The composition “The jumper is a characteristic of a literary hero. A.P

Osip Ivanovich Dymov, a titular adviser and doctor for thirty-one years, serves in two hospitals at the same time: an intern and a dissector. From nine o'clock in the morning until noon he receives patients, then he goes to dissect corpses. But his income is barely enough to cover the expenses of his wife - Olga Ivanovna, twenty-two years old, obsessed with talents and celebrities in the artistic and artistic environment, whom she receives daily in the house. Passion for people of art is fueled by the fact that she herself sings a little, sculpts, draws and, according to her friends, has an underdeveloped talent in everything at once. Among the guests of the house, the landscape painter and animal painter Ryabovsky stands out - "a blond young man, about twenty-five, who had success at exhibitions and sold his last painting for five hundred rubles" (which is equal to the annual income from Dymov's private practice).

Dymov loves his wife. They met when he treated her father, on duty at night near him. She loves him too. There is “something” in Dymovo, she tells her friends: “How much self-sacrifice, sincere participation!” “... there is something strong, powerful, bearish in him,” she tells the guests, as if explaining why she, an artistic nature, married such a “very ordinary and unremarkable person.” Dymov (she does not call her husband except by her last name, often adding: “Let me shake your honest hand!” - which gives an echo of Turgenev’s “emancipe” in her) finds herself in the position of either a husband or a servant. She calls him that: “My dear maître d’!” Dymov prepares snacks, rushes to get clothes for his wife, who spends the summer at the dacha with friends. One scene is the height of Dymov's male humiliation: having arrived at his wife's dacha after a hard day and brought snacks with him, dreaming of having dinner, relaxing, he immediately sets off by train back at night, because Olga intends to take part in the telegraph operator's wedding the next day and not can do without a decent hat, dress, flowers, gloves.

Olga Ivanovna, together with the artists, spends the rest of the summer on the Volga. Dymov remains to work and send money to his wife. On the ship, Ryabovsky confesses his love to Olga, she becomes his mistress. He tries not to think about Dymov. “Really: what is Dymov? why Dymov? what does she care about Dymov? But soon Olga bored Ryabovsky; he gladly sends her to her husband when she gets bored with life in the village - in a dirty hut on the banks of the Volga. Ryabovsky - Chekhov's type of "bored" artist. He is talented but lazy. Sometimes it seems to him that he has reached the limit of his creative possibilities, but sometimes he works without rest and then he creates something significant. He is able to live only by creativity, and women do not mean much to him.

Dymov meets his wife with joy. She does not dare to confess in connection with Ryabovsky. But Ryabovsky arrives, and their romance continues languidly, causing boredom in him, boredom and jealousy in her. Dymov begins to guess about the betrayal, worries, but does not show it and works more than before. One day he says that he has defended his dissertation and he may be offered a privatdocentre in general pathology. It can be seen from his face that “if Olga Ivanovna had shared his joy and triumph with him, he would have forgiven her everything, but she did not understand what privatdocentura and general pathology meant, besides, she was afraid to be late for the theater and did nothing said". Dymov's colleague Korostelev appears in the house, "a little shorn man with a rumpled face"; Dymov spends all his free time with him in scientific conversations incomprehensible to his wife.

Relations with Ryabovsky come to a standstill. One day, in his workshop, Olga Ivanovna finds a woman, obviously his mistress, and decides to break up with him. At this time, the husband becomes infected with diphtheria, sucking out films from a sick boy, which he, as a doctor, is not obliged to do. Korostelev takes care of him. A local luminary, Dr. Shrek, is invited to the patient, but he cannot help: Dymov is hopeless. Olga Ivanovna finally understands the falsity and meanness of her relationship with her husband, curses the past, and prays to God for help. Korostelev tells her about Dymov's death, cries, accuses Olga Ivanovna of having killed her husband. A major scientist could grow out of him, but the lack of time and home peace did not allow him to become what he rightfully should be. Olga Ivanovna understands that she was the cause of her husband's death, forcing him to engage in private practice and provide her with an idle life. She understands that in the pursuit of celebrities, she "missed" a genuine talent. She runs to Dymov's body, cries, calls him, realizing that she was late.

