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Lecture notes, cheat sheets
Brief summary of works of Russian literature of the first half of the 1899th century. Vladimir Vladimirovich Nabokov 1977-XNUMX
Directory / Lecture notes, cheat sheets Table of contents (expand) Vladimir Vladimirovich Nabokov 1899-1977 Masha - Roman (1926) Spring 1924 Lev Glebovich Ganin lives in a Russian pension in Berlin. In addition to Ganin, mathematician Alexei Ivanovich Alferov lives in the boarding house, a man "with a thin beard and a shiny plump nose", "an old Russian poet" Anton Sergeevich Podtyagin, Clara - "a full-breasted, all in black silk, a very comfortable young lady", working as a typist and in love with Ganina, as well as ballet dancers Kolin and Gornotsvetov. "A special shade, mysterious affectation" separates the latter from other boarders, but, "speaking in conscience, one cannot blame the pigeon happiness of this harmless couple." Last year, upon his arrival in Berlin, Ganin immediately found a job. He was a worker, and a waiter, and an extra. The money he has left is enough to leave Berlin, but for this he needs to break with Lyudmila, the connection with which has been going on for three months and he is rather tired of it. And how to break, Ganin does not know. Its window overlooks the railroad track, and therefore "the opportunity to leave teases relentlessly." He announces to the hostess that he will leave on Saturday. Ganin learns from Alferov that his wife Masha is coming on Saturday. Alferov takes Ganin to his place to show him photographs of his wife. Ganin recognizes his first love. From that moment on, he is completely immersed in the memories of this love, it seems to him that he is exactly nine years younger. The next day, Tuesday, Ganin announces to Lyudmila that he loves another woman. Now he is free to remember how nine years ago, when he was sixteen years old, while recovering from typhus in a summer estate near Voskresensk, he created a female image for himself, which he met in reality a month later. Mashenka had "a chestnut braid in a black bow", "Tatar burning eyes", a swarthy face, a voice "mobile, burry, with unexpected chest sounds". Masha was very cheerful, loved sweets. She lived in a dacha in Voskresensk. Once, with two friends, she climbed into a gazebo in the park. Ganin spoke to the girls, they agreed to go boating the next day. But Mashenka came alone. They began to meet every day on the other side of the river, where an empty white manor stood on a hill. When, on a black stormy night, on the eve of leaving for St. Petersburg for the beginning of the school year, he met her for the last time at this place, Ganin saw that the shutters of one of the windows of the estate were slightly open, and a human face was pressed against the glass from the inside. It was the caretaker's son. Ganin broke the glass and began to "beat his wet face with a stone fist." The next day he left for Petersburg. Mashenka moved to St. Petersburg only in November. The "snow age of their love" has begun. It was difficult to meet, it was painful to wander in the cold for a long time, so both remembered the summer. In the evenings they talked for hours on the phone. All love requires solitude, and they had no shelter, their families did not know each other. At the beginning of the new year, Mashenka was taken to Moscow. And strangely, this separation turned out to be a relief for Ganin. In the summer Mashenka returned. She called Ganin at the dacha and said that her father had never wanted to rent a dacha in Voskresensk again and she now lives fifty versts from there. Ganin went to her on a bicycle. Arrived after dark. Mashenka was waiting for him at the gates of the park. "I'm yours," she said. "Do whatever you want with me." But strange rustles were heard in the park, Mashenka lay too humbly and motionless. "It seems to me that someone is coming," he said and got up. He met Mashenka a year later on a country train. She got off at the next station. They didn't see each other again. During the war years, Ganin and Mashenka exchanged affectionate letters several times. He was in Yalta, where "a military struggle was being prepared", it is somewhere in Little Russia. Then they lost each other. On Friday, Colin and Gornotsvetov, on the occasion of receiving an engagement, Clara's birthday, Ganin's departure, and Podtyagin's supposed departure for Paris, decide to arrange a "feast". Ganin and Podtyagin go to the police department to help him with a visa. When the long-awaited visa is received, Podtyagin accidentally leaves his passport on the tram. He has a heart attack. The festive dinner is not fun. The pull-up becomes bad again. Ganin waters the already drunk Alferov and sends him to bed, while he himself imagines how he will meet Mashenka at the station in the morning and take her away. Having collected his things, Ganin says goodbye to the boarders sitting at the bedside of the dying Podtyagin, and goes to the station. There is an hour left before Masha's arrival. He sits down on a bench in the square near the station, where four days ago he recalled typhus, the estate, Mashenka's foreboding. Gradually, "with merciless clarity," Ganin realizes that his affair with Mashenka is over forever. "It