Parasha characteristic. "Bronze Horseman"
ON THE. Zakharchenko*
"PARASHA" I.S. TURGENEV AS A REALISTIC POEM
The author of the article considers the poem "Parash" as a work of transitional type, where I.S. Turgenev tried to combine the romantic and realistic elements into a single complex artistic whole. In the process of analysis, N.A. Zakharchenko comes to the conclusion that Turgenev's "story in verse" (Turgenev's own term) is ironically oriented towards Pushkin's "novel in verse" tradition. Thus, the comprehension of the genre specificity of "Parasha" occurs on the basis of identifying similarities and differences with "Eugene Onegin".
*Zakharchenko Natalya Arkadievna – Samara State University, Department of Russian and Foreign Literature
In literary criticism, they argued about the degree of independence of Turgenev's poems. It is necessary to distinguish between the concepts of "tradition" and "imitation", between which there is a fundamental difference. According to Belinsky, "... be under inevitable(highlighted by me - N.Z.) by the influence of the great masters of native literature, showing in their works the literature and society strengthened by them, and slavishly imitating is not at all the same thing: the first is proof of talent that is developing vitally, the second is lack of talent. You can imitate the verse and manner of the writer, but not his spirit and nature. "Turgenev was consistently influenced by Pushkin. At the same time, "any idea of imitativeness is absurd."
Pushkin, his work largely determined the further development of Russian literature. According to Belinsky, “to write about Pushkin means to write about the whole of Russian literature: for as the former Russian writers explain Pushkin, so Pushkin explains the writers who followed him.” And Turgenev is no exception; his work, along with others, has a certain place in the general literary process.
poems "Parash" (1843), "Landlord" (1845), "Andrey"(1845) - works made in the traditions of the "natural school". Their realism is obvious - all the plot moves, the actions of the characters are explained by the logic of everyday life. Remaining basically "everyday-descriptive" poems, they also have individual genre features.
Among Turgenev's realistic poems, Parasha, a work of transitional type, deserves special attention.
"Parash" first saw the light in 1843, and was published as a separate version, looked like a small book. The author did not indicate his full name, the work was signed in capital letters "T.L." (a pseudonym that combined the initial letters of the names of Turgenev's father and mother). This was a period in the history of Russian literature, when, according to Belinsky, "Russian poetry, if not dead, then fell asleep." The times of Pushkin, Lermontov - the so-called "golden age" of Russian poetry - passed, prose dominated in artistic creativity. It was at this moment that "Parasha" appears, so highly appreciated by Belinsky and read by him in manuscript. In his letter to V.P. Botkin on May 11, 1843 said: "This is an excellent poetic creation. Have you guessed the author?" . Here one can clearly hear undisguised admiration for the skill of Turgenev, whose artistic manner, according to Belinsky, cannot be confused with anyone else.
Parasha is a work that marks a kind of transitional moment for Turgenev, both biographically and creatively. By the time Parasha was created, the writer had not yet decided what to devote his life to, what business to choose. A. Fet, talking about the first meeting with Turgenev, recalls the words of Professor of Moscow University S.P. Shevyrev, who, after Turgenev's departure, unexpectedly said:
"... how strange this Turgenev is: the other day he came with his poem Parasha, and today he is busy with getting a chair of philosophy at Moscow University." In artistic terms, Parasha raises a lot of doubts: what is it - a romantic poem or a "story in verse"? The thing is that Parasha, which embodied the general trend of the era, is Turgenev's first work, where the author tried to combine the romantic and realistic elements into a single complex whole.
This side of "Parasha" was revealed to Belinsky, who proclaimed that "the period of wonderful feelings and sweet dreams ... was replaced by the poetry of thought." Turgenev himself, doubting whether to give "Parash" to print, decided on this only with the blessing of Belinsky, who believed that the poem "is precisely one of ... the most beautiful dreams of Russian poetry that has awakened for a moment, which it has not seen for a long time" . Criticism cannot be blamed for the insincerity and haste of his conclusions. Belinsky himself, in his article about Parasha, does not hide the fact that he re-read the poem more than once, not believing the initial impression, moreover, he treated it, as he writes, "with obvious prejudice, thinking to find in it either a sentimental story about how He I loved her And How she married him, or some humorous chatter about modern mores ". What was his surprise when, after "repeated reading" he suddenly discovered, by his own admission, a wonderful poetic phenomenon that "refreshed the soul ... from prose and the boredom of everyday life ".
Turgenev himself, whose opinion as an author cannot be neglected, defines his poetic work from the point of view of the genre as a "story in verse." This is the subtitle on the title page. Belinsky has his own opinion on this matter: "Although the author of Parasha ... designated his work with the modest name of a 'story in verse', it is nonetheless a 'poem' in the sense that Pushkin adopted... So, - the critic continues, - we will call Parasha a poem: it is both shorter and much fairer.
Indeed, the term "poem" is both shorter and more natural, familiar to the reader. Nevertheless, it is also obvious that the "story in verse" continues Pushkin's tradition of the "novel in verse." Not only in the sense of genre specificity can we talk about the similarity of the works, but also in tone, in style, Parasha is close to Eugene Onegin. Turgenev, working on a poem ("a story in verse"), naturally, obeyed the logic of genre thinking.
To comprehend the genre specifics of Parasha, it is necessary to refer to its content, to identify similarities and differences with Eugene Onegin. It should be recognized that only some of the motives of these works have something in common. Their similarity concerns some external, secondary aspects and does not at all affect the internal ideological content of the presented texts. "Parasha" is a qualitatively new work according to the author's intention, gravitating more towards a "everyday descriptive" than a romantic poem, rightfully considered the beginning of realism in Turgenev's early work. Now in order.
In Pushkin, the reader first meets Yevgeny. It is he - "a small scientist, but a pedant", disappointed in his environment - the main character. We learn first about his upbringing, genealogy, education, about the details of pastime. At the same time, the course of the narrative is often interrupted by numerous author's digressions, which reflect changes in the author's attitude towards the hero. Only when "the Russian melancholy took possession of him little by little", and Onegin went to his estate, Pushkin introduces us to Tatyana Larina (and this is already Chapter II, stanza XXIV!). And until the end of this chapter, the author, as it were, forgets about Onegin and draws a portrait of a girl. In chapter III, Eugene meets Tatyana.
Turgenev in his poem (or "story in verse") offers a new version. Judging by the title and the development of the narrative, first of all, Parasha is "the subject of both sighs and worries", the "subject of poetry" of the author-narrator. Having reported this, the narrator introduces the reader to his "steppe". Her portrait is quite detailed ("tanned", "cute hands", "fingers were thin and transparent", "magic eyes", "thoughtfully calm look", "walked smoothly". Judging by the epithets that the poet rewards his heroine, it is not difficult guess how the author relates to Parasha. The age of the heroine is indicated. She is 20. Further information is given about the marital status of the girl - "her ... father is a carefree landowner", mother - "a woman ... simple, with a face very similar to pie ". In the description of Parasha's parents, the realistic tone of the poem makes itself felt for the first time. The portrait of the girl is still made in a romantic spirit, then information about her social status and the image of the life of typical landowners follow. Romanticism tries to hold its ground, but only for the time being .
Turgenev draws a parallel between Pushkin's Tatyana Larina and his own Praskovya.
She sat down... remember Tatyana?
But I will not compare her with her;
I'm afraid that readers will give up
And this fairy tale will not be read at all.
The author finds Parasha and Tatyana similar, but seems to prefer not to compare them. And the point is not only that "this fairy tale will not be read at all." The author is cunning, playing a game with the reader. Trying to convince him that Parasha is not Pushkin's heroine, that she is completely different, he nevertheless endows her with many of the qualities inherent in Tatyana. And if you do not take into account some minor details in the portrait characteristics of both girls, then we can safely say that Tatyana and Parasha are the same type of heroine. For clarity, I will give some textual analogies, convincing of the full correspondence of the two female images:
| Tatiana |
Parasha |
thoughtfulness, her friend |
I liked her face... it |
| And often all day one |
...Every day... |
Tatiana ( Russian soul)... |
I look at you: the beauty of the steppe |
| She liked novels early on; |
She read voraciously... and equally |
Despite the different literary tastes of the girls (it should be noted that Parasha reads Pushkin and probably knows about Tatyana Larina), we have a single psychological structure, the same type, which has remained virtually unchanged for almost twenty years ("Eugene Onegin" was written from 1823 to 1831, Parasha was published in 1843). This is very important for understanding the author's intent. As M. Gershenzon rightly noted, Parasha stands, so to speak, out of time: her character and her novel are equally in place in 1820 and in 1860" [7. p.27]. "Out of time" means not outdated; the feeling of modernity of the psychological type is not lost. Internally, the character of Parasha is presented in dynamics. The author endows her with positive moral qualities. A deep and strong nature is guessed in the girl. Her emotional activity ("she takes out a book with an absent-minded hand - unfolds it, closes it; her beloved whispers a verse. .. and the heart aches, the face turns pale ... ") has nothing to do with the behavior of "enthusiastic girls", "hunters for sweet rhymes". Parasha, according to the author, is "of a different kind". Creating her image, Turgeev follows the principles of realism Romantic impulses noticeably weaken when "suddenly another note invades ... an illusory ... world - the loud-sounding theme of the native land". The theme of nature arises. Turgenev draws two different landscapes. One is romantic, southern, opening a "wonderful view" . Another, clearly contrasting with the previous one, is made in the spirit of realistic traditions, here the future author of the Hunter's Notes manifests himself. The picture of Russian nature is beautiful in its truthfulness and simplicity:
We don’t have it - although we are not happy
There is a heat ... for sure - a deep heat ...
A storm is gathering in the distance... crackling
Grasshoppers frantically in high
dry grass; in the shadow of the sheaves lie
Reapers, ravens gaped their noses;
It smells of mushrooms in the grove; here and there
The dogs are barking; for cold water
There is a man with a jug through the bushes.
Then I like to walk in the oak forest,
Sit in the shadows calm and stern
Or sometimes under a modest hut
Talk to a reasonable man.
This is a landscape native to the author, who grew up in the Oryol province, in the middle lane. Turgenev fills the image of Parasha with "the charm of the steppe." Here again, a parallel with Pushkin suggests itself: his Tatiana lives in a northern village, so the poet paints landscapes typical of those places. The biographical experience of both artists is reflected in their work.
The meeting of the heroine with Victor took place under the most romantic circumstances: one day, on a walk, Parasha sees a sleeping hunter and watches him from the grotto that serves as her shelter. He, finally waking up, notices the girl, and, being a well-mannered person, calls himself. According to the logic of the plot, Parasha, of course, falls in love with Viktor Alekseevich ("my young lady's heart languished"). The writer puts his heroine in the same conditions as Pushkin's Tatyana, who also experienced the "longing of love." Changes in the behavior and appearance of both girls did not hide from the attention of others: the spiritual life of the heroines correlates with the circumstances. People close to them ask in both cases approximately the same question - the nanny, turning to Larina: "What, Tanya, what's wrong with you?" ; Parasha's mother, noticing her daughter's excitement: "What, my friend, are you so sad?" . However, this is where the similarities in the fate of Tatyana and Parasha end.
Now - about the roll call of Pushkin and Turgenev in the creation of male images. There is also a certain similarity between them, but it is of a slightly different plan than between the images of Tatyana and Parasha. And not only because for Pushkin the image of Evgeny is the leading one, organizing the entire course of the narrative of the novel, and for Turgenev Parasha is the main character of his "story in verse", Victor clearly falls short of Evgeny in his inner significance. Nevertheless, the typological proximity of these characters is obvious, but it is, if I may say so, "with a minus sign." Let's look at the table again:
Both were successful with the ladies, but in a situation of courtship
behaved differently and are evaluated differently by the authors:
Onegin is more significant, deeper than the women he seduces;
Victor is smaller than the women in love with him:
So, the heroes have different positions in the world.
| Onegin leaves his native place after a duel with Lensky, because " a bloodied shadow... appeared to him every day" . |
Victor appears before Parasha and the reader after his stay abroad. Here - I will note in passing! - Vladimir Lensky will be a parallel to him, who "... from foggy Germany ... He brought the fruits of learning ..." . |
| Evgeniy did not serve, he was his own at balls, children's holidays, in theaters ("... honorary citizen backstage") |
Among other things, Turgenev's hero managed to combine service with a fun pastime: While he was on duty |
So, Victor is a reduced version of Onegin. Not without reason, Pushkin's hero in the tenth chapter of the novel finds himself among the future Decembrists, that is, "it is given in development, in the gradual revelation of the active potentialities of humanity." Victor, on the other hand, is completely devoid of that "inimitable strangeness" that characterizes Eugene. Turgenev's hero was quite satisfied with the serene landowner's existence: all his dreams, in the end, come down to "legal, peaceful marriage". Belinsky rightly refers Victor to the category of "those great-little people who are now so many divorced and who cover the lean heart of their nature with a smile of contempt and ridicule. He was abroad and took out a lot of fruitless words and doubts from there." Viktor is a typical representative of the generation of the 40s of the 19th century, a collective image. This is also the hero of Lermontov's "Duma": it is not by chance that the epigraph to the poem was taken from there - "and we hate, and we love by chance." Another Turgenev type is easily recognizable in him - "a man, of which there are many."
Thus, despite the obvious overlap between the images of Parasha and Victor with Pushkin's Tatyana and Evgeny, it is quite obvious that Turgenev's characters are something new. Turgenev, continuing the Pushkin tradition, sneers at Pushkin's characters and emphasizes the independence of the images he created. Nevertheless, it is quite obvious that "Parasha and Viktor are Tatyana and Onegin of the new historical time of the epoch of the 1840s". One should only not forget that by placing his heroes in the context of another era, different from Pushkin's, Turgenev prepared for them in his "story in verse" a different fate.
The final love of Victor and Parasha becomes (which is somewhat unexpected for readers) their legal marriage. From the very beginning, the author does not like Victor, he calls his hero either "eccentric", then "villain", then "godless". But nevertheless, the author cannot do anything about the fact that Victor is "loved, that he himself is passionate about" Parasha. For Turgenev, it's all about the irrevocable laws of being. Parasha's fate is predetermined: she is "dragged in by vulgarity, but the hero has already gone". The alliance with Victor turned out to be disastrous for Parasha: everyday life swallowed her up. By the way, in relation to Victor, an analogy with Lensky suggests itself. Both studied (visited) abroad, both are in love, and the possible life path that Pushkin prophesied to the young poet ("... married, / In the village, happy and horned, / Would wear a quilted robe ...", "getting fat, sickle", etc.), Turgenev showed as a variant of the fate of the hero of the Onegin type.
In the course of the development of the plot, the portrait of Parasha noticeably changes: five years later, the author meets again with the spouses, and it turns out that there is nothing in common between Parasha the girl and Praskovya Nikolaevna. "Parasha's romantic dreams were not destined to survive, they died in the stuffy atmosphere of Nikolaev reality."
Particularly noteworthy is the position of the author-narrator in the poem, who is a full-fledged character in Parasha, as the author-narrator in Onegin. The author constantly conducts an active conversation with the reader, never for a moment forgets about his presence, engages in a dialogue. From the very first lines of the poem, with the appeal "reader, I humbly hit you with my forehead," the narrator, as it were, takes the reader as a co-author and is therefore demanding of him. According to V.I. Kuleshov, in order to be understood, Turgenev urgently needed for this role "a person who knows Lermontov's Duma and all modern poems by heart." And - I will add - Pushkin's novel in verse.
It is the author-narrator who introduces the image of Satan into the artistic world of his work. Speaking of the love of Victor and Parasha, the narrator suggests that "it could have ended in nothing", but higher powers come into play - "a sad and powerful demon / Above the garden, in the bosom of a gloomy cloud / Rushed". At the first appearance, the image of the demon is a warning to the reader - the story told by the author does not have a happy ending at all. The "Lord of Evil", foreshadowing trouble, further observes the course of the main events:
Friends! I see a demon... on the fence
He leaned - and looks; for a couple
A sullen look follows mockingly.
At the end of the poem, he has a different function: the author "hears Satan's laughter", which, having witnessed the heroes' love explanation, according to Kuleshov, is "an ironic piece from Lermontov's demon". Turgenev's demon has no one to tempt, because in this story "everything is decent and miserable: an ordinary conspiracy." Satan's laughter only reinforces this feeling. The image of the demon is also necessary for the subsequent generalization:
I don't think he's looking at them
Russia is all spread out like a field,
Before his eyes at this moment...
It turns out that the author is not interested in a love story, but in the situation that developed in Russia in the 40s of his contemporary century. To show that vulgarity is an all-Russian phenomenon, this is the main idea of Turgenev's work with a lyrical-epic plot. Realistic tendencies finally take over in the fabric of the poem. And the story of Parasha and Viktor is needed only in order to somehow veil the acute social orientation of the "story in verse." "The strength of Turgenev's depiction of vulgarity was that he does not sharply denounce it, but discredits it from within." The general course of the literary process suggested to Turgenev the plot, and this caused changes in the genre structure of the poem and its anti-romantic, ironically oriented pathos.
