Alexey, we can distinguish and single out several subpersonalities, each of which lives, as it were, its own life, at the same time they form a single whole.
Alexei the hussar. His father doesn't let him join the military, but Alexei keeps his mustache just in case. “Alexey was, in fact, well done. It would really be a pity if his slender figure never pulled off a military uniform and if, instead of showing off on a horse, he spent his youth bending over stationery.
Alexei is a mysterious melancholic, brought new fashion from the capitals to the provinces. “He was the first to appear before them gloomy and disappointed, the first to tell them about lost joys and about his faded youth; moreover, he wore a black ring with the image of a dead head.
How it looks like:

Lensky was sincere in his songs. Aleksey, however, chose this role for himself only when it seemed necessary to him: “He decided that cold absent-mindedness, in any case, was most decent.”
Alexey-barin.“Surprisingly good,” Nastya says about him, “handsome, one might say. Slender, tall, blush all over his cheek ... ”He is“ accustomed to not stand on ceremony with peasant women and courtyard girls and behaves not like a gentleman, but like a spoiled barchuk.
Alexey son he knows well the disposition of his father, who, if he “takes it into his head, then, in the words of Taras Skotinin, you won’t even knock him out with a nail,” therefore, in a conversation with his father, he assumes the pose of a respectful son and prefers to look obedient to his father’s will, until he do not take for a living.
Alexei the Goettingen. In Germany, at the University of Göttingen, then the color of the Russian nobility studied. There they talked about philosophy, about freedom and enlightenment of the people, read progressive literature, thought about duty and honor. Alexei, starting to teach Akulina to read and write, was surprised: “Yes, our studies are going faster than according to the Lancaster system.” The Bell-Lancaster system of mutual learning, when senior successful students (monitors) under the guidance of a teacher conducted classes with the rest of the students, became known in Russia since 1818.
This system was considered progressive, and it was used by the Decembrists to spread literacy among the soldiers. Alexei's acquaintance with this system speaks of his connection with the advanced, educated nobility.
For the third lesson, Alexey brings Akulina “Natalia, the boyar daughter” by N. M. Karamzin. This is a historical idyll in a sentimental and romantic spirit - a story about two lovers, whose life is inextricably linked with the fate of the state. The books of N. M. Karamzin were hardly kept in the library of old Berestov. Karamzin was an entire era of Russian literature, an idol for young poets. The idea of ​​his work was "to elevate the dignity of man in our fatherland" ("Once upon a time there was a good king in the world").
Alexei (the main character of "Natalia, the Boyar's Daughter" is also Alexei) and Lisa are reading about the movements of the human heart. Liza may have already been familiar with the book and thought a lot about it, for her remarks "truly" astonish Alexei.
The subtext of the story is the connection between the relationship between Alexei and Akulina with the plot of “Poor Lisa” by Karamzin, where the nobleman Erast seduces the pure-hearted peasant woman Lisa. At some points, Erast seeks to go beyond the feudal morality of the society around him. Alexey finds satisfaction in the fact that his relationship with Akulina does not look like seduction, that he has never broken his word, that he is educating his beloved: “Akulina apparently got used to the best way of speaking, and her mind noticeably developed and formed.
Alexei is free to enter into any of his roles. Not a single mask has yet grown to him, he "... was a kind and ardent fellow and had a pure heart, capable of feeling the pleasures of innocence."
Aleksey appears to us sincere and amazed after his father's words about marriage. The state of shock passes, and during several subsequent remarks, Alexei is choosing a role, a variant of behavior. He has not yet fully emerged from the image of an obedient son and cannot justify his refusal, but in his room, thinking "about the limits of parental power", he makes an attempt to sort out his feelings and decides to explain himself to Muromsky and marry a peasant woman. And the feeling of satisfaction brings him not so much the idea as the very fact of making a decision. But the decision to marry a peasant woman is not subjected to the test of life, since the peasant woman turns out to be imaginary. The conflict with the father also loses its ground.
Why is Pushkin the psychologist showing us a string of Alexei's subpersonalities? Alexei is a hussar, a fashionable melancholic, a young gentleman, an obedient son, a kind fellow, an educated Goettingenian. To this list, one can also add the potential image of an official, a person in the civil service, about whom we know that he will not “jump headlong”.
In Alexei, there are potential beginnings of all the paths that the Russian nobility will follow in the future. Pushkin leaves the story's finale open: we don't know which road Alexey will take. We can safely say that "The Young Lady-Peasant Woman" is in fact a story filled with epochal life content. Putting this story at the end of the entire Belkin Tales cycle, Pushkin, as it were, asks the Russian society a question: where will we go? What will we be? What kind of life shall we make?
Few contemporaries understood the depth of the story, and the history of Russia became the answer to Pushkin's questions.