lasted only four days - these four days were, perhaps, the happiest times of his life." The image of Mashenka remained with the dying poet in the "house of shadows". And there is no other Mashenka and cannot be. He waits for an express from the north to pass over the railway bridge. He takes a taxi, goes to another station and boards a train going to the southwest of Germany. Protection of Luzhin - Roman (1929-1930) By the end of the summer, ten-year-old Luzhin's parents finally decide to tell their son that after returning from the village to St. Petersburg, he will go to school. Fearing the impending change in his life, before the train arrives, little Luzhin runs away from the station back to the estate and hides in the attic, where, among other uninteresting things, he sees a chessboard with a crack. The boy is found, and a black-bearded peasant carries him from the attic to the carriage. Luzhin Sr. wrote books, they constantly flashed the image of a blond boy who became a violinist or painter. He often thought about what might come out of his son, whose uncommonness was undeniable, but unrevealed. And the father hoped that his son's abilities would be revealed at the school, which was especially famous for its attentiveness to the so-called "inner" life of students. But a month later, the father heard coldish words from the teacher, proving that his son was understood at school even less than he himself: "The boy undoubtedly has abilities, but there is some lethargy." During breaks, Luzhin does not participate in common childish games and always sits alone. In addition, peers find strange fun in laughing at Luzhin about his father's books, calling him by the name of one of the heroes Antosha. When parents pester their son at home with questions about school, a terrible thing happens: he knocks over a cup and saucer on the table like a madman. Only in April does the day come for the boy when he has a hobby on which his whole life is doomed to focus. At a musical evening, a bored aunt, his mother's second cousin, gives him a simple chess lesson. A few days later at school, Luzhin watches a chess game of classmates and feels that he somehow understands the game better than the players, although he does not yet know all its rules. Luzhin begins to miss classes - instead of school, he goes to his aunt to play chess. So the week goes by. The caregiver calls home to find out what's wrong with him. Father answers the phone. Shocked parents demand an explanation from their son. He is bored to say anything, he yawns, listening to his father's instructive speech. The boy is sent to his room. The mother weeps and says that both father and son are deceiving her. The father thinks with sadness about how difficult it is to fulfill his duty, not to go where he is irresistibly drawn, and then there are these oddities with his son ... Luzhin wins over the old man, who often comes to his aunt with flowers. Faced with such early abilities for the first time, the old man prophesies to the boy: "You will go far." He also explains a simple system of notation, and Luzhin, without figures and a board, can already play the parts given in the magazine, like a musician reading a score. One day, the father, after explaining to his mother about his long absence (she suspects him of infidelity), invites his son to sit with him and play, for example, chess. Luzhin wins four games against his father, and at the very beginning of the last one he comments on one move in an unchildlike voice: "Worst answer. Chigorin advises taking a pawn." After his departure, the father sits thinking - his son's passion for chess amazes him. "She encouraged him in vain," he thinks of his aunt, and immediately recalls his explanations with his wife with longing... The next day, the father brings a doctor who plays better than him, but the doctor also loses game after game to his son. And from that time on, the passion for chess closed the rest of the world for Luzhin. After one club performance, a photograph of Luzhin appears in the capital's magazine. He refuses to go to school. He is being asked for a week. Everything is decided by itself. When Luzhin runs away from home to his aunt, he meets her in mourning: "Your old partner is dead. Let's go with me." Luzhin runs away and does not remember if he saw the dead old man in the coffin, who once beat Chigorin - pictures of external life flash in his mind, turning into delirium. After a long illness, his parents take him abroad. Mother returns to Russia earlier, alone. One day, Luzhin sees his father in the company of a lady - and is very surprised that this lady is his St. Petersburg aunt. A few days later they receive a telegram about the death of their mother. Luzhin plays in all major cities of Russia and Europe with the best chess players. He is accompanied by his father and Mr. Valentinov, who organizes tournaments. There is a war, a revolution, which entailed legal expulsion abroad. In the twenty-eighth year, sitting in a Berlin coffee shop, the father suddenly returns to the idea of a story about a brilliant chess player who must die young. Prior to this, endless trips for his son did not make it possible to realize this plan, and now Luzhin Sr. thinks that he is ready for work. But a book thought out to the smallest detail is not written, although the author presents it, already finished, in his hands. After one of the country walks, getting wet in the downpour, the father falls ill and dies. Luzhin continues tournaments around the world. He plays with brilliance, gives sessions and is close to playing the champion. At one of the resorts where he lives before the Berlin tournament, he meets his future wife, the only daughter of Russian emigrants. Despite Luzhin's vulnerability to the circumstances of life and outward clumsiness, the girl guesses in him a closed, secret artistry, which she attributes to the properties of a genius. They become husband and wife, a strange couple in the eyes of everyone around them. At the tournament, Luzhin, ahead of everyone, meets with his old rival Italian Turati. The game is interrupted in a draw. From overexertion, Luzhin falls seriously ill. The wife arranges life in such a way that no reminder of chess bothers Luzhin, but no one can change his sense of self, woven from chess images and pictures of the outside world. Valentinov, who has disappeared for a long time, calls on the phone, and his wife tries to prevent this man from meeting Luzhin, referring to his illness. Several times his wife reminds Luzhin that it is time to visit his father's grave. They plan to do so soon. Luzhin's inflamed brain is busy solving an unfinished game against Turati. Luzhin is exhausted by his condition, he cannot free himself for a moment from people, from himself, from his thoughts, which are repeated in him, like moves once made. Repetition - in memories, chess combinations, flickering faces of people - becomes for Luzhin the most painful phenomenon. He "goes mad with horror before the inevitability of the next repetition" and comes up with a defense against a mysterious adversary. The main method of defense is to deliberately, voluntarily, perform some absurd, unexpected action that falls out of the general regularity of life, and thus confuse the combination of moves conceived by the opponent. Accompanying his wife and mother-in-law shopping, Luzhin comes up with an excuse (a visit to the dentist) to leave them. “A little maneuver,” he grins in the taxi, stops the car and walks. It seems to Luzhin that he has already done all this once. He enters the store, which suddenly turns out to be a ladies’ hairdresser, in order to avoid a complete repetition with this unexpected move. At the house Valentinov is waiting for him, offering Luzhin to star in a film about a chess player, in which real grandmasters participate. Luzhin feels that cinema is an excuse for a repetition trap in which the next move is clear... “But this move will not be made.” He returns home, with a concentrated and solemn expression, quickly walks through the rooms, accompanied by a crying wife, stops in front of her, lays out the contents of his pockets, kisses her hands and says: "The only way out. You have to drop out of the game." "We will play?" the wife asks. Here come the guests. Luzhin locks himself in the bathroom. He breaks the window and crawls through the frame with difficulty. It remains only to let go of what he is holding on to - and he is saved. There is a knock on the door, the wife's voice is clearly heard from the neighboring bedroom window: "Luzhin, Luzhin." The abyss below him splits into pale and dark squares, and he lets go of his hands. “The door was kicked in. “Alexander Ivanovich, Alexander Ivanovich?” several voices roared. But there was no Alexander Ivanovich." Camera Obscura - Roman (1932-1933) 1928 Berlin. Bruno Kretschmar, a successful connoisseur of painting, who has a wife Anneliese and a daughter Irma and has never cheated on his wife for nine years of marriage, is suddenly carried away by a stranger whom he meets in the cinema. She works there as an attendant. Her name is Magda Petere. She was sixteen years. She is from a poor family. The father is old and sick. The mother is always ready to hit her or her brother Otto, who is three years older than Magda. Parents reproached Magda with parasites, and she runs away from them to an elderly lady Lewandowska and begins to work as a model. Magda herself dreams of becoming an actress. Lewandowska is trying to set her up with a gentleman who called himself Muller. Since they like each other, Magda willingly runs away with him. He leaves in a month. Magda at first wanted to commit suicide, but then changed her mind. After Muller there were some Japanese, a fat old man "with a nose like a rotten pear." Magda is trying to find a place for an actress, but to no avail. The landlady arranges for her to work in a movie theater. Here she is met by Krechmar. Krechmar marvels at his duality: on the one hand, "indestructible tenderness" for his wife, on the other, the desire to meet Magda. Magda finds out his phone number and calls him. Krechmar is horrified: his wife could pick up the phone. He forbids Magda to call and offers her to rent an apartment. Magda, of course, accepts the offer, but does not stop calling. One day, the telephone operator accidentally connects Max - Anneliese's brother - with Kretschmar during his conversation with Magda. Max is stunned and immediately hangs up. He doesn't say anything to Anneliese. Krechmar goes to see the apartment that Magda has rented. Magda confesses to him that she sent him a letter with a new address. This is a blow to Kretschmar: his wife always reads his letters, because they had no secrets from each other. He understands that it's all over. The letter cannot be returned. He stays with Magda. Anneliese and her daughter move in with Max. Kretschmar cannot afford to let Magda into his apartment, so he moves in with her. He writes a letter to his wife saying that he still loves her and asks for forgiveness. However, there is no talk of his return. Magda attracts him, despite her vulgarity and gross shamelessness. When Magda's brother appears and demands money from her for keeping quiet about her past, Kretschmar kicks him out. Krechmar is jealous of Magda. Magda is so afraid of losing everything that Krechmar gave her that she does not dare to start any novels. Magda soon starts demanding they move to Kretschmar's old apartment. He succumbs to persuasion. They are moving. Kretschmar promises to get a divorce and marry Magda, but in fact the thought of a divorce horrifies him. Magda persuades him to finance the film, where she is promised a second female role. The film is vulgar, stupid, but Kretschmar gives money for it: if only Magda was happy. At one of Krechmar's dinners, the American Horn appears, in whom Magda recognizes the man because of whom she wanted to give up her life. Gorn also recognizes Magda. Passion flares up again. However, everything is kept secret, since Magda is not going to lose Krechmar's money, and Horn has only unpaid debts. Robert Horn is a cartoonist who believes that the funniest things in life are based on subtle cruelty. Kretschmar's daughter Irma suddenly falls ill with the flu. She can no longer recover. Krechmar, whom Max went for, finds the last day of his daughter's life. She dies with him. While he is saying goodbye to his daughter, Magda is cheating on him with Gorn. The film, in which Magda starred, is finally finished. At the viewing, the whole audience laughs at Magda: she plays so disgustingly. At home, Magda throws a tantrum and once again demands that Kretschmar marry her. He promises, but divorce is unthinkable for him. Magda and Gorn meet almost every day, having rented an apartment for these meetings. Krechmar and Magda go on a trip to Europe. Instead of a driver, Gorn rides with them. In France, they stay at a hotel in adjoining rooms connected by a shared bathroom. Magda, pretending to bathe, gets the opportunity to meet with Gorn. So two weeks go by. Returning from one of their walks by a suburban train, they fall into different cars. Kretschmar's friend, the writer Zegelkrantz, gets into the carriage with Magda and Gorn. Gathering material for a new novel, he records the conversation between Magda and Gorn and places it almost verbatim in his novel. A few days later, by a mountain stream, Segelkrantz reads this novel to Kretschmar, because he does not know that this couple is familiar to him. Krechmar rushes to the hotel: he wants to kill Magda. But she swears to him that Gorn is not interested in women. Krechmar believes her, but demands to leave immediately. He himself drives the car along a winding mountain road. Because his eyes are filled with tears, he can't handle the controls. They get into an accident. Magda escapes with a slight fright, and Kretschmar goes blind. Magda and Gorn are going to live together, taking advantage of the blindness of Krechmar, whose money they do not intend to lose. Magda rents a two-story cottage near Berlin. That's where the three of them go. Magda and Gorn meet with great caution, but then Gorn begins to act openly, although he does not speak. Krechmar constantly hears steps, coughs and other sounds. Magda slips him checks for huge sums to sign, which he, of course, signs without asking any questions. Magda dreams of becoming Krechmar's wife, because then half of his fortune would fall into her hands. Meanwhile, Segelcrantz learns about the tragedy that happened to Kretschmar. He goes to Berlin and tells everything to Max, who has already begun to hear some rumors. Segelkrantz expresses fear that Kretschmar, now completely helpless, is completely in the hands of Gorn and Magda. Max decides to visit Kretschmar. He arrives on time: Gorn has just come up with a new mockery of Kretschmar. Max beats Gorn with a cane and is about to take Kretschmar with him to Berlin. Krechmar first begs him to say that there was no Gorn, and then wants to see Magda. Max takes him away before she arrives. Anneliese happily arranges Kretschmar in Irma's former room. She still loves him just the same. On the fourth day of his stay in Berlin, he remains at home alone. Suddenly, the watchman from his house calls him and says that Magda has come to pick up things and he does not know whether to let her in. Krechmar miraculously manages to get to his apartment. He pulls out his Browning and wants to kill Magda by groping. In a short fight, Magda shoots Kretschmar and kills him. Authors of the retelling: Slava Yanko, Alexandra Vladimirova << Back: Vladimir Vladimirovich Mayakovsky 1893-1930 (Cloud in pants - Tetraptych Poem (1914-1915). About this - Poem (1922-1923))
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