Literature:
1. Belinsky V.G. Parasha. Story in verse. T.L. // Belinsky V.G. Sobr. cit.: In 9 vols. M .: Hood. literature, 1979. V.5.
2. Quoted. by: Kurlyandskaya G.B. I.S. Turgenev and Russian literature. Moscow: Education, 1980.
3. Quoted. by: Turgenev in Russian criticism: Sat. Articles. M.: Hood. Literature, 1953.
4. Fet A. Memories: In 3 volumes. Pushkin: Culture, 1992. V.1.
5. Pushkin A.S. Eugene Onegin // Pushkin A.S. Collected works: In 10 volumes. M .: Hood. Literature, 1975. T. 4.
6. Turgenev I.S. Parasha // Turgenev I.S. Works: In 12 volumes. M .: Nauka, 1978. Vol. 1.
7. Gershenzon M. Turgenev's dream and thought. M., 1919.
8. Basikhin Yu.F. Poems by I.S. Turgenev (The path to the novel). Saransk, 1973.
9. See the poem by I.S. Turgenev "A man, of which there are many."
10. Kuleshov V.I. Natural school in Russian literature. M .: Education, 1965.
11. Kalashnikov V.S. Some problems of typification of the artistic image in the poem by I.S. Turgenev "Parash" // Problems of artistic mastery in Russian literature of the 19th - 20th centuries: Sat. scientific works. Dnepropetrovsk, 1978.
12. Kuleshov V.I. Natural school in Russian literature... S. 237.
N.A. Zacharchenko
TURGENEV"S "PARASHA" AS A REALISTIC POEM
The poem "Parasha" by I.Turgenev is considered to belong to the transitional type of literary works. In it I.Turgenev made an attempt to join romantic and realistic elements into a single complicated artistic whole. In the process of her investigation the author comes to the conclusion that Turgenev's "story in verse" is ironically following the tradition of Pushkin "s "novel in verse". Thus the comprehension of "Parasha" "s genre peculiarity is due to the similarities and differences between Turgenev" s work and Pushkin "s "Eugene Onegin".
In the work of A. S. Pushkin "The Bronze Horseman" Eugene is one of the central characters. This hero is a kind of generalization, a product of the "Petersburg" era in Russian history. It can be called a "little man" - after all, Eugene's life meanings lie in simple human happiness. He wants to find a cozy home, family, well-being.
Generalized image
When preparing the characterization of Eugene from The Bronze Horseman, it can be emphasized that A. S. Pushkin in his work The Bronze Horseman specifically refuses to give Evgeny any surname. By this, the poet seeks to show that absolutely anyone can take his place. In the image of this character, the lives of many Petersburgers of that time were reflected.
The meaning of this generalization lies in the fact that Eugene in the poem is the personification of the masses, the embodiment of those who turned out to be unfortunate and destitute due to the fault of the government. At the moment of the outbreak of the rebellion, Eugene, even for a second, equalizes with the emperor. His elevation occurs at the moment when he, being among the raging waves, sits "on a marble beast astride." In this position, Eugene is equal in scale to a giant.
Contrasting Peter
Continuing to characterize Eugene from The Bronze Horseman, it is worth noting the opposition of the hero to the emperor. In the flood scene, the reader sees Yevgeny sitting behind the Bronze Horseman. He folded his arms crosswise (here the poet draws a parallel with Napoleon), but he does not have a hat. Eugene and the rider look in the same direction. But their thoughts are occupied with completely different things. Peter peers into history - he is not interested in the lives of individual people. And Eugene's gaze is fixed on the house of his beloved.
In the characterization of Yevgeny from The Bronze Horseman, one can indicate that in the person of Peter and Yevgeny, the great Russian poet personified two principles - boundless human weakness and exactly the same boundless power. In this dispute, Pushkin himself takes the side of Eugene. After all, the rebellion of the “little man” against interference in his life is quite legitimate. And it is in this rebellion that the reader sees the spiritual awakening of the protagonist. Rebellion is what makes Eugene see the light. The guilt of the “idol” before such people is tragic and cannot be redeemed. After all, he encroached on the most valuable - freedom.
Who is closer to the reader?
In this opposition of the two heroes, the reader sees their main difference, which will also complement the characterization of Eugene from The Bronze Horseman. The hero is endowed with a living heart, he knows how to worry about another person. He can be sad and happy, embarrassed and tremble. Despite the fact that the Bronze Horseman appears before us busy thinking about the lives of people, about their improvement (here the poet has in mind Yevgeny himself as a future inhabitant of the city), this “little man” and not “idol” still causes great reader sympathy. ".
Evgeny's dreams
His poverty is not a vice. It can be dealt with if you work hard; then it will become temporary. The health and youth of the protagonist is the poet's hint that so far Eugene has nothing else to offer society. He is employed in a bureaucratic office. He does not really like this life, but he hopes for the best and is ready to work long and hard to achieve prosperity. The situation is exactly the same with the apartment that Evgeny rents in one of the remote areas. The protagonist hopes that she will be replaced by a better option.
In the characterization of Eugene in the poem "The Bronze Horseman" one can also mention his beloved. The girl Evgenia named Parasha is a match for him. She is not rich and lives with her mother on the outskirts of the city. Eugene loves the girl, thinks of his future only with Parasha, associating all the best dreams with her. But the events that occurred later destroyed the plans of the "little man". The river flooded the house of Parasha and her mother, took their lives. Because of this, Eugene went crazy. His suffering was immeasurable. He wandered around the city alone, eating only those handouts given to him by the poor for two weeks.
The death of Eugene
The tired consciousness of the character draws crazy pictures for him - this is how the poem "The Bronze Horseman" continues. The characterization of Peter and Eugene may contain a description of the moment of anger of the "little man" directed at the emperor. Eugene begins to accuse the Bronze Horseman of having founded a city in such a place. After all, if Peter had chosen another area for the city, then Parasha's life could have turned out differently. And the accusations of the “little man” are so full of swearing that his imagination cannot stand it and revives the monument to Peter. He chases Eugene all night. He falls asleep in the morning, exhausted from this chase. Soon the main character dies of grief.
"Little Man" or Hero?
The flood, which turned into a personal tragedy for Eugene, turns him from a simple person into the Hero of the poem "The Bronze Horseman". The characterization of Eugene, briefly stated, may contain his description at the beginning of the poem and transformation as events unfold.
At first quiet and inconspicuous, he becomes a truly romantic character. He has enough courage to, risking his own life, go in a boat through the "terrible waves" to a small house located at the very Gulf of Finland, where his beloved lived. In the poem, he loses his mind, and madness, as you know, often accompanies romantic heroes.
Characterization of Eugene in the poem "The Bronze Horseman": the ambivalence of the character
This Pushkin character has ambivalence - on the one hand, he is small and faceless; on the other hand, Eugene is the only hero of the poet's works, who has a number of human virtues. He evokes compassion in the reader, and at some point even admiration. Despite the fact that Eugene is a simple layman, he is distinguished by high moral qualities. This poor official knows how to love, be faithful and humane.
The characterization of the hero Yevgeny in the poem "The Bronze Horseman" was curious to many researchers of Pushkin's literary heritage. Some of them, such as Y. Borev, see in Eugene no less a secret than in the image of the emperor. Yes, he is a “small” person, a private individual. However, the character claims self-worth. There are many high moments in his dreams. His madness can be called "high", because in it the hero goes far beyond the framework of ordinary consciousness.
With the help of many techniques, the great Russian poet achieves the compatibility of two opposite images - the emperor and the petty official. Indeed, for Pushkin, the worlds of these heroes are equivalent.
Eugene - the main character of the poem A. S. Pushkin"The Bronze Horseman", a petty Petersburg official, a poor metropolitan citizen. The poem does not mention the name, age, or place of work of the hero. His appearance is also vague and lost in the gray, faceless mass of citizens like him. There is only one mention of his former aristocratic origin, but now he himself shuns the nobility, as he is poor. Eugene lives in Kolomna and is often on the opposite bank of the Neva River. His dreams and hopes are connected with the same poor girl Parasha, with whom he wants to start a family, have kids and live in peace. However, his dreams were not destined to come true.
Parasha and her mother die after a severe flooding storm. The dilapidated house in which Parasha lived was demolished, and only a willow growing nearby remained from it. Eugene could not bear such grief and went crazy. With the loss of Parasha, he lost all his dreams and the meaning of life. After that, he begins to wander all the time, live on alms, sleep on the street. Often evil people beat him, but he doesn't care. This image of Eugene causes pity and longing in the reader. One rainy evening, he decides to go and look into the eyes of the majestic idol who once built this city on the banks of the Neva. Subsequently, he repents of this. The city soon experiences another devastating storm in which Eugene dies.
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