The entire trilogy is united by three-story heroes, comrades in the hunt: Burkin, Ivan Ivanovich and Aleukhin, and each of the heroes tells one of the three stories.

"Man in a case" ("Russian Thought" ,, № 7)

"The man in the case" opens the trilogy. Here the topic of "such life" is most bright and openly expressed. The image of Belikov is largely grotesque, and the name largely sets the tone and the topic of the entire cycle. We hear this story from Burkina - Belikov's colleague.

"Gooseberry" ("Russian Thought", No. 8)

"Gooseberry" - the second story of the trilogy, the topic of "parties" is present in it in a thinner form than in the first story. This time Ivan Ivanovich Chimsza-Himalayan teaches the history of his brother Nicholas.

"On love" ("Russian Thought", No. 8)

"On love" - \u200b\u200bthe last story of the trilogy. In it, the main theme of the trilogy sounds the most subtle. As can be seen from the name, it is a story about love: Alehin tells the story of his relations with Anna Alekseevna Luganovich.

Critics about trilogy

All trilogy was highly appreciated by critics. Izmailov noted positive changes in the work of Chekhov Bogdanovich wrote about the trilogy, that at least there is no explicit communication between three stories, "Wednesday is described in it, where the person owes in the case." According to Skabichevsky, Chekhov stories oppose the concepts of the "Wednesday of the Land" at the end of the 19th century and they say that the Wednesday is created by the people themselves with their inaction, the fear of something new, with their "party".

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Notes

An excerpt characterizing a small trilogy

- Have you seen him, aunt? Said Princess Marya calm voice, herself is not knowing how it could be so externally calm and natural.
When Rostov entered the room, Princess lowered his head for a moment, as if providing the guest time to say hello to aunt, and then, at the very time, as Nikolai turned to her, she raised her head and brilliant eyes met his eyes. Full dignity and grace, she raised with a joyful smile, stretched her thin, gentle hand and spoke to him, in which new, women's breast sounds sounded for the first time. M Lle Bourienne, who was in the living room, looked at Princess Mariu. The most skillful coquette, she herself could not be better maneuver when a meeting with a person who had to be liked.
"Or she is black so to face, or really she looked so much, and I did not notice. And most importantly - this beat and grace! " - thought M Lle Bourienne.
If the Princess Marya would be able to think at that moment, she was even more than M Lle Bourienne, would be surprised by the change in her. Since that minute, as she saw, this is a cute, favorite face, some kind of a new power of life took possession of her and forced her, besides her will, speak and act. Her face, since the Rostov entered, suddenly transformed. How suddenly with an unexpectedly afflicting beauty performs on the walls of the painted and carved lantern, the complex skilled artistic work, which seemed before Grub, dark and meaningless when the light is lit inside: so suddenly the face of Princess Marya was transformed. For the first time, the whole pure spiritual inner work, which she lived so far, made out. All her inner, dissatisfied with himself, her suffering, the desire for good, humility, love, self-sacrifice - all this glowing now in these radiant eyes, in a thin smile, in each line of her delicate face.
Rostov saw all this as clear as if he knew all her life. He felt that the creature, the former before him, was completely different, the best than all those he met so far, and the best, most importantly, what he himself.
The conversation was the easiest and most infinite. They talked about the war, involuntarily, like everyone, exaggerating their sadness about this event, talked about the last meeting, and Nikolai tried to reject the conversation to another subject, talked about the good governor, about Nikolai and Princess Mary.
Princess Marya did not talk about his brother, distracting the conversation to another thing, as soon as the aunt was spoken about Andrei. It was seen that she could say about the misfortunes of Russia, but her brother was a thing that was too close to her heart, and she did not want to talk to him slightly. Nicholas noticed this, as he generally noticed to him insightful observation, noticed all the shades of the nature of the princes Maryi, who were all confirmed by his conviction that she was a completely special and extraordinary creature. Nikolai, just like the princess Marya, blushed and embarrassed when he was told about the princess and even when he thought about her, but in her presence he felt completely free and spoke not at all that he prepared, but the fact that Instantly and always, by the way, came to his head.
During a short visit, Nikolai, as always, where there are children, Nicholas's silence of silence, Nikolai Knucky Andrei, caressing him and asking if he wants to be hussar? He took a boy on his hands, having fun to twist him and looked back at Princess Marry. A dinged, happy and timid look followed her boyfriend's favorite man on his hands. Nikolai noted this look and, as if to understand his meaning, blushed from pleasure and good-naturedly fun to kiss the boy.
Princess Marya did not go on the occasion of mourning, and Nikolai did not consider it a decent to visit them; But the governor still continued his walling case and, having passed the flattering, which she said about him the princess Marya, and back, insisted that Rostov explained to Prince Marya. For this explanation, she arranged a date between young people from the bishop before the lunch.
Although Rostov said the governor that he would not have any explanation with Prince Marya, but he promised to come.
As in Tilsit, Rostov did not allow himself to doubt whether he was well recognized as good, just now, after a short, but sincere struggle between an attempt to arrange their lives in their mind and humble under the circumstances, he chose the latter and provided Himself of that power that Him (he felt) insurmountfully attracted wherever. He knew that, promising Son, to express his feelings of the princess Marya would be that he called meanness. And he knew that her belly would never do. But he also knew (and not what he knew, and in the depths of the soul felt) that, by going now in the power of the circumstances and people who gave them, he not only does nothing wrong, but does something very, very important, such Important, which he has never done in life.

"Little trilogy" Presented three stories A. Chekhov - " Man in the case "," gooseberry "," About love ", In the center of which is the world of boring people. Stories are associated with the unity of the plan and are devoted to the study of the public atmosphere of Russian reality.

In the center of the story "Man in the case" - teacher of the gymnasium Belikov as a carrier of the ideology of fears, cavity, expectations of something heavy and unpleasant. This phenomenon grows in a story to incredible parameters - the Phenomenon "Belikovshchina" appears, i.e. Desire in everything and everywhere to hide into your cozy and lonely case. Chekhov manifests themselves as a master detail: remember - all the things of the hero are "sealed" in their chains are small and large. In addition, Belikov idealizes the past and teach ancient (that is, dead) languages \u200b\u200bthat constantly "drags" it back. Belikov is strange, but it is far from the crank; On the contrary, he oppresses everyone with his presence, "Davit", forces to agree in everything, the author does not accidentally mention, Cho Belikov held all the gymnasium of the whole 15 years - " What is the gymnasium? The whole city!" The image of Belikov is designed to show how the course of thoughts acquires hypertrophied features and turns into a lifestyle, and after - in a threatening phenomenon with public resonance.

In the story "Gojberry" tells about what horrendous victims may require from man of his own fanatical dream. It seems that there is nothing crazy in the dream of having a gooseberry, but marry the unloved, but the rich widow for this is too much. As a result, the hero turns into a flabby fat man with thick cook and a thick dog, whose entertainment in the evenings - eating small and sour, but its gooseberry. Chekhov comes to the conclusion that such existence is also a kind of case. The hero of the gooseberry, as well as the heroes of the "man in a case" faces slave ideologythat in combination with obsessive the desire and easy way to obtain funds leads to sad results. Property, claims Chekhov, does not guarantee moral independence, and on the contrary, most often leads to degradation.

Another option of the "case" existence is presented in the story "On Love". In the center of the story - two people who loving each other, but unable to understand the intricacies of their own lives. The reason for this is the fear of life and new feelings, indecisive to trust them. Alekhin, refusing his own happiness, trying to justify himself with his "case": " Where would I hover her? Another thing, if I had a beautiful, interesting life ..." The hero is not trying to change anything, he prefers pouter into flow. Alekhin is a bright testimony that all the Belikovshchina filaments devouring on their way and the most intimate sphere - the sphere of love, which means they reached the very essence of the person and were forever rooted in it. Only separating with the beloved woman, the hero understands the pettyness and deceptiveness of what is happening, aware of the emptiness and meaninglessness of his life. On the example of his hero, A. Chekhov brings the reader to the conclusion that the inertia of the existence enslaves the human souls.

But there is in the trilogy and examples of independent heroes that have a critical view of generally accepted stereotypes. Takov Ivan Ivanovich, who belongs to the immortal words: " It is necessary that anyone with a hammer standing with the hammer and constantly reminded that there would be something unfortunate ...».

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The story "On Love" Chekhov wrote in 1898. The work completes the "small trilogy" of the author, which also studied in the literature lessons the stories "Man in the case" and "Gooseberry". In the story "On Love", the author reveals the topic of "parties" in love, showing how people themselves limit themselves, do not allow themselves to be happy. Read online Brief content "On love" can be right on our website.

main characters

Pavel Konstantinich Alekhin - The poor landowner shared with the guests of the love story to Anna Alekseevna.

Anna Alekseevna - kind, intelligent woman, Luganovich's wife; Alekhin was in love with it.

Other heroes

LUBANOVICH - "Comrade Chairman of the District Court", "Milestone Personality", Anna Alekseevna's husband.

Burkin, Ivan Ivanovich - Guests of Alekhina, whom he told his story.

Alekhin, Ivan Ivanovich and Burkin talked for breakfast. The owner said that his servant Pelagei was very in love with Nikar's chef, but she did not want to marry him, since he drank, rejuvenated and even beat her.

Reflecting on the nature of love, Alekhin comes to the conclusion that "the Mystery of this is great is." A man believes that the Russians are decorated with the fatal questions: "honestly it is either dishonest, cleverly or stupid, which will lead this love." And Alekhin spoke about his love.

He moved to Sofiaino immediately after graduating from the university. Since "there was a big debt on the estate," Alekhin decided to give way to his urban habits and hard to work until everything was paid. Alekhin, along with everyone, smelled, sowed, mowed.

In the first years, a man was chosen to "Honorary Judges". At one of the meetings, he met Luganovich. He called Alekhina for lunch and introduced his wife Anna Alekseevna, who then was no more than twenty-two years. Alekhin "I felt a close creature in it, already familiar." The next time Alekhin saw Anna Alekseyevna at a charitable performance.

Pavel Konstantinych became increasingly from Luganovich, becoming "her", he was always happy. And every time Anna Alekseevna produced him "the impression of something new, extraordinary and important." They could talk, for a long time to be silent or she played him on the piano.

If Alekhin did not come to the city for a long time, Luganovichi began to worry. They did not understand how an educated person could live in the village. Luganovichi gave Alekhina gifts, and if he "oppressed by some lender," offered to lend money, but he never agreed.

Alekhin always tried to "understand the secret of a young, beautiful, intelligent woman who goes beyond the uninteresting man, almost an old man, has children from him."

Every time, coming to the city, the man saw that Anna Alekseevna was waiting for him. However, they did not admit to their love, "hiding her timidly, jealous." Alekhin reflected over what would their love could bring that he could not offer her an interesting life, but only a "more everybody situation." "And she apparently argued like the same way," thought about her husband and children. They were often in the city and in the theater, they even walked unreasonable rumors.

In recent years, Anna Alekseevna "has already been treated from nerve disorder," felt displeasure to life. With strangers, she experienced "some strange irritation" against Alekhina.

Soon Luganovich appointed "Chairman in one of the Western provinces". At the end of August, Anna Alekseevna, the doctor sent to be treated in the Crimea, and it was decided that she would come to the family later. Walking to a woman, Alekhin at the last moment ran into the coupe. He hugged her and began to kiss, she pressed towards him and cried. "I admitted to her in my love, and with a burning pain in my heart, I understood how it was unnecessary, finely and how deceptively it was all that we had pretext to love." He kissed her for the last time, and they forever broke up.

Reflecting on the heard, Burkin and Ivan Ivanovich regretted that Alekhin was not engaged in science or something like that, and what should be the sorrowful face was at a young lady during a farewell.

Conclusion

The main characters of the story "On Love" are closed from their feelings, try to hide them not only from each other, but also from themselves. The composition of the "story in the story" of Chekhov emphasizes how much Alekhin regrets lost love even after many years after what happened.

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A classic example of a prose cycle can serve as a Chekhov composition of three stories (with a magazine publication of numbered Latin figures), the meaning of which is noticeably impoverished and somewhat changes with several perceptions: "Man in the case", "Gooseberry", "On Love".

The constructive moment of the relationship of independent artistic integers here is the compositional principle of "story in the story", and the storytellers (in turn heroes for the narrator) are speaking through cycle characters.

If the meaning of the first part of the cycle was reduced to the sarcastic exposure of "parties", "Belikovshchina", it would be possible to state that the literary crude in this case is already nothing to analyze. Is the Burkin himself, the history of "man in a case", did not make appropriate observations, generalizations, conclusions? Does the character of Belikova need our additional evaluation or revaluation?

In fact, expressive-symbolic detailing of the image, which in other cases the researcher has to fix and detect the grains, the narrator Burkin has already been implemented and interpreted. At the same time, the aesthetic position of sarcastically-minded Burkina coincides with the irony of the author in the "death of an official" or in the "Ionchcha" final. But this time Chekhov needed a mediator who tells the story of a character, endowed with enough cartoon appearance:

It was a man of a small height, thick, perfectly bald, with a black beard almost a belt. The caricature of this portrait is shared by the contrastful appearance of his interlocutor, turning them into a kind of "carnival pair": a high thin old man with long mustes. (Recall that Belikov himself was the hero of caricature "In Love Anthropos.)

Attention to the appearance of the narrator, completely excessive for the story of Belikova, it forces us to assume the incompleteness of the copyright position to the one that Burkin is quite definitely occupied. "The subject of consciousness," wrote B.O. Korman, - the closer to the author, than to a greater extent it is dissolved in the text and is not noticeable in it. " And on the contrary, "the more the subject of consciousness becomes a particular person with its special warehouse of speech, character, biography (not to mention the appearance. - V. G.), to a lesser extent, he directly expresses the copyright position."

The relative narrowness of the horizons of the narrator consists, for example, in the fact that it is easy and self-administratively separates himself from those whom he says: ... And how many more such people in the case there are, how many will be! Meanwhile, the patestical hymn is freedom, which sounds from the mouth of Burkina, unexpectedly issues limitations, some kind of "ethereal" of his own thinking:

No one wanted to detect this feeling of pleasure, - feelings similar to what we have experienced a long time ago, in childhood, when the elders left the house, and we ran around the garden for an hour, enjoying full of freedom. Ah, freedom, freedom! Even a hint, even a weak hope for her opportunity gives the soul of the wings, is it not true?

Such an infantile experience of freedom as a short-term permissiveness in the absence of elder, a timid aspiration only a hint of such an opportunity explains the "case" the reaction of Burkina on the bitter generalizations of his interlocutor: - Well, you are from another opera, Ivan Ivanch.<...> Let's sleep. (It should be noted that the allusion of unnecessary existence in Chekhovsky texts is the allusion of unnecessary existence in Chekhovsky texts, while insomnia usually demonstrates the tension of the hero's internal life.)

But isn't the fact that we live in the city in a stuffiness, in flavored, write unnecessary papers, play the screw - isn't it a case? And the fact that we spend the whole life among idlers, soutaig, stupid, idle women, speak and listen to different nonsense - isn't it a case?

But these words cannot serve as an exhaustive expression of their own position of the author, since they are also embedded in the mouth of the acting person depicted by the subject of speech.

Ivan Ivanovich is also a mediator, but no longer between the hero (Belikov) and the author like Burkin, but between the hero and the reader. The attentive listener of the story about Belikov is like an image of the reader introduced inside the work. It is not by chance that he speaks on behalf of some "We".

If Burkin, ironically distancing from Belikov, limited himself to the sarcastic interpretation of his story, then Ivan Ivanovich, including himself in the number of people burdened with "stiffness", dramatizes the situation:

See and hear how lgut<...> demolish the resentment, humiliation, do not lift openly declare that you are on the side of honest, free people, and lie yourself, smile, and all this because of a piece of bread, because of a warm corner, because of some renucker, which Price, - No, it is so impossible to live more!

However, Ivan Ivanovich is just one of the heroes of the work, melting a kind of "Matryushki effect": the moral horizon of Ivan Ivanich is wider than Sarcasm Burkina (which, in turn, is wider than humorous laughter Varenka over Belikov), but already the author's moral norm. To identify this latter, it is necessary to focus on the "meaning context" arising "at the boundaries of individual components" cycle.

In the "Gooseberry", the character of the storyteller moves to Ivan Ivanchuch, and he invites us a very dramatic picture of life.

True, the hero of his history is the Chimsza-Himalayan junior - replenishes a number of sarcastic Chekhov characters, but the story of Ivan Ivanovich turns his personal confession: but it's not about it, but in me. I want to tell you, what a change happened in me ...

The presentation of the history of the brother begins with the paintings of their free, healthy childhood. The mental intimacy of heroes is emphasized, not completely disappearing over the years. Directly following the portrait of a brother landowner in Gogolevsky, ending with the words of Togo and looked at the blanket, it follows: we hugged and fought from joy and from sad thought that once were young, and now both seats, and to die.

Ivan Ivanovich peers in the new character of Nikolai Ivanich, as in the mirror: I also affected the hunt, how to live, how to refer to how to manage the people, etc. That night, the narrator is experiencing a dramatic catharsis. Feeling itself by the subject of the wide inner definition of being (famous: a person needs not three Arshina of the Earth, not a manor, but the whole globe, all nature, where on the square he could show all the properties and features of his free spirit), Ivan Ivanovich in the shameful contentment of his brother It seems the narrowness of the external dense of everyday life. He comprehends inconsistency, incompatibility of these parameters of human life.

In this experience, a kind of formula of Chekhov's drama is born: ... there is no strength to live, and meanwhile you need to live and want to live! (like Gurov, Anna Sergeyevna from "Ladies with a dog" and many other heroes of the writer).

The second "story in the story" practically does not require interpretation. Points over I are convincingly arranged by Ivan Ivanov. Two fifth texts are given to the framing of this confessional story, which does not allow to completely identify the author's position with the final judgments of the storyteller.

The antagonism between the author and the narrator, apparently, can not be speech, but not only the younger, but also the senior Chimsza-Himalayan manifests the narrowness of the moral horizon, proclaiming the drama of the norm of life: there is no happiness, and should not be ...

At the sight of a happy man, I won a hard feeling, close to despair, "says Ivan Ivanovich. He does not quite aware that the brother's content is just an imaginary happiness of a purely "external" person who degenerate pseudolism. An existentialist position of despair themselves, which is expensive, sensitly dedicated by Czech in the atmosphere of the era, does not leave place in the life of the joy of being.

Meanwhile, this kind of joy by the will of the author constantly makes itself felt in the framework of the main story. That hunters are penetrated with love for this field and think about how great this country is beautiful. That Alekhin is sincerely rejoiced by guests, and those admire the beauty of the maid of Pelagiai. Elderly Ivan Ivanovich with a boyish passion and delight swims and dives in the rain among white lilies. Alekhin with visible pleasure feels warm, clean, dry dress, light shoes, rejoicing guests not about the cereal, not about the Seine, not about Note.

Not only about Alehine, but also about Burkina (and even as if he was invisibly present by the author and reader) it was said: I wanted to speak and listen about graceful people, about women (in the lips of Ivan Ivanovich Women are stupid and idle). A kind of formula of the feeling of the living joy of being, not fallen, not supplanted by the drama confession, sounds: ... and the fact that there is now silently walked beautiful Pelagia, - it was better than any story.

Ivan Ivanovich rejects the joy of life with a rigidly moralistic position. However, indeed, if all sorts of joy serve as a kind of "cases" of happy people, deaf to the suffering of those who are unhappy? We will try to extract the reasonable Chekhov reply to this question from the trilogy as a whole as cyclical education. In the meantime, we note some of the features of the storytellor's moral position in the "gooseberry".

Ivan Ivan's dramatic maximalism (now there is no more severe spectacle for me, like a happy family sitting around the table and drinking tea) is not harmless to others. He carries not only a thirst for good, but also a thin poison of despair. This indicates, in particular, close relationship at the level of focalization of the final situations of the first and second stories.

In the end of the "man in the case" Burkin, told the history of Belikov, quickly falls asleep, and the excitementful Ivan's prompt, who was unbearable Ivan Ivanch, and he sighed, and then got up, again came out and, Sev Khuchi near the door, lit the tube. In the final of the "gooseberry", the despair of despair, Chimsza-Himalayan, fell silent with his head (like Belikov!) And falls asleep, after which the narrator notes:

From his tube lying on the table, heavily smelled to tobacco alone, and Burkin did not sleep for a long time and could not understand where this heavy smell could not understand.

It is significant that the narrator is not demonstrative, but quite obviously changes its position in that this time awakes with Burkin, and not with Ivan Ivanch. It is also indicative of the fact that the heavy smell associated with the dormant thoughts of the owner of the tube, with his dramatic confession, poisoning the other smell, talking about the simple joys of being, - for two phrases to the quoted ending it was reported: ... from their beds, wide, cool, who messed up beautiful Pelagia, nice smelled of fresh linen.

It should be noted that Ivan Ivanovich, having blown in personal happiness, loses its confidence in the possibilities of the human person at all, placing his hopes only on the unknown top of being: ... And if there is a sense and purpose in life, then this sense and purpose is at all Not in our happiness, but in something more intelligent and great.

The narrator at the same time explicitly "removed" from this thesis (so liked Tolstoy), noticing some inconsistency of communicative behavior: the hero said it as if he asked for himself. There is no reproach in this comment, but there is a drastic author's thought in it that any meaning is rooted in the person's personal being. Czechs, as shown by the final text of the trilogy (and the general context of his creativity), does not know anything more intelligent and the great.

Confession of Alekhina, which makes up a third cycle story, is very dramatic. The grain of this drama, as well as a year written later, "lady with a dog," is the unrealisticity of personal secrecy: we were afraid of everything that could open our secret to themselves (the word of the mystery is still three times in speeches Alekhina).

The framing of the story tamed does not conflict with the aesthetic situation of the "story in the story", as it was in the "gooseberry", but in the reasoning of the main character themselves a lot of contradictory. The contradiction consists, for example, in the fact that, according to Alekhina (we emphasize: not the author!), It is necessary to explain every case individually, not trying to generalize, but Alekhin himself completes its history just a generalization.

By saying at the very beginning that the love of personal happiness is important in love (and thus indirectly entering into a dispute with Ivan Ivanovch), Alekhin at the end of his monologue, like the teller of the "gooseberry", claims: I realized that when you love, then in my arguments This love should be proceeded from the highest, from more important than happiness or misfortune ... and further adds: ... or it is not necessary to reason at all, "how does the highest source discredit as a source of reasoning.

The entire inner life of Alekhina in his relationship with Anna Alekseyevna is permeated ordinary for mature Chekhov prose with a dramatic contradiction between the identity of the hero and his character: I loved gently, deeply, but I reasoned ... The first comes from personality, the second is from character as a way of adapting this Personality to circumstances. The "part of the sarcastic characters of the first first stories is just in the absorption, the depression once a living person - the" shell "of character (not by chance both, by the will of the author dying).

The incrustration of Alekhinsky and his personality manifests itself, for example, in the following: the work in the estate was boiling by him, but, taking the most active participation in it, he missed and frowned. But this incolution in Chekhovsky testifies to the presence of a Hero of a living human "I".

This is his (confirmed by the love of Anna Alekseyevna) the advantage of Loubanovich, who keeps near the solid people, sluggish, unnecessary, with a submissive, indifferent expression, for sure they led to sell here. Calling Luganovich Dobrybar, Alekhin accompanies this characteristic with a paradoxical explanation: ... one of those sootimy people who hold the opinions tightly that once a person came under the court, then he is guilty.

Luhaganovich's commitment to the expression of opinion in a legitimate manner, on paper, it is clearly talking to the reader of the trilogy, which in front of him "the case" is a version of Belikov, still deciding to marry. But the narrator Alekhin himself does not realize this, characterizing the husband of Anna Alekseevna as a miley person.

The hidden author's irony gives herself to know and in the commitment of the hero-storyteller to the topic of sleep (the sleep in Chekhov is almost always alleylessly conjugate with spiritual death). Back in the previous story, Alekhin wanted to sleep. Now he enthusiastically tells how he slept on the go, as at first, I was going to sleep, read overnight, and later did not have time to get to my bed and fell asleep in Saraj, in a sleigh or somewhere in the forest stopping. Meetings of the District Court are represented by Alekhine luxury after the sponge in Sanya. At the same time, he complains Anna Alekseevna, which in rainy weather sleeps.

However, in general, Alekhina's story is noticeably closer to the author's manner of mature Chekhov than Burkina and Chimsi-Himalayan stories. This proximity consists "in the refusal of the mission of the teacher," that "Chekhov did not impose no postulate," and "the moral demands of them apply primarily to themselves"

These words are fully applicable to Alekhina - a storyteller, an individualizing his own history of love as a separate case, while the first two narrator of the trilogy sharply blame their characters, they strongly generalize and generally "teacher":

Burkin is a teacher by profession, and Ivan Ivanovich is passionately preach (by the way, his pathetic exclamation: do not put to sleep!<...> Do not talk to do good! - It is very inappropriate to be addressed to the Alekhina who worked for the day, whose eyes stick out of fatigue).

And nevertheless, some copyright removal from Sleepy Alekhina, who did not delve into the meaning of Ivan Ivanovich, and only rejoiced the conversation about something that was not directly related to his life. It is obvious and for the two other storytellers. And although in bringing to the reader of all three stories there is a considerable share of the internal consent of the narrator with each of them, the life positions of the heroes telling distant from the implementation of the moral norm of the author's consciousness.

In search of the textual tracks of this "clothed in silence" (Bakhtin) of consciousness, we draw attention to what unites all without exception of the cycle characters. The vital position of a solitary existence is common to them in one or another, as well as, apparently, the most profound meaning of the phenomenon of "parties". There is a significant phrase from the "gooseberry", which is reduced within one frame of the focalization of all three heroevistors: Then all three were sitting in chairs, in different ends of the living room, and silent.

Tyu V.I. - Analysis of art text - M., 2009

"Little trilogy". The famous "Little Trilogy" was written in Melikov, consisting of the stories "Man in the case", "Gooseberry", "On Love". They are called the trilogy because in all three works there are the same heroes - the teacher of the Gymnasium Burkin, the veterinarian Ivan Ivanovich Chimsza-Himalayan and the landowner Alekhin, each of whom tells his story. Stories, in turn, are united by one common theme - the theme "Foot-Fryingness". The meaning of this concept is most convenient to reveal on the example of the first story, from where it, in fact, is happening.

"Man in a case". A man in a case - so for the eyes of the teacher of the Greek Language Belikov, whose history tells his colleague Burkin. Describing the appearance and lifestyle of Belikov, Chekhov widely use expressive details, which, however, everyone indicates the same trait in his character - the desire to hide, get away from life, climb into yourself, like cancer-hermit. He always walked in caloes and with an umbrella, wearing dark glasses, the ears laid wool, and when he was driving on the cab, ordered to raise the top, etc. If this is a care for health, it is immediately evidenced that it has something painful, excessive, having some internal psychological reasons. The story refers to that one of such reasons is an innate fear of life. Indeed, Belikov is afraid of everything, especially the new one. But the fear that he constantly carries in himself (which, by the way, makes him like the hero of the "death of the official" before the head of the hero, not only urged his personality, but also paradoxically forces others to suffer because of his others. Since and his thought of Belikov also "snapped into the case", he believed only by ordering orders and only those newspaper articles, "in which something forbidden." Thus, according to Burkina, the modest teacher of the Greek language "held all the gymnasium in fear." On the one hand, Belikov is a fearful and weak man, on the other, it is this weakness that makes it in secretly aggressive and despotic. Belikov - the figure is pathetic and ominous at the same time. His fear of losing his "case", then what he is protected, closes from the world, it is so great that when life has given him the opportunity to open, marrying at a cheerful Ukrainian Varnik Kovalenko, he died even deeper into the "case" and at the end ends, unable to bring direct contact with a lively life, died (again an interesting parallel with a worm official).

In this story, as in all the "trilogy", for Chekhov is fundamentally important to oppose the closed, or "case", and an open human character, or a closed and open person. Belikov is a classic example of a closed nature in its aggressive and pathological option. Other form of closedness, from the life of Chekhov draws in two other cycle stories.

IN "Gooseberry" Closeful appears as a manic obsession with an idea or a dream, and not a high dream (as it was, for example, at the Kovrina in the story of the "black monk"), and the poor, Kutya, philistine. The dream of Nikolai Ivaniki Chimsi-Himalayansky (about which his brother is telling the veterinarian Ivan Ivanch) to purchase a manor with the clarops and the gooseberry, which became the goal of his life, turns into one of the end in some parody of the dream. Nikolai Ivanich with the same reverence and trembling, with what usually belong to things really high, seeks to things are purely material, and this is infinitely narrowing his spiritual horizon. Its brother, who came to spend it, he, is absolutely pleased with the "material wealth" that surrounds him in the manor, completely planted the gooseberry bushes, resembles a pig, which "Togo and Looks scolding in the blanket." Completely absorbed by his little, insignificant idea, he does not see anything around and even loses a feeling of reality: so, the gooseberry, bitter and sour, sacred from his own bushes, seems to be delightedly sweet, and he even gets up his bed at night, to enjoy beloved Berries.

In the story "About love", in which Alekhin's landowner tells his love story, its own indecision is represented, the inability to act internally freely, openly, without careful, childily looking at how it will look from the point of view of the usual, ordinary behaviors. Alekhin is an intelligent person, and the situation in which he found himself, having loved the married woman, is a situation that has no simple solutions. But Czechs in the final of the story clear makes it clear that these decisions could be found if the hero could have been able to abandon all their fears and fears if he trusted his inner feeling, he opened him.

"Ionch". The story "Ionch" is adjacent to the "little trilogy" - another story about a person who voluntarily submitted to the "case".

In the life of Zemsky doctor, Dmitry Ionchcha Startsev, who served in the provincial wilderness, was a little joy: he was tired of the service, he truly rested only in the family of Turkish, which in the city of S., where the main action of the story occurs, was considered the most cultural and intelligent. At first, Startseva, everything pleases in this family: both father, constantly mixing guests with witty tricks and words, and mother, writing long novels and with undisguised pleasure reading them to guests and friends at home, and daughter Katya, who dreams of a musical career and every day for several hours Piano playing. Katya awakens in the soul of Starteva an exalted feeling of first love, which is so fascinating him that he is even solved on a kind of "romantic adventure" - goes at night in a cemetery, where Katya, wanting to jerks on him, prescribed a date. However, over time, when his practice increases and he gets used to taking more and large sums from patients, a passion for wealth, material security absorbs him (he already has the estate and two houses in the city, and he wants to acquire more The third; if earlier he traveled to the challenges "on a pair", now - "On the top three with the bubber"), that the light of the pure aspiration for the hill is the sublime and ideal, which once burned in it, finally goes out. Even the externally elders turns into a kind of "case", inside of which a living human soul died: it becomes thick, rude, similar, according to a direct authoring characteristic, on a self-satisfied "pagan God".

The peculiar form of "caseor" closedness from the real living life with its real problems and difficulties is the cultural template for which the Turkish family lives, which is intelligent in the city, and who actually has nothing to do with genuine culture, nor with genuine intelligence: from year to year Mother, Vera Josephovna, reads guests their long, boring novels, in which "what is never happening in life"; Father, Ivan Petrovich, about and without reason, pronounces all the same funny words and expressions, which, since all the time they repeat, the listeners are so imparted that they can no longer be perceived as the real vulgarity.

At the same time, the copyright attitude towards heroes, as often happens in Chekhov, far from unambiguity. The author's dislike and Turkish, and the older is quite obvious, and nevertheless, there is no other rectilinear condemnation in the story. All the characters of the story have something that albeit a little bit, but goes beyond the limits of their "case". So, not to anyone else, like Ionchu, it would seem that I had already made all the spiritual, the author heaves to say about the family of the Turkish phrase, extremely important for the entire ideological concept of the story: "... if the most talented people in the whole city are so bad, then What should be the city. " In addition, the father and mother of Turkish and their daughter Katya, with all their vulgar provincial pseudo-sensitive, in the final of the works are honored by notes of copyright sympathy - in the scene, when Ivan Petrovich escorts at the station to his wife and daughter driving out on vacation in Crimea. I mention that Katya rides in the Crimea because "noticeably aged" and "clings", and Ivan Petrovich, when the train trudges, eyes are filled with tears, Chekhov unexpectedly opens ordinary people in their heroes, defenseless, like all people, Before the threat of diseases, inevitable old age and, most likely, that is why so touchingly tied to each other and so painfully experiencing even brief separation.