Image Liza Muromskaya

has always attracted researchers. Attention was drawn to the number of masks to be replaced: Lisa, Betsy, Akulina.
A masquerade is a place where everyone can show their essence without fear of being recognized. They participate in a masquerade in order to be able to be themselves, if the circumstances of everyday life do not allow the human essence to be realized.
Alexey throughout the story does not change his appearance, but appears before us in different guises. Lisa, changing masks, does not change the main idea - the idea of ​​trusting and tender - feminine - love.
Lisa - noblewoman, but there is no aristocratic arrogance in it, as in Marya Kirilovna Troekurova. She talks with pleasure with Nastya, enters into the affairs and concerns of the village girls, knows how to speak the local dialect and does not consider it shameful for herself to put on a thick shirt and a sundress made of blue Chinese.
Lisa is an orphan. Mother will not help her with advice. The father, having hired Miss Jackson, believes that he did everything for her upbringing. Miss Jackson, in turn, does not bother her with her instructions. Thus, her life, like a river, flows whimsically and freely, not driven into the granite banks of secular conventions. She is a county young lady, but she does not blindly repeat the fashion of metropolitan magazines. The county news was too simple and vain, they could not occupy all of Liza's leisure time.
And Lisa read quite thoughtfully.
Among the stories of N. M. Karamzin, “Poor Liza” enjoyed the greatest popularity. Pushkinskaya Liza knows this story quite well and completely agrees with the idea that "peasant women know how to love." Thinking about deceived love and the melodramatic death of poor Lisa, Liza Muromskaya wants to affirm justice, "to see the Tugilov landowner at the feet of the daughter of the Priluchinsky blacksmith." It was important that a woman triumph over a man, it was important that before love, unshakable class prejudices crumble to dust. “... Ways to please in a man depend on fashion, on a momentary opinion, and in women they are based on feeling and nature, which are eternal,” wrote A. S. Pushkin in “The Novel in Letters”.
Perhaps the issue of fidelity in love is especially painful for a man. As a girl in the capital, Liza saw a lot that she could comprehend, left alone with herself in Priluchino.
For Lisa, Alexei's loyalty to the peasant woman Akulina was very significant. She was smart, she saw real life, without powder and languid passion, and she wanted to be her husband a man who would love her and remain faithful to her.
The first disguise was caused by natural female curiosity. Dressing up is a favorite technique of the comedy tradition. But curiosity is the main feature of a provincial girl. The second dressing was necessary to maintain the existing relationship. Thoughts about the morality of her meetings with Alexei disturbed her, but not for long: youth and love triumphed, Alexei and Akulina were quite happy today.
In our time, at the beginning of the XXI century, the ability to be happy is very rare. The reason for this is increased anxiety, uncertainty about the future, and as a result, a constant state of aggression. Aggression is incompatible with a state of happiness, that is, acceptance of the world as it is, awareness of oneself as part of this world. Happiness is integrity, harmony with oneself and the world. Few know this state now. It was available to Lisa and Alexei.
Liza, in conversations with Alexei, honestly tries to play the role of a peasant woman. She speaks the local dialect, but uses expressions that were inherent only in the speech of people of the nobility, sometimes she speaks as, according to N. M. Karamzin, a peasant woman should speak. “I don’t need an oath,” the imaginary Akulina repeats after poor Liza, the heroine of Karamzin. And just like Karamzin's Lisa, Akulina complains about her illiteracy.
A. S. Pushkin's contemporaries, who knew well the then few works of Russian literature, perfectly heard the author's hidden ironic polemics with sentimentalists regarding how the people should be portrayed.
Lisa at N.M. Karamzin says to Erast: “Ah, why can’t I read or write! You would notify me of everything that happens to you, and I would write to you - about my tears!
Pushkin’s Lisa is real and concrete: “However,” she said with a sigh, “even though the young lady may be funny, I’m still an illiterate fool in front of her.”
In the cycle of Belkin's Tales, A. S. Pushkin repeatedly addresses the issue of women's right to choose their own path in life. At the time of Pushkin, there was no opportunity for a woman to get an education, only men were admitted to universities, although women had already proved that they were not mind-numbing. Princess E. R. Dashkova, Catherine II, and Pushkin’s heroine Lisa astound the Göttingen Alexei with the subtlety of his remarks!
Literature and art were dominated by men. The appearance of a woman in a public position was virtually impossible, and doing business ... It was impossible to even think about it!
The young lady had only one way, approved by society: to marry and become a mother.
The wedding of Lisa and Alexei, decided in advance by their fathers, turned out to be desirable for the children as well - a rare coincidence.
In The Young Lady-Peasant Woman, in subtle parody, in a fascinating masquerade, in the dynamics of the scenes, plots are hidden that could become the beginning of tragedies. If the enmity of the fathers had been ineradicable, the fathers would not have reconciled, a story would have arisen based on the great tragedy of W. Shakespeare, similar in plot to Dubrovsky. If young people did not have strong feelings for each other and their fathers would marry them by force, then plots similar to Leo Tolstoy's Anna Karenina would arise. If Aleksey turned out to be a seducer like Erast, and Akulina really was a peasant woman, then collisions would arise similar to Leo Tolstoy's Resurrection.
A. S. Pushkin masterfully completes the story, but the happy ending does not remove the question posed by N. M. Karamzin. From now on - and forever - Russian writers write about a Russian woman whose soul is based on love.
Another Pushkin's Lisa (Roman in Letters) writes to her friend about a common acquaintance: "Let him embroider new patterns on the old canvas and present us in a small frame a picture of the world and the people he knows so well." Alexander Sergeevich Pushkin embroidered new patterns on the old canvas in The Young Lady-Peasant Woman and presented a picture of the great world and the people whom he knew and loved so well in a small frame.