The story ends with Korostelev's simple words, emphasizing the senselessness of the situation: “What is there to ask? You go to the church gatehouse and ask where the almshouses live. They will wash the body and clean it - they will do everything that is necessary.

retold

Anton Pavlovich Chekhov

"Jumper"

Osip Ivanovich Dymov, a titular adviser and doctor for thirty-one years, serves in two hospitals at the same time: an intern and a dissector. From nine o'clock in the morning until noon he receives patients, then he goes to dissect corpses. But his income is barely enough to cover the expenses of his wife - Olga Ivanovna, twenty-two years old, obsessed with talents and celebrities in the artistic and artistic environment, whom she daily receives in the house. Passion for people of art is fueled by the fact that she herself sings a little, sculpts, draws and, according to her friends, has an underdeveloped talent in everything at once. Among the guests of the house, the landscape painter and animal painter Ryabovsky stands out - "a fair-haired young man, about twenty-five, who had success at exhibitions and sold his last painting for five hundred rubles" (which is equal to the annual income from Dymov's private practice).

Dymov loves his wife. They met when he treated her father, on duty at night near him. She loves him too. There is “something” in Dymovo, she tells her friends: “How much self-sacrifice, sincere participation!” “... there is something strong, powerful, bearish in him,” she tells the guests, as if explaining why she, an artistic nature, married such a “very ordinary and unremarkable person.” Dymov (she does not call her husband except by her last name, often adding: "Let me shake your honest hand!" - which gives an echo of Turgenev's "emancipe" in her) finds herself in the position of either a husband or a servant. She calls him that: “My dear maître d’!” Dymov prepares snacks, rushes to get clothes for his wife, who spends the summer at the dacha with friends. One scene is the height of Dymov's male humiliation: having arrived at his wife's dacha after a hard day and brought snacks with him, dreaming of having dinner, relaxing, he immediately sets off by train back at night, because Olga intends to take part in the telegraph operator's wedding the next day and not can do without a decent hat, dress, flowers, gloves.

Olga Ivanovna, together with the artists, spends the rest of the summer on the Volga. Dymov remains to work and send money to his wife. On the ship, Ryabovsky confesses his love to Olga, she becomes his mistress. He tries not to think about Dymov. “Really: what is Dymov? why Dymov? what does she care about Dymov? But soon Olga bored Ryabovsky; he gladly sends her to her husband when she gets tired of life in the village - in a dirty hut on the banks of the Volga. Ryabovsky is Chekhov's type of "bored" artist. He is talented but lazy. Sometimes it seems to him that he has reached the limit of his creative possibilities, but sometimes he works without rest, and then he creates something significant. He is able to live only by creativity, and women do not mean much to him.

Dymov meets his wife with joy. She does not dare to confess in connection with Ryabovsky. But Ryabovsky arrives, and their romance continues languidly, causing boredom in him, boredom and jealousy in her. Dymov begins to guess about the betrayal, worries, but does not show it and works more than before. One day he says that he has defended his dissertation and he may be offered a privatdocentre in general pathology. It can be seen from his face that “if Olga Ivanovna had shared his joy and triumph with him, he would have forgiven her everything,<…>but she did not understand what the privatdocentura and general pathology meant, and besides, she was afraid of being late for the theater and did not say anything. Dymov's colleague Korostelev appears in the house, "a little shorn man with a rumpled face"; Dymov spends all his free time with him in scientific conversations incomprehensible to his wife.

Relations with Ryabovsky come to a standstill. One day, in his workshop, Olga Ivanovna finds a woman, obviously his mistress, and decides to break up with him. At this time, the husband becomes infected with diphtheria, sucking out films from a sick boy, which he, as a doctor, is not obliged to do. Korostelev takes care of him. A local luminary, Dr. Shrek, is invited to the patient, but he cannot help: Dymov is hopeless. Olga Ivanovna finally understands the falsity and meanness of her relationship with her husband, curses the past, and prays to God for help. Korostelev tells her about Dymov's death, cries, accuses Olga Ivanovna of having killed her husband. A major scientist could grow out of him, but the lack of time and home peace did not allow him to become what he rightfully should be. Olga Ivanovna understands that she was the cause of her husband's death, forcing him to engage in private practice and provide her with an idle life. She understands that in the pursuit of celebrities, she "missed" a genuine talent. She runs to Dymov's body, cries, calls him, realizing that she was late.

The story ends with Korostelev's simple words, emphasizing the senselessness of the situation: “What is there to ask? You go to the church gatehouse and ask where the almshouses live. They will wash the body and remove it - they will do everything that is necessary. ”

Doctor and titular adviser Osip Ivanovich Dymov adores his young wife. To provide for her, he works as a dissector, and in the morning he sees patients. Osip Ivanovich looked after Olga's father. That's how they met. Olga Ivanovna has all the talents little by little. She hosts people of art in her house. The husband's income is barely enough to meet his wife's needs.

Olga spends the summer with friends in the country. Dymov brings snacks, dresses, outfits in the evening. As a servant and husband. After a working day, he comes to the country. Olga sends him back to the city for gloves, a hat, flowers... She is going to the wedding tomorrow, her husband must bring her what she needs.

Olga Ivanovna with the artists goes on a steamboat along the Volga. The husband stays in the city, sends her money. Ryabovsky, a successful animal and landscape painter, confesses his feelings to Olga. They become lovers, trying not to think about her husband. They live in the village, Olga is bored. Ryabovsky sends Olga Ivanovna to Dymov with relief. He has no time to deal with women - he is talented, he needs to work in solitude.

Dymov is glad to have his wife back. Roman Olga and Ryabovsky continues. The husband guessed, began to work even more. Dymov defended his thesis. He wants to share the joy with Olga, but she does not understand scientific terms. A colleague, Korostelev, began to visit Dymov. They have scientific conversations in the office. Olga Ivanovna came to Ryabovsky's workshop. I saw a woman there, I decided to break off relations with the artist.

Dymov saves the boy, sucks out the film with a tube. But he himself becomes infected with diphtheria. Korostelev takes care of him, invites Dr. Shrek for a consultation. Olga Ivanovna is in despair. She suddenly realizes that she mistreated her beloved husband.

Dymov died. His friend blames Olga Ivanovna for his sudden death. He could have had a great scientific future if he had not practiced to support his wife. Olga Ivanovna understands that real talent was always with her while she was chasing ghostly celebrities. The realization of the loss dearly came too late.

Compositions

Because of what Levitan was going to challenge Chekhov to a duel

I. Levitan. On the left - *Self-portrait*, 1880. In the center - *Portrait of Sofya Petrovna Kuvshinnikova*, 1888. On the right - *Portrait of A. Chekhov*, 1890

Famous landscape painter Isaac Levitan and writer Anton Chekhov For a long time they were close friends who were united by a sincere and trusting relationship. But after the publication of Chekhov's story "The Jumper", a scandal suddenly broke out: in the heroes everyone easily recognized the artist and his beloved, a married lady Sofia Kuvshinnikova. All Moscow bohemia discussed the real-life story that was made public, Chekhov's story was called "libel", and Levitan was going to challenge his friend to a duel.

Left - I. Levitan. Self-portrait, 1890s Right - A. Stepanov. Portrait of S. P. Kuvshinnikova, late 1880s

In the 1880s Among the Moscow bohemia, the name of Sofya Kuvshinnikova was widely known - she was the mistress of the literary and artistic salon, which was visited by I. Repin, A. Chekhov, M. Yermolova, V. Gilyarovsky, A. Yuzhin and many other famous artists, artists and writers. Once, a young artist, Isaac Levitan, was brought “to the tower” (the apartment was located under the roof of a fire tower). Despite more than a decade of age difference, the owner of the salon began a romantic relationship with him.

Left - I. Levitan, photo 1889. Right - S. Kuvshinnikova, 1880s.

Chekhov's younger brother described Kuvshinnikov as follows: “She was not a particularly beautiful, but interesting woman in her talents. She dressed beautifully, knowing how to sew an elegant toilet for herself from pieces, and had a happy gift to give beauty and comfort even to the most dull dwelling, similar to a barn. O. Knipper-Chekhova agreed: “There was a lot in Kuvshinnikova that could please and captivate. She did not stand out for her beauty, but she was certainly interesting - original, talented, poetic and elegant. You can fully understand why Levitan was carried away by her.

Sofia Kuvshinnikova was married to a police doctor who was patient and turned a blind eye to her affair with Levitan for a long time. She was an amateur artist, and under the pretext of painting lessons, she often went with her teacher to the Volga - to study. The hero of Chekhov's story, the artist Ryabovsky, also gave lessons to Olga Ivanovna, the wife of Dr. Osip Dymov, they also went to the Volga to study sketches, and there was a long romance between them. Many visitors to Kuvshinnikova's salon recognized themselves in the rest of the characters.

A. Stepanov. Left - *I. Levitan and S. Kuvshinnikova for a walk in Plyos*. Right - *I. Levitan and S. Kuvshinnikova on sketches*, late 1880s

Chekhov justified himself as best he could: “Can you imagine,” he wrote in a letter in 1892, “one of my acquaintances, a 42-year-old lady, recognized herself in the twenty-year-old heroine of my Jumping Girl, and all of Moscow accuses me of libel. The main evidence is an external resemblance: the lady paints, her husband is a doctor and she lives with the artist.

Left - S. Kuvshinnikova, mid-1880s. On the right - I. Levitan, photo 1898

However, the resemblance was not only external: excerpts from her letters were almost verbatim, Chekhov's jumper used Kuvshinnikova's favorite expressions in her speech, she was just as extravagant and original, although much more frivolous and superficial than her prototype. The writer tried to laugh it off: "My jumper is pretty, but Sofya Petrovna is not so beautiful and young."

Left - I. Levitan, photo 1884. Right - I. Levitan, photo 1890.

Levitan was so angry that he wanted to challenge Chekhov to a duel, but his acquaintances dissuaded him from this rash decision. For several years, their communication ceased. Levitan's relationship with Kuvshinnikova was also doomed. The artist enjoyed great success with women, and in 1894 he began a new romance, which also almost ended tragically: confused in feelings for Anna Turchaninova and her daughter, Levitan tried to commit suicide.

Russian writer, prose writer and playwright Chekhov wrote more than 300 magnificent works over a quarter of a century of his work. These were humorous stories, and novellas, and stories, and plays, many of which have become classics of world literature. Particular attention was drawn to such works as "The Cherry Orchard", "Ward No. 6", "Uncle Vanya", "Duel", "The Seagull", "Three Sisters" and others.

Olga Ivanovna

Any reading of his work leads to a variety of thoughts, and even more so - a deep analysis. Chekhov's "The Jumper", for example, as well as "The Lady with the Dog", and "Darling", etc. - stories created by him in the 90s. In them, the writer is engaged in the study of the nature of women of his contemporary time, their thoughts, interests, and, finally, the meaning of life. Sometimes the writer seems cruel and ruthless, he often deprives his characters of spirituality, the ability to love and compassion. And this demonstrative and peculiar spoiled analysis of Chekhov can become very useful. “The Jumper” is a work whose very title defines the main characteristic of the main character Olga Ivanovna, whom Chekhov describes as a frivolous and empty person, even though she surrounds herself with people who are not at all simple. Each of her retinue was remarkable in some way, was considered some kind of celebrity or showed brilliant promises. But in fact, this whole crowd lives an empty and meaningless life. From year to year they write, sing and play the same thing, thus creating a bohemian environment for themselves.

"Jumper": Chekhov, analysis of the story

Initially, he called his story "The Great Man", but then he did not like it, and he corrected it to "The Jumper". Thus, he shifted the focus from the hero to the heroine and thus emphasized the modest merits of his hero.

The mistress of the house, Olga Ivanovna, is also a little involved in music, painting and singing, but she remains a great amateur in all these matters.

However, if we continue the analysis of this famous work, Chekhov, the “jumping girl” of her husband, Dr. Osip Stepanovich Dymov, puts below everyone, if not to say that he despises. She does not understand his genius and sincerity. At the very beginning, the plot is structured in such a way that it seems that nothing portends a tragic denouement. Olga Ivanovna, being married to Dymov, surrounded herself with actors, singers, writers, musicians and artists, everyone teaches her their art, she is very passionate about this process and, of course, guests. The fatal handsome man, the young man Ryabovsky, became the one whom the mistress of the house herself laid eyes on. Her husband in this company turned out to be small, alien and superfluous, although he was tall and broad in the shoulders.

Dymov's death

It is possible to continue the analysis in the same spirit. Chekhov's "jumper" resembles that indefatigable and carefree dragonfly from Krylov's fable "The Dragonfly and the Ant". It is not for nothing that he calls her that, because Olga Ivanovna, occupying herself with her regular guests, and collecting them at her place, simply did not notice the kind and selfless soul of her husband. But one day he was treating a sick child for diphtheria and contracted that deadly disease himself. When he was dying, his friends spoke of him as a very rare and wonderful person. And only then did his wife realize who she had lost.

Olga Ivanovna spent all her love and tenderness not on her husband - an intelligent, gentle and loving person - but on someone who was used to having fun and changing his passions like gloves and to whom she very quickly became deeply indifferent.

Seeing all this love game and accepting spiritually limited people in his house, Osip Stepanovich, by virtue of his concepts of culture, does not allow himself to express any dissatisfaction, he does not even resist and simply puts up with the arrogance of his wife, whom he is ready to forgive everything. Even after learning that his wife is cheating on him, he does not dare to make any explanations, hoping deep in his soul that this terrible drama will resolve itself. But at this very moment Dymov leaves this world and Olga Ivanovna is left alone.

Style

An analysis of Chekhov's Jumping Girl very attractively shows the already quite distinct artistic style, which he had perfectly mastered by that time. The writer splendidly sneers at his main character Olga Ivanovna, who worshiped empty idols and did not understand at all that all her happiness was in the smart, sensitive and kind Osip Stepanovich. A resigned, kind, silent, spineless, meek and weak creature mutely endured its human suffering, it lay somewhere on its sofa and did not complain. And even if he complained, even in the delirium of the disease, then the doctors on duty would immediately know that the cause of such physical disorders is not only diphtheria.

Pay

The analysis of Chekhov's story "The Jumper" can also be understood in such a way that the epiphany comes to the heroine too late, when nothing can be changed. She suddenly realizes that it was her inattention that led the family to this tragedy. She cries and greatly regrets, but not her husband, first of all she is sorry for herself, for the fact that she is now left in complete impotence and loneliness. After all, Olga Ivanovna is unlikely to find such a disinterestedly loving person who patiently carried out all her instructions and whims, not sparing all her means on them.

One of Dymov's colleagues and friends, Korostelev, very clearly expresses the position of Chekhov himself, who says with great bitterness that "Oska Dymov sacrificed himself ... what a loss for science ... what talents ... if we compare all of us with him, then he was an extraordinary and great man ... a scientist who cannot be found in the daytime with fire ..., ah-ah!" And here the author's sentence begins to sound harsh, as Chekhov begins to seriously denounce the stupidity, soullessness and lack of spirituality of Olga Ivanovna.

Outcome

Rus' has always been famous for women who know how to love their neighbor and sympathize with him. So what happened to the writer's contemporaries? An analysis of Chekhov's Jumping Girl reveals the author's personal attitude towards such women as Olga Ivanovna. He begins to condemn the freedom of such women, their excessive independence and arbitrariness, since he does not see anything good and positive in this.

JUMPER - the heroine of A.P. Chekhov's story "The Jumper" (1892), Olga Ivanovna Dymova, wife of Osip Dymov. Real prototypes: S. P. Kuvshinnikova, the owner of the well-known literary and artistic salon in Moscow, the artist Ryabovsky - I. Levitan. It is more difficult to find literary prototypes - the heroine is so specific and at the same time elusively recognizable. Researchers, as a rule, compare her with another Chekhov heroine - Darling, noting the similarity of names and difference in nature. P.'s portrait is almost a caricature, almost a parody. But behind this "almost", as in "Darling", there is drama.

In the image of P., the writer continues the artistic study of a special, rather motley and diversely represented female type, at one pole of which are “ladies” created in an openly parodic spirit: Natalya Mikhailovna from the story “Long Tongue”, who “denounced” herself, entertaining husband with stories about the Crimean vacation (“Even during ... in the most pathetic places I told him: “But still you must not forget that you are only a Tatar, and I am the wife of a state councilor!”), or Shipuchin’s chatty wife from vaudeville “ Anniversary". At the other extreme - a series of viciously attractive, inevitably attractive, piercingly feminine heroines: Ariadne ("Ariadne"), Nyuta ("Volodya"), Olga Ivanovna ("Doctor"), Susanna ("Tina").

In these images, the theme of female “otherness”, which is fundamental to Chekhov’s work, is visible, incomprehensible and hostile to male and masculine nature, sometimes causing almost physical disgust, signs of which are already found in the early humorous story “My Wives: Letter to the Editor of Raul Bluebeard”. This female type is difficult to define, but among its indispensable properties is an elusive subtility, easy, unnecessarily deceit, a predatory ability to tightly bind to oneself with a complex feeling that combines love and hate. Such a heroine never loves anyone. P. is close to this "breed".

According to L. N. Tolstoy, even after the death of her husband, whom she so bitterly mourns in the finale with the words: “Missed!”, She will behave the same way. But P. is a deeply unhappy creature. With obvious superficiality, selfishness, she is devoid of self-interest, there is no petty prudence in her. P. - as far as he can - sincerely loves her husband, doctor Dymov. But in her system of values, such a person - kind, conscientious, honest, doing boring, everyday work - hopelessly loses in the bright world of artists and writers. P., herself not devoid of artistic abilities, is in love with the atmosphere of this world, she is not only friends with its people, but also plays a little music, paints, plays on stage.

In sad moments, she laments the lack of authenticity of her nature. Returning after the “fall” (traveling along the Volga with Ryabovsky), she experiences one of these moments, experiencing shame and pain. And after the death of her husband, who was infected by a patient with diphtheria, she cries, not because she “bet on the wrong person”, not because she “saw the light”, but because, with a new, aggravated pain, she feels her worthlessness and finiteness. Lit .: Chudakov A.P. Poetics and prototypes // In the creative laboratory of Chekhov. M., 1974. S. 182-193; Golovacheva A. G. From "The Jumping Girl" to "Darling" // Chekhov Readings in Yalta.

M., 1983. S. 20-27.

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