On the pages of A. S. Pushkin’s story “Dubrovsky” we meet two of the most fully outlined female images: Masha Troekurova and Vladimir Dubrovsky's nanny - Egorovna. Neither the difference in age nor their belonging to different classes prevents these women from seeming equally attractive to us.
As for the main character of the story, Marya Kirilovna Troekurova, then, in my opinion, her image echoes the image of the main character of another work by A. S. Pushkin - Tatyana Larina. In “Dubrovsky” these are simply, so to speak, sketches, outlines of the favorite image that Tatyana will later become for the author. In my mind, Masha Troekurova and Tatyana Larina are a portrait of the same woman, in the first case done only in black and white, and in the second - bright, colorful, with all sorts of shades.
What kind of person was Masha Troekurova if she could so completely and completely capture the heart of a young and noble robber, a former student of the cadet corps Vladimir Dubrovsky? To say beautiful is not enough, because there are so many beauties around who hide a callous soul under the mask of impeccable appearance. In Marya Kirilovna, on the contrary, everything was harmonious. Having lost her mother early, she grew up alone in the lap of nature, and from childhood she absorbed the mysterious and mysterious stories oral folk art, which abounded in the stories of a kind peasant nanny, and then tasting the sweetness of sentimental novels, which Masha, having matured, read, made her meek, sensitive and dreamy.
Marya Kirilovna revered her father, but did not find a friend and adviser in him, as is often the case between parents and children. Although Kirila Petrovich “loved her madly, he treated her with his characteristic waywardness, sometimes trying to please her slightest whims, sometimes frightening her with harsh and sometimes cruel treatment. Confident of her affection, he could never gain her trust.”
When a young teacher came to the Troekurovs’ estate for Masha’s stepbrother and from time to time began giving music lessons to her, the girl soon found in him the hero of her novel. Masha was captivated by his nobility, zeal and especially his courage in the young teacher: “Her imagination was amazed: she saw a dead bear and Deforge calmly standing over him and calmly talking to her. She saw that courage and proud pride do not belong exclusively to one class...” From childhood, accustomed to seeing men in her house who were similar in behavior to their father: domineering, riotous, thinking only about money and profit, Masha found the complete opposite in the teacher. Having never dreamed of wealth, accustomed to being content with little, and, on the contrary, highly appreciating a person’s spiritual wealth, Masha felt young man kindred nature, and her heart resignedly succumbed to his calling heart.
Having soon learned that teacher Deforge was none other than Dubrovsky, a famous robber who had been wanted by the police for a long time, Masha, although frightened, did not renounce him. Having learned about her father’s idea to marry her to an unloved but rich man, Masha decided to escape with Dubrovsky. But fate wanted to take away her last chance to be with her beloved: the escape failed.
Masha the Bride is deathly pale, not a speck of blood on her face. Standing at the altar, “Marya Kirilovna saw nothing, heard nothing, thought about one thing, from the very morning she was waiting for Dubrovsky, hope did not leave her for a minute...”. But the miracle did not happen - Dubrovsky did not come. The ceremony was performed
And when, after church, screams of pursuit were heard behind the carriage, and Dubrovsky and his people tried to free Marya Kirilovna, the young princess, having gathered all her strength, firmly resisted, saying that she was already married, she was the wife of another.
Just like Tatyana Larina from “Eugene Onegin,” Masha is not afraid to admit that she loves Dubrovsky, and just like Tatyana, she cannot betray the one whom she called her husband before God. And it’s all about morality, a sense of duty and responsibility, which Masha grew up with and which she firmly absorbed into herself. Honor and duty are more important to her than love. This is both the dignity of the main character of “Dubrovsky” and the drama of life.

On the pages of A. S. Pushkin’s story “Dubrovsky” we meet two of the most fully depicted female characters: Masha Troekurova and Vladimir Dubrovsky’s nanny, Egorovna. Neither the difference in age nor their belonging to different classes prevents these women from seeming equally attractive to us.

As for the main character of the story, Marya Kirillovna Troekurova, then, in my opinion, her image echoes the image of the main character of another work by A. S. Pushkin - Tatyana Larina. In “Dubrovsky” these are simply, so to speak, sketches, outlines of the favorite image that Tatyana will later become for the author. In my mind, Masha Troekurova and Tatyana Larina are a portrait of the same woman, in the first case done only in black and white, and in the second - bright, colorful, with all sorts of shades.

What kind of person was Masha Troekurova if she was able to so completely and completely capture the heart of a young and noble robber, a former student of the cadet corps Vladimir Dubrovsky? To say beautiful is not enough, because there are so many beauties around who hide a callous soul under the mask of impeccable appearance. In Marya Kirillovna, on the contrary, everything was harmonious. Having lost her mother early, who grew up alone in the lap of nature, from childhood absorbed the mysterious and mysterious stories of oral folk art, which abounded in the stories of a kind peasant nanny, and then tasting the sweetness of sentimental novels, which Masha, having grown up, read, made her meek, sensitive and dreamy.

Marya Kirillovna revered her father, but did not find a friend and adviser in him, as often happens between parents and children. Although Kirila Petrovich “loved her madly, he treated her with his characteristic waywardness, sometimes trying to please her slightest whims, sometimes frightening her with harsh and sometimes cruel treatment. Confident of her affection, he could never gain her trust.”

When a young teacher came to the Troekurovs’ estate for Masha’s stepbrother and from time to time began giving music lessons to her, the girl soon found in him the hero of her novel. Masha was captivated by his nobility, zeal and especially his courage in the young teacher: “Her imagination was amazed: she saw a dead bear and Deforge calmly standing over him and calmly talking to her. She saw that courage and proud pride do not belong exclusively to one class...” From childhood, accustomed to seeing men in her house who were similar in behavior to their father: domineering, riotous, thinking only about money and profit, Masha found the complete opposite in the teacher. Having never dreamed of wealth, accustomed to being content with little, and, on the contrary, highly appreciating the spiritual wealth of a person, Masha felt a kindred nature in the young man, and her heart resignedly succumbed to his calling heart.

Having soon learned that teacher Deforge was none other than Dubrovsky, a famous robber who had been wanted by the police for a long time, Masha, although frightened, did not renounce him. Having learned about her father’s idea to marry her to an unloved but rich man, Masha decided to escape with Dubrovsky. But fate wanted to take away her last chance to be with her beloved: the escape failed.

Masha the Bride is deathly pale, there is not a trace of blood on her face. Standing at the altar, “Marya Kirillovna saw nothing, heard nothing, thought about one thing, from the very morning she was waiting for Dubrovsky, hope did not leave her for a minute...”. But the miracle did not happen - Dubrovsky did not come. The ceremony was performed

And when, after church, cries of pursuit were heard behind the carriage, and Dubrovsky and his people tried to free Marya Kirillovna, the young princess, having gathered all her strength, firmly resisted, saying that she was already married, she was the wife of another.

Just like Tatyana Larina from “Eugene Onegin,” Masha is not afraid to admit that she loves Dubrovsky, and just like Tatyana, she cannot betray the one whom she called her husband before God. And it’s all about morality, a sense of duty and responsibility, which Masha grew up with and which she firmly absorbed into herself. Honor and duty are more important to her than love. This is both the dignity of the main character of “Dubrovsky” and the drama of life.

DUBROVSKY

(Novel, 1832-1833; published 1841)

Masha, Marya Kirilovna Troekurova - the gentle daughter of a formidable provincial tyrant; a seventeen-year-old beauty with whom twenty-three-year-old Vladimir Dubrovsky, the heir of a landowner ruined by her father, is in love. Age; White dress district young lady; a French teacher (Mamselle Mimi, who adopted Sasha from Kirila Petrovich Troekurov, M.’s half-brother); a huge library, composed mainly of French writers XVIII century and at the complete disposal of an ardent reader of novels - all these components of the image of M., in different combinations, are inherent in different heroines of Pushkin. Against a stable background, individual traits are more noticeable: secrecy, inner loneliness, firmness. Character is formed by circumstances: the father either pleases his beloved daughter, or frightens him with the indomitability of his anger; the neighbors are afraid of Troekurov - sincerity is excluded; Kirila Petrovich's amusements do not allow female company; half-brother is too young; mother died.

Vladimir Dubrovsky, the son of the only one of Troekurov’s neighbors who, despite poverty, is “allowed” not to be afraid of Kirila Petrovich, is also growing up without a mother (and, essentially, without a father who is not involved with him). This brings children together; but their friendship does not last long: at the age of 8, Vladimir is sent to study in St. Petersburg, and when he returns, there is already an insurmountable social gap between him and M. Families in mortal quarrel; Troekurov unjustly sued the Dubrovskys for their only estate; Dubrovsky Sr. died, and his son did not allow Kirill Petrovich, who appeared with a belated offer of peace, to enter the door.

In the same way, the plot situations in which the author places M. are for the most part recognizable and traditional. The War of the Fathers (as was the case in the story “The Young Lady-Peasant”) is likened to the War of the Scarlet and White Roses - it is not for nothing that Dubrovsky’s late mother is depicted in the portrait with a scarlet a rose, and M., in turn, is shown embroidering a rose in a hoop. The ruined Dubrovsky, who has become a robber, comes to the house under the guise of Deforge, the French teacher of little Sasha; Naturally, M., brought up in an aristocratic spirit, does not notice him, just as she would not notice a craftsman or servant; and it is just as natural that the composure with which Dubrovsky “Deforge” kills an angry bear (one of Troekurov’s amusements) strikes her romantic imagination. The plot device that follows this has been used many times by writers and playwrights: the music lessons that the hero in love gives to the heroine in order to find the way to her heart. In the end, like Marya Gavrilovna from the story “The Snowstorm,” M., not knowing who is hiding under the mask of Deforge, goes on a first date, preparing a scenario for a spectacular refusal. And, like her, she was amazed by the unexpectedness of the outcome. Vladimir opens up to her, declares his love, announces the impossibility of marriage and that he must flee from Troekurov’s house, because the deception is about to be discovered.

The time comes for another literary parallel; as the heroine of Mickiewicz's poem "Konrad Wallenrod", M. becomes the lover of a noble robber. The trick with the ring that the hero gives to the heroine so that in case of danger she lowers this ring into the hollow of an oak tree is also common. This will mean that M., no matter what, asks Dubrovsky to take her away from home.

And just as literary recognizable features sharply highlight the individuality of M.’s character, so the typical set of plot points of a love-adventure novel step by step leads her to the final tragedy of self-sacrifice. Wooed to the fifty-year-old aristocrat Vereisky, M., in despair, signals to Dubrovsky; the robber groom is late and stops the wedding procession only on the way back from the church; married M. refuses to break the oath of lifelong fidelity given to Vereisky. In this final choice, she is likened to Tatyana Larina. But the fact of the matter is that Tatiana’s act is emphatically unliterary; which means that the parallel with her also takes the image of M. Troekurova beyond the purely literary tradition, transferring it into the realm of national tradition. It cannot be said that of two misfortunes - becoming the fugitive companion of a beloved robber or the submissive wife of a hated old man-voluptuary - she chooses the lesser. She chooses neither less nor more, but one that does not require betrayal. And, therefore, she refuses Dubrovsky as a Russian woman, and not as the heroine of a European novel; this is more than important for Pushkin.

In the novel "Dubrovsky" by Pushkin we meet two interesting female characters: Masha Troekurova and Egorovna (Vladimir’s nanny). Both the image of Masha Troekurova and the image of Yegorovna equally attract the reader, despite the fact that these women are representatives of different classes, and also have a large age difference.

Masha Troekurova - main character novel "Dubrovsky" by Pushkin. In my opinion, she has a lot in common with Tatyana Larina, the heroine of another work by this author. If I may say so, her image is a sketch of that beloved heroine by Pushkin, who would later become Tatyana Larina. I believe that Tatiana and Masha are a portrait of one woman. In the first case, it was painted with bright colors, with all sorts of details and shades, and in the second, only black and white tones were used.

What is the image of Masha Troekurova in the novel "Dubrovsky"? This girl must be very interesting if she managed to charm Vladimir, a noble robber who graduated cadet corps. Yes this is true. But alone external beauty it would not be enough, because there are a lot of beauties. But not all of them have a beautiful soul. As for Marya Kirilovna, unlike many other girls, her appearance and inner world formed a harmonious unity. She lost her mother early and grew up in the lap of nature. Masha Troekurova knew and loved since childhood folk art, whom her peasant nanny introduced her to. Having matured a little, Masha began to read sentimental novels, which made the girl dreamy and meek.

Masha Troekurova respected her father, but did not see him as an adviser and friend. He loved her, but was inconsistent in his behavior. Kiril Petrovich either tried to please all the whims of his daughter, then suddenly treated her cruelly. Therefore, Masha could not completely trust him, although she was attached to him.

When Vladimir appeared on the estate, invited as a music teacher for the girl’s half-brother, Masha immediately saw in him, like Tatyana in Onegin, the hero of her novel. They began to communicate, Vladimir occasionally began to give music lessons to her. Masha Troekurova admired the zeal, nobility and courage of the young teacher. She had never met men like Vladimir before. In her house there were powerful, riotous men, all of whose thoughts were about money. Vladimir Dubrovsky was the complete opposite of them. Masha, like him, was indifferent to money and valued a person’s inner world above all else. Of course, she immediately found a kindred spirit in Vladimir, just as he did in her.

When it turned out that teacher Deforge was in fact the famous robber Dubrovsky, whom the police were looking for, the girl was frightened, but did not renounce her feelings. When the heroine found out that Kiril Petrovich was planning to marry her to a rich man who she didn’t like at all, the girl decided that she would escape from home with Vladimir. Unfortunately, it failed.

Here is Masha Troekurova standing at the altar. She is pale and gloomy. All her thoughts are occupied with Dubrovsky. Masha thinks about him, waits for him, hopes... But it’s all in vain - Vladimir didn’t come, the wedding took place.

And when Dubrovsky, after the wedding, tries to catch up with the carriage and free his beloved, Masha says that she is now the wife of another man. And again we are reminded of Tatyana Larina, who also had feelings for Onegin, but refused him, since duty comes first for her. Like Tatyana, Masha Troekurova admits to Dubrovsky that she loves him. However, she cannot betray the man who is now her husband, to whom she swore allegiance before God. The fact is that Maria Troekurova has imbibed high morality, responsibility, and a sense of duty since childhood. These concepts are more valuable to her than love. This is both her dignity and her life drama.