Aurora Dupin (George Sand): biography and work of the French writer. Female images in the novels of George Sand

Introduction

After French Revolution In 1789, interest in democratic ideas, and in particular in the issue of the status of women, increased among the enlightened nobility. In noble salons, ladies become noticeable due to their education, intelligence and activity. At this time, the romantic literature, and especially the works of George Sand, where the ideas of enlightenment, as well as the emancipation of women, were decisive. But so far literature could not yet master the subject and was limited to individual features that still did not sufficiently explain this question.

In the second half of the 19th century, democratic ideas became widespread. There were demands to free society from the burden of patriarchal structures - from the point of view of the radical intelligentsia, this implied not only the elimination of existing class differences, but also the abolition of the then system of relations between the sexes. The appearance of J. Sand in literature was evidence of the important changes that occurred in her consciousness under the influence social processes that time.

Georges Sand is the pseudonym of Aurora Dudevant. These two names refer to different periods this woman's existence. Between them is a line erected by social changes, the hub of which was the July Revolution of 1830. Aurora Dudevant was married to Casemir Dudevant, but the marriage was not a happy one. The main thing that characterized the young woman during this period was her desire to ensure her independence. Events in Paris allow her to take such a step as to leave her husband, and on January 4, 1831, she is already in the capital of France, where she begins to work for Delatouche’s newspaper “Figaro.” This is how George Sand enters new period her life, so different from her peaceful existence in the provinces.

The influence of new times was imprinted in the fate of many famous women that era. But the changes in the life of J. Sand in the early 30s of the 19th century are even more striking: passivity is over, the freedom to do nothing and not be responsible for anything is rejected as a state of dependence and slavery; To this freedom to order domestic servants, she prefers the need to work, since this, together with material independence, gives real freedom to choose and decide for herself. Active literary and social activity J. Sand. During the Restoration, J. Sand's break with her husband and move to Paris would have been simply a scandal and a crime against morality. In Paris in 1831, this is perceived as liberation of the individual. For a woman to decide on such an act, it took an event such as the July Revolution, which, despite all the limitations of its political results, contributed to a fundamental renewal of morals. This is precisely the meaning of George Sand’s own remark that in Paris “freedom, if not social, then at least individual, prevails.”

The topic of our research was “ Women's question in the novelism of George Sand." This problem worried and excited European society in the 19th century, and has not lost its relevance today, when women already have an active life position.

1. Biography of George Sand and general characteristics her creativity

On the evening of July 1, 1804, at the house of Maurice Dupin, an aristocrat from old surname, whose ancestors were even kings, and Sophia Victoria Delaborde, the daughter of a bird catcher, a girl was born. She was named after her grandmother, Maurice’s beloved mother, Aurora.

But society looked at such unequal marriage. Maurice's mother did not accept her daughter-in-law, and Aurora's childhood passed between two fires - grandmother and mother.

Sophie received no education, but was naturally poetic and had an innate sense of beauty. Being “of the people,” she considered herself better than all the aristocrats in the world. And Aurora will inherit this trait of her mother - the owner of aristocratic manners, a lady of high society, she will always emphasize her origin, without considering it humiliating.

Four years later, Maurice Dupin died, and the grandmother took her little granddaughter to her place on the Noan estate. Sophie didn't mind, not wanting to deprive her daughter of a better future.

Aurora fell in love rural life. It brought her joy to run with the village children, care for the lambs, and listen to the stories of the hemp grinder. The aristocratic grandmother, however, did not really like this: she wanted, first of all, to raise her granddaughter to be a sophisticated society lady. It was impossible to subjugate Aurora, but instilling a love of music and literature was not difficult.

And yet she dreamed of returning to her mother; she was not afraid of the poverty in which she would have to live. Aurora Dupin Sr. tried to convince her granddaughter that her mother was a “lost woman.” The girl rebelled. And then her grandmother sent her to study at a monastery.

Aurora with early childhood I asked myself: “Why do I exist? Why all this light? Why old countesses?

In the Augustinian convent she was nicknamed " notebook“- even then she happily wrote in her diary: “Alas! My dear father Vilel, I often got dirty with ink and put out the candle with my fingers.< …>I fell asleep in the lessons of the law of God, I snored at mass, I said that you are ugly< …>This week I made at least 15 blunders in French and 30 in English<… >This is my sin, this is my sin, this is my gravest sin.”

Time passed. Aurora turned 15 years old; unexpectedly for everyone, she turned from an imp into an angelically obedient girl. One day, while walking along the covered gallery of the monastery, a young novice entered the church to take a close look at the nuns who had come to pray: “It seemed to me that a star, as if inscribed in a stained glass window, lost in the vast space, was looking attentively at me. The birds were singing. There was peace all around, charm, reverent concentration, a mystery that I had never imagined<…>I'm feeling dizzy< …>Tears streamed from my eyes< …>“She decided that being a nun was her calling and began to think about joining a monastery. With the desperation so characteristic of her character, Aurora began to work until she lost all strength, was ready to sweep the cemetery, take out the garbage, did everything she was told, and literally did not sleep or eat.

This alarmed everyone. “You have become sad, gloomy, somehow frantically enthusiastic. - Abbe de Premort told her. “As a punishment, I order you to return to games, to the innocent entertainment characteristic of your age.” The abbot, seeing the girl enthusiastic, poetic soul, understood that she would not find happiness on the nun’s path.

Having once again become the instigator of all the games in the monastery, having returned the attention of her friends and nuns, in the depths of her soul Aurora firmly decided that she would not give up on her desire to take monastic vows. But the grandmother’s letter changed everything - Madame Dupin urgently asked her granddaughter to return to Nohant in order to marry her off. In 1822, Aurore Dupin became the wife of Casimir Dudevant. Marriage did not bring her happiness. She and her husband were different people. Casimir found pleasure in hunting, was interested in politics and loved to drink; he did not understand Aurora’s attraction to books. And she thirsted for knowledge, read the works of philosophers, and studied natural sciences with interest. Her natural feeling beauty was manifested in the understanding of music, in drawing, and poetry.

In 1831, Aurora left her family and went to Paris, left without money, without a home, without support. With her hands in her pockets, hungry, she wandered around Paris in search of work, and knew for sure that she would not return to Nohant.

She was hired as a journalist for the satirical magazine Figaro. Its editor, Henri de Latouche, a man who “created more authors than works,” was the teacher of Honoré de Balzac, Charles Nodier.

Aurora wrote her first novel, Rose and Blanche, together with Jules Sandot. Having met Jules, Aurora again felt the taste of life. They were brought together by their interests, dreaminess, and poetry. All they needed to feel happy: two cutlets and cheese, an attic overlooking Notre Dame and the river, a job to pay for housing and food. But this union did not last long - Jules and Aurora separated. “My dreams were always too lofty,” she will say. However, the pseudonym Georges Sand remained with her forever, under which she became known not only in France.

She continues to work hard, tirelessly, releasing a novel a year. Once upon a time, Aurora dreamed of at least seeing V. Hugo, O. de Balzac, and now they are talking about her talent. She meets famous writers, musicians, poets. Here are just a few names: Alfred de Musset, Franz Liszt, Gustave Flaubert, Charles Sainte-Beuve, Eugene Delacroix, Prosper Merimee, Pauline Viardot, Ivan Sergeevich Turgenev...

However, her blood froze from eternal work at the table, left alone, deprived of the joy of giving her love, she forgot that she was still young, and her soul seemed to fall asleep...

George Sand and Frederic Chopin met in 1837 in Paris. She immediately noticed young musician, impressