Answer:
The reasons for the spiritual decline, that is, degradation, of Dmitry Startsev from Chekhov's work "Ionych" are the influence of the environment, environment and lived years. After all, getting into the “best” Turkin family, he is “amazed” by their interests. The mother writes novels that she herself reads to all her relatives, the daughter plays the piano all day long, and the father who speaks a special language developed over the years. Then, he falls in love with his daughter, thereby crucifying her, but she does not reciprocate. Thus, Chekhov wanted to show that one should not indulge in the destructive effects of the environment, but remain human.
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What is the reason for the spiritual degradation of Dmitry Startsev and received the best answer
Answer from Alexey Khoroshev[guru]
A.P. Chekhov most clearly showed the process of changing the human soul under the influence of the environment and lived years. Who has not dreamed in his youth of such ideals as honor, equality, fraternity, freedom, work for the benefit of society.
But years pass, and a person completely changes internally, wanting only peace and a prosperous life. Chekhov was the first to reveal the social causes of this disease in the story "Ionych".
Dmitry Startsev, a young, talented doctor, comes to work after graduating from the university in the provincial city of S. Startsev is trying with all his might to be useful people , he almost never happens in the city, he devotes all his time to work. Work is the meaning of his life, for her sake he is ready to forget about entertainment, so he works hard, not knowing rest. But Chekhov, in some other story, expressed a very true idea that most often teachers and doctors become stale rather quickly. Monotonous everyday life, filled with endless patients, does not annoy Startsev at first. He is advised, as an educated and intelligent person, to visit the city more often, sign up for a club, the entrance to which was available only to the top of the city, he is introduced to the Turkin family, according to local inhabitants, the most talented and extraordinary. Chekhov draws this "talent" with small strokes. The flat witticisms of the head of the family, Ivan Petrovich, the mediocre game of Katerina's daughter and the far-fetched novels of her mother are understandable to Startsev, but all the same, after the hospital, dirty peasants, it was pleasant and calm to sit in easy chairs and not think about anything. Only a year later, having come to them again. Startsev visits this hospitable house more and more often. He is in love with the daughter of the Turkins, who is called Kotik in the family circle. Dmitry is jealous, can hardly endure separation, is ready for anything for her, but Kotik only flirts with Startsev, not responding to the ardent feelings of the lover. Startsev understands that it is indecent for him as an adult to wander around cemeteries, to receive notes, but nevertheless, he rushes around the city, looking for a tailcoat to propose to Turkina. But even at the end of this short romance, Startsev, perhaps unnoticed by him, takes possession of a sober calculation (He thinks: "And they must give a lot of dowry"). After the refusal, the doctor does not worry for too long. He was just "a little ashamed" that everything was so stupid and went over. Previously, in the city of Startsev, they called the "pouted Pole", thereby emphasizing that he was a stranger in this city. Startsev rarely talked to anyone in the club, but more often ate in silence, buried in a plate, because, no matter what he talked about, everything was perceived by the townsfolk as a personal insult. When Startsev tried to talk about the benefits of labor, everyone felt a reproach to himself in this. Day and time were spent on cards, gatherings, idleness. Leaving the city of Kotik, Startsev indifferently learns about this loss, remembering only one thing: "How much trouble, however." Since that time, Dmitry has lost interest in work. He has a huge practice in the city, he is well paid for visits. He by. In the evenings, he likes to count the money he earned during the day. He develops "harmless" passions: playing whist, gluttony, greed, indifference. He no longer sympathizes with his neighbor, as before, and allows himself to shout at the sick and knocks with a stick. In the city, he is already at home called "Ionych", thereby accepting him into his environment. The process of spiritual dying of Startsev is all the more painful because he is fully aware of what a vile swamp he is plunging into, but does not try to fight. Complaining about the environment, he puts up with it. Even memories of love cannot awaken Startsev's half-asleep soul. He does not feel sorry for youth, love, unfulfilled hopes.
Chekhov wrote history new form serious social disease, which has long been studied by Russian literature. The name of this disease is the spiritual degradation of the personality. -As an experienced doctor, Startsev could have diagnosed himself with the disintegration of the personality as a result of the loss life ideals. Chekhov, understanding the tragedy of petty reality, repeated more than once in his stories: "There is nothing more dreary, more insulting than the vulgarity of human existence."
Chekhov succeeded in most clearly focusing the reader's attention on the implementation of the process associated with changes in the human soul, which is directly influenced by the lived years and the environment. Almost everyone dreams of ideals in their youth: honor, brotherhood, freedom, equality and work. Although after a while, many people change almost completely within themselves. They want to be in a state of peace and satiety, and at the same time choose a prosperous life. Chekhov was the first to reveal the social causes of this pathological phenomenon by writing
story "Ionych".
A talented young doctor named Dmitry Startsev, after graduating from the university, arrives to carry out his activities as a medical worker of the highest category, on the territory of the provincial city of S. He throws all his strength into bringing the maximum benefit to people. Work becomes the main reason for his existence. Therefore, the doctor does not stop working all the time. The monotony of everyday life, filled with endless visits of patients, does not cause irritation in him at first. Startsev is introduced to the Turkin family, the most talented and extraordinary, according to the inhabitants of the local area. Chekhov strives to draw such “talent” as skillfully as possible, presented in the form of flat witticisms of the head of the family, Ivan Petrovich, mediocre piano playing by a daughter named Katerina, and novels written by her mother. Although you still need to pay tribute to this house - after the hospital walls, dirty men, it was calm and pleasant enough to sit in easy chairs, not thinking about anything. Soon Startsev fell in love with Katerina and decided to propose to her. The girl refuses. But the doctor did not worry about this for long. The hero was "a little ashamed" because of the stupid and vulgar end of the story.
Startsev had no family. Apparently not knowing what to do with the money, he bought real estate for fun. Chekhov tells readers: "Do not succumb ... to the influence of the environment, ... take care of the person in yourself." Having succumbed to the process associated with spiritual death, Startseva with a painful feeling realizes what a vile swamp is pulling him in, but he does not even strive to fight this phenomenon.
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Introduction
In Russian literature, quite often, writers touched on topics that were relevant for any era. Such problems raised by the classics as the concept of good and evil, the search for the meaning of life, the influence of the environment on a person's personality, and others have always been at the center of attention of Russian literature. Chekhov most clearly showed the process of changing the human soul under the influence of the environment and the years lived. Who has not dreamed in his youth of such lofty ideals as honor, equality, brotherhood, freedom, labor for the benefit of society.
But years pass, and a person completely changes internally, wanting only peace and a well-fed, prosperous life. Chekhov was the first to reveal the social causes of this disease in the story "Ionych".
The problem of the degradation of the personality of Dmitry Startsev
The theme of A.P. Chekhov's story "Ionych" (1898) is the interaction of man and the environment, the impact of social norms of life on the fate of a private person. The theme of "man and environment" in Russian literature is quite common and has a whole range of solutions. A person can aggressively resist the environment (for example, Pechorin from M.Yu. Lermontov’s novel “A Hero of Our Time”) or resist it with the help of apathetic non-participation (for example, Oblomov from the novel of the same name by I.A. Goncharov), a person may want to enter society, but the public environment is uncomfortable and rejects him (Chatsky from “Woe from Wit” by A.S. Griboyedov), a person with the environment can have complex, intricate relationships (see, for example, I.S. Turgenev’s story “Hamlet Shchigrovsky district "from the cycle" Notes of a hunter "), a person can feel completely dependent on the environment (Akaky Akakievich Bashmachkin from N.V. Gogol's story" Overcoat ", an official from A.P. can gladly subordinate himself to the environment, that is, to the outside world (for example, Andrei Bolkonskoy or, especially, Pierre Bezukhov from Leo Tolstoy's epic novel "War and Peace").
In Chekhov's story "Ionych", the environment absorbs a person, suppressing everything individual in him: a certain person, Zemstvo doctor Dmitry Ionych Startsev, became a victim of the vulgar, motionless, philistine environment of the provincial city of S. This solution to the topic is also not new, since it has happened more than once in Russian literature: in the plays of A.N. Ostrovsky (Boris, Tikhon from the drama "Thunderstorm"), by I.S. Turgenev (Kirsanov Jr. in the novel "Fathers and Sons"), by F.M. Dostoevsky (Marmeladov from the novel "Crime and Punishment"), etc.
It can be assumed that Chekhov devotes a whole story to the traditional theme because he has a new solution, although it is not obvious. Let's try to analyze the development, disclosure of the theme in this story.
Dmitry Ionych Startsev, a young man, an intellectual, was appointed a doctor in Dyalizh, 9 miles from the city of S. He is a free, educated man (sings M.L. Yakovlev's romance to the words of A. Delvig's "Elegy": from the cup of life .... "; A.G. Rubinstein's romance "Night" to the words of A.S. Pushkin "My voice for you, and affectionate, and gentle ..."), has common sense and a sufficient amount of skepticism, irony, laconic and practical. In other words, he gives the impression modern man, which has all the signs of the then fashionable behavior: deliberate rigidity and concreteness of judgments, practicality instead of sentimentality, composure, independence. Startsev is different from the environment, that is, from the people around him - he behaves independently. After listening to the reading of the novel about love performed by the author, Vera Iosifovna Turkina, Startsev does not succumb to universal emotion, but thinks to himself that the novel, of course, is about “what never happens in life, and yet it was pleasant, convenient to listen to, and all such good, calm thoughts went into my head - I didn’t want to get up ”(X, 26); asks Vera Iosifovna if she publishes her novels in magazines. Listening to Kotik, Ekaterina Ivanovna, play the piano, he very ironically perceives Kotik's creative ecstasy and thinks at the same time that “pink from tension, strong, energetic, with a curl that fell on his forehead” (X, 27) he likes Kotik. Startsev retains common sense and a sober perception of life: Pava, the footman, performs his crowning number (“stood a pose, raised his hand and said in a tragic tone: “Die, unhappy!”. And everyone burst out laughing. “Interesting,” thought Startsev, going out to street…” X, 28). This is where the story begins.
At the end of the story, Ionych is a completely different person. Now he has become famous, quite rich (“there is an estate and two houses in the city”, X, 40), now he “has gained weight, has grown fat, breathes heavily”, “his throat has swollen with fat, his voice has changed, became thin and sharp. His character also changed: he became heavy and irritable” (X, 40).
In such short story Chekhov showed how the degradation of Ionych's personality took place. It all started with the fact that he ended up in the provincial city of S. and met the “most educated and talented” Turkin family. From the side of the Turkina, they looked exactly like this: “This family lived on the main street, near the governor, in their own house. Turkin himself, Ivan Petrovich, a plump, handsome brunette with whiskers, staged amateur performances for charitable purposes, he himself played old generals and at the same time coughed very funny<…>His wife, Vera Iosifovna, a thin, pretty lady in pince-nez, wrote stories and novels and read them aloud to her guests. Daughter, Ekaterina Ivanovna, a young girl, played the piano. In a word, each member of the family had some kind of talent. Turkins received guests cordially and showed them their talents cheerfully, with hearty simplicity.<…>» (X, 24). However, upon closer acquaintance with them, it becomes clear that all this is posturing, that these are all “ghosts of life”, dead forms of life. Ivan Petrovich Turkin, who invited Startsev to visit him, introduces him to his wife in intricate language: “I tell him that he has no Roman right to sit in his hospital ...” (X, 25) This is not even a language, but a mosaic of fragments various speech genres and styles. Turkin does not have his own lively voice at all, he speaks only with such puns and phrases that have long lost their normal meaning and original natural form: “Bolshinsky” instead of “big”, “not bad”, “I humiliated you, thank you” (X, 28).
Not only Turkin's speech consists of "ghost" words, but also his behavior. 1) For example, at the first meeting with Ionych, Vera Iosifovna says playfully in front of her husband: “You can look after me. My husband is jealous, this is Othello, but we will try to behave in such a way that he will not notice anything ”(X, 25). These are completely empty words. 2) Vera Iosifovna writes and reads empty novels (X, 26). 3) All the guests of the Turkins behave in the same playful, poseur way. When Vera Iosifovna reads her empty novel, everyone listens "with very serious faces." 4) Ekaterina Ivanovna plays the piano Pozersky: “she sat down and struck with all her might with both hands, and again, and again; her shoulders and chest trembled, she stubbornly hit everything in one place, and it seemed that she would not stop until she had hammered the key inside the piano ”(X, 27). Everyone began to congratulate Ekaterina Ivanovna and say that she played as beautifully as ever. 5) Ivan Petrovich Turkin arranges the stupidest farce with his lackey Pava, who performs a mise-en-scène from some tragedy, not understanding what he depicts. And again: “everyone laughed” (X, 28). Startsev fell into the world of ghosts, meaningless words, music, actions.
This dead environment captured him, deceived and disfigured him. Startsev is passionately interested in Ekaterina Ivanovna, Kotik. One day, he manages to take her out into the garden and, in essence, confess his love. Kotik, to Ionych's surprise, slips him a note with a proposal to meet at the cemetery at night (X, 30). This note was a joke, like Pava's theatrical pose "Die, unfortunate one!" However, Ionych, who has not yet lost his living soul, hope, the expectation of love, goes to the cemetery. There, at night, he is finally reborn, since the very situation of a secret nightly date required the continuation of the same romantic one. Unbeknownst to himself, Ionych turned out to be in the role of a lover and his further actions are determined not by his will, but by his role. So he became a victim of the environment. Kotik refused Ionych's offer to become his wife, the role of a lover turned out to be exhausted, but the environment had already infected Ionych with her ghostly disease. As a result, Ionych is completely reborn, his recently living soul dies.
Such a solution to the theme of man and environment (“environment stuck”), however, is not an invention of Chekhov, it appeared in the essays of the authors of the “natural school” (V.I. Dal, V.G. Belinsky and others), and later it was developed, for example, M.E. Saltykov-Shchedrin (“Lord Golovlyov”).
Moreover, to a certain extent, such a solution to the topic even managed to become outdated, since, for example, Dostoevsky showed that responsibility for a person's life lies not only on the environment, but also on the person himself. What is new in Chekhov's story? What is the artistic idea of the story?
What is new here is a subtle psychological analysis. Chekhov showed not only the stages and causes of the spiritual degradation of Ionych, but also in all possible details how exactly this happened. Let's go back to the text of the story.
Listening to Vera Iosifovna’s boring and empty novel, Ionych not only does not give a strict assessment, but looks for an excuse: “I read about something that never happens in life, and yet it was pleasant, convenient to listen to, and ... I didn’t want to get up.” The environment, represented by Vera Iosifovna, "lulls" a person, and a person, Ionych. Ready to be lulled! Who is to blame - the person or the environment? Probably the degree of guilt is about the same.
Ionych hears the terrible playing of Kotik on the piano, and the music seems to him the sound of stones falling from the mountain "and he wanted them to stop falling as soon as possible" (X, 27). However, he does not give an honest assessment of this music and, together with others, says “excellent” (X, 27), since he liked the performer herself. But this means that Ionych voluntarily accepts lies, posturing, accepted in this environment.
Startsev was not reborn immediately, the process of degradation proceeds in waves. Seeing the sketch of the footman Pava, Ionych did not burst out laughing along with everyone, but silently thought to himself ("Interesting", X, 28). However, the “virus” of unrealness had already settled in him: falling asleep, Ionych remembered Turkin’s word “not bad” and laughed (X, 28). Sinister scene.
Honest, serious and ghostly, playful fight in Ionych. Having received a note from Kotik, he immediately understood: “Kotik was fooling around. Who really would seriously think of making an appointment at night, far outside the city, in a cemetery, when it can be easily arranged on the street, in the city garden?<…>
Where will this novel lead?<…>And at half past eleven he suddenly took it and went to the cemetery<…>He gave himself up to this weak, empty hope, and it intoxicated him” (X, 30-31).
Before the episode with the cemetery, we tend to have a contemptuous attitude towards Ionych, who so easily and resignedly surrenders to a false environment. But the night cemetery reveals another side of this story. It is no coincidence that the cemetery resembles a garden; this has an ancient ritual meaning: the memory of paradise. The cemetery in the ritual sense is the meeting place of two worlds; the living bury the deceased in the garden, thereby, as it were, helping him get into the Garden of Eden; the dead, if they see us alive, look from there to the cemetery garden with memories of the lost joys of earthly life. In both cases, the cemetery reminds the human soul of the lost paradise, of the lost harmony, wholeness, and fullness of life.
It was this feeling that Ionych experienced at night in the cemetery (everywhere he sees not marble tombstones, but white naked female bodies). Chekhov shows the deep processes taking place in the human soul: it turns out that it is not weakness of character and not viciousness that explains Ionych’s desire to lie that Kotik played beautifully, not to criticize Vera Iosifovna’s novel and bask in laziness, to believe in Kotik’s note - this is also explained by deep, the innermost desire of a person to return to the heavenly state of harmony, carelessness, endless love, goodness, the desire to hide from the vulgar and cruel real world. We cannot condemn Ionych for such a spiritual movement. In addition, is Ionych (and any other person) free to control such desires; most likely not, which means that we have before us not only a conflict between a person and the environment, but an internal conflict of a person, difficult to explain, not reducible to two simple poles “good” and “bad”. In other words, the idea of Chekhov's story "Ionych" is not in depicting the spiritual degradation of a person with a detailed consideration of the causes and circumstances of this process, but in the idea that it is impossible to unambiguously judge the guilt of the environment or a person in what happened, a person is "arranged" much more complicated, than habitually judge him by the townsfolk.
The closer to the end of the story, the more complex and incomprehensible the meaning of the story about Ionych becomes.
Having received a refusal from Kotik, Ionych tears off his mask, his role (“... First of all, he tore off his stiff tie and sighed with all his chest. He was a little ashamed ...”, X, 34). Neither the reader, nor the author, nor Ionych himself fully understand what is happening to him. One thing is clear: life unsaturated with love, passion, excitement of desires becomes boring. Maybe even such unreal romantic love, which creates excitement, gives rise to strong impressions, is better than the absence of any love? then this is a peaceful, benevolent and not even a stupid person, but one has only to talk to him about something inedible, for example, about politics or science, as he becomes at a standstill or starts such a philosophy, stupid and evil, that all that remains is to wave his hand and move away<…>When Startsev talked in society, over dinner or tea, about the need to work, that it was impossible to live without work, everyone took this as a reproach and began to get angry and importunately argue. At the same time, the townsfolk did nothing, absolutely nothing, and were not interested in anything, and it was impossible to think of anything to talk about with them. And Startsev avoided talking, but only had a snack and played vint, and when he found him in some house family holiday and he was invited to eat, then he sat down and ate in silence, looking at the plate; and everything that was said at that time was uninteresting, unfair, stupid, he felt annoyed, worried, but was silent ”(X, 37) dead soul no longer arouses Kitty’s belated interest in him: “<…>When they entered the house and Startsev saw in the evening illumination her face and sad, grateful, searching eyes turned on him, he felt uneasy and thought again: "It's good that I didn't get married then." He began to say goodbye<…>"(X, 39)
Such a radical change in the hero, taking place in front of the reader, which Chekhov showed in the story "Ionych", is material that is more appropriate for the genre of the novel, rather than the story. Instead of depicting one main event in the life of a hero, as is usually the case in the genre of a short story, here Chekhov shows almost his entire life. However, the novel did not come out of Ionych: in the novel, as the hero changes, the attitude of the author (and the reader) towards him changes, and in this case, in Chekhov's story "Ionych", the position of the author remains unchanged. From the very beginning, he sneers at the hero, does not believe in Startsev’s common sense and independence, then, towards the end of the story, the author’s irony turns out to be justified - Startsev really neglected common sense and succumbed to the influence of the environment to the detriment of independence. However, consideration of the deepest, underlying thoughts and desires of Dmitry Startsev sometimes forced the author and the reader to feel for the hero, if not sympathy, then at least sympathy, understanding.
In genre terms, "Ionych" is, of course, a story, but not "pure": it can be defined in the same way as Chekhov described the genre of his early story "Bad History" (1882) - "something novel-like" (I, 215).
Chekhov, as you know, is distinguished by a special “Chekhovian” style, the essence of which boils down to the fact that he depicts an object (thing, person, etc.) not in an emotional assessment, that is, he does not highlight the main or typical in the object, but depicts it as it is in life with all the unexplained contradiction. It is for this reason that Chekhov's hero is an average ordinary person with a whole range of bad habits, dangerous and harmless habits. When creating the image of a hero, Chekhov does not free him from random, atypical, uncharacteristic properties, but leaves everything as in real life. His character may have a habit of wrinkling his cuffs, stroking his chest or head, snapping his fingers, and so on. - this does not explain their character in any way, but it gives the images liveliness, realness, plausibility; Chekhov does not try to bring everything into one point, into one focus, he shows it with an unresolved contradiction.
The hero of the story "Ionych" is exactly like this: he, for example, thinks about completely useless - "Oh, you shouldn't get fat" (X, 32).
Let us recall once again the finale of Ionych's moral development: he became famous, quite rich ("there is an estate and two houses in the city", X, 40), he "has gained weight, gained weight, breathes heavily", "his throat has swollen with fat, his voice has changed, became thin and sharp” (X, 40). All this clearly resembles the fate of "fat officials" according to Chichikov's classification: "<…>fat<…>lo and behold - and somewhere at the end of the city a house bought in the name of his wife appeared, then at the other end another house, then a village near the city, then a village with all the land. Chichikov's typology of officials clearly shows the mechanism of the degeneration of a person and his transformation into the dead soul of an official. Connecting such a context makes it possible to clarify the idea of Chekhov's story: Ionych experienced not just a moral simplification, impoverishment, but a complete rebirth of his personality, as if the living individuality had died out in him, he turned into a dead soul. Thanks to the presence of such a context, it becomes clear that Chekhov shows not an isolated case and not even the fate of a generation in the image of Dmitry Startsev - the absorption of a person by the environment, public opinion, faceless plural(“everyone”, “people say”, “they don’t do that”), is perhaps a serious problem in the lives of Russian people of many generations (at least in the 19th century - from Gogol to Chekhov).
The scene in the cemetery is reminiscent of Pushkin's version of the story about Don Juan, developed in the "little tragedy" stone guest". In Pushkin, Don Juan falls in love with Donna Anna in the cemetery; it is in the cemetery that he then, disguised as a monk, conducts sinful tempting conversations with Donna Anna. Pushkin deliberately combines love and death in a single conflict, thereby elevating the conflict between don Juan and the commander he killed to a contest of love and death, helping to philosophically comprehend their incongruity and inseparability, and most importantly, the colossal power of the life element, which a person can resist or even understand. unable. Given this context, the story "Ionych" is perceived as a larger-scale work, in which we are talking not only about the conflict between a person and the social environment, but about the conflict between a person's personal aspirations and the incomprehensible power element of life.
LIST OF USED LITERATURE
1. Berdnikov G. A. P. Chekhov. Ideological and creative searches. Ed. 3rd, finalized. – M.: Artist. literature, 1984. - 511 p.
2. Esin A.B. Principles and methods of analysis of a literary work. 2nd ed., rev. and additional – M.: Flinta/Nauka, 1999.
3. Polotskaya E.A. Ways of Chekhov's heroes. – M.: Enlightenment, 1983. – 96 p.
4. Turkov A. A. P. Chekhov and his time. – M.: Artist. literature, 1980. - 408 p.
5. Chekhov A.P. complete collection essays and letters in 30 vols. Volume X. - M .: Nauka, 1986.
6. A. P. Chudakov, Chekhov’s World: Emergence and Approval. – M.: Sov. writer, 1986. - 384 p.
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