LISA MUROMSKAYA

LISA MUROMSKAYA(Betsy, Akulina) is the seventeen-year-old daughter of the Russian Angloman lord Grigory Ivanovich, who squandered and lives far from the capitals on the Priluchino estate. Having created the image of Tatyana Larina, Pushkin introduced the type of county young lady into Russian literature. Liza Muromskaya belongs to this type. She also draws knowledge about secular life (and about life in general) from books, but her feelings are fresh, her feelings are sharp, and her character is clear and strong.

Her father calls her Betsy; Madame Miss Jackson is assigned to her (playing on the French-English tautology); but she feels herself to be precisely the Russian Lisa of Murom, just as her future lover, the son of the emphatically Russian landowner Alexei Berestov (see article), feels himself to be a character in the latest English literature. At the same time, they are built into the frame of the "Shakespearean" plot - the parents of young people are at enmity, like the families of Romeo and Juliet. This means that Lisa is separated in advance from Alexei, who has just arrived at his father's estate, by two "borders". The rules of decency do not allow you to get acquainted with an outsider; the conflict of fathers excludes the possibility of a "legal" meeting. Rescues the game; having learned that her maid Nastya easily goes to Tugilovo in Berestovo (“the gentlemen are in a quarrel, and the servants treat each other”), Liza Muromskaya immediately comes up with a move that allows her to escape from the limits of the “Shakespearean” plot into the space of the pastoral plot. The fact that this “move”, in turn, repeats the traditional comedic disguise of a young lady as a peasant woman (the closest source is Marivaux’s comedy “The Game of Love and Chance” and Ms. changes; on someone else's "canvas" Pushkin embroiders his "patterns" - as life itself every time embroiders new "patterns" of human feelings on the canvas of familiar circumstances.

Disguised as a peasant woman, Liza appears in the Tugilov grove, where a young master walks with a dog; her natural brownness is akin to the tan of the common people; Alexei believes that in front of him is Akulina, the daughter of Vasily the Blacksmith. (The name Akulina is not only parodically contrasted with the home nickname "Betsy", but also alludes to the mysterious "Akulina Petrovna Kurochkina", to whom Aleksey writes "romantic" letters.) Liza easily copes with the role (she even forces Berestov to "learn" her to read and write), for with all the conventionality, all the theatricality of dressing up, this role is akin to her. The difference between a Russian peasant woman and a Russian district young lady is purely class; both are nourished by the juices of national life. The role of the “disguised noblewoman” itself is of European origin (for sources, see above). But it is not important; It is no coincidence that Pushkin disguises "foreign" sources, pointing the reader to the closest Russian parallels. The very name of the heroine suggests a “peasant” turn of the plot: “peasant women know how to love” (N. M. Karamzin, “Poor Liza”). This is not enough; the writer forces the imaginary peasant woman Lisa to read to Alexei in warehouses another story by H. M. Karamzin - “Natalya, the boyar daughter”; he quietly chuckles at the resulting ambiguity.

But it is not for nothing that the epigraph from the poem “Darling” by I. F. Bogdanovich was prefaced to the story: “You, Dushenko, are good in all your outfits.” Circumstances (the parents of young people suddenly reconciled; the elder Berestov and his son are visiting Priluchino; Alexei must not recognize Lisa of Murom - otherwise the intrigue will self-destruct) force Lisa to play a completely different role. The young lady, who until now played the role of a lively Russian peasant woman, takes on a “foreign” appearance in the taste of the French 18th century. (the swarthyness is hidden by whitewash; the curls are fluffed up like the wig of Louis XIV, the sleeves are like mme de Pompadour's tans). Her goal is to remain unrecognized and not to please Alexei, and this goal has been fully achieved. However, the author (and reader!) still likes it; any dressing up, any game masks only set off the unchanging beauty of her soul. Russian soul, simple, open and strong.

The plot quickly moves to a happy denouement: the parents are leading the business to the wedding; frightened Alexey is ready to ignore the class difference and marry a "peasant woman". In the last scene, he bursts into the room of the "young lady" Liza Muromskaya to explain to her why he cannot, should not become her husband. He bursts in and finds "his" Akulina, "dressed" in a noble dress and reading his own letter. The boundaries of the game and life are shifting, everything is getting confused, the situation of the story "The Snowstorm" is repeated (see article): the hero must announce to the heroine the reasons that make their marriage impossible - and finds himself at the feet of his bride. (It is no coincidence that both stories were told to Belkin by “the K.I.T. girl.”)

“The travesty situation (a young lady dressed as a peasant woman) is travestied a second time: Alexei behaves with Akulina as with a “lady”, and she answers him with a French phrase. All this is almost parodic - and at the same time serious, because here the socially familiar language of genuine feelings speaks. (V. E. Vatsuro). The epigraph prefaced to the whole cycle ("<…>Mitrofan for me") and at first associated only with the image of the ingenuous narrator Ivan Petrovich Belkin, finally extends to all the characters of the "Boldino fables", excluding Silvio from "The Shot".

Literature:

Altman M.S."A young lady - a peasant woman": Pushkin and Karamzin / / Slavia. 1931. Roc. 10.

Vatsuro V. E. Belkin's stories // Vatsuro V. E.

Literature (to the section "Tales of the late Ivan Petrovich Belkin"):

Berkovsky N. Ya. About "Belkin's stories": (Pushkin of the 30s and questions of nationality and realism) // Berkovsky N. Ya. Articles about the literature. M., 1962.

Vatsuro V. E."Tales of Belkin" // Vatsuro V. E. Commentator's Notes. SPb., 1994.

Vinogradov V.V. Pushkin's style. M., 1941.

Gippius V.V. Belkin's stories // Gippius V.V. From Pushkin to Blok. M.; L., 1966.

Petrunina H. N. Pushkin's Prose: Ways of Evolution / Ed. D. S. Likhachev. L., 1987.

Khalizev V. E., Sheshunova S. V. Literary reminiscences in Belkin's Tales // Boldin Readings. Gorky, 1985.

Shmid V., Chudakov A. P. Prose and poetry in Belkin's Tales // Izvestia / USSR Academy of Sciences. Ser. lit. and yaz. 1989. No. 4.

Schmid V. Prose and poetry in Belkin's Tales // Schmid V. Prose as Poetry: Art. about narration in Russian. lit. SPb., 1994.

Yakubovich D.P. Reminiscences from Walter Scott in Belkin's Tales // Pushkin and his contemporaries. L., 1928. Issue. 37.

Schmid W. Prosa in poetischer Lekt?re: Die Erz?hlungen Belkins. Munich, 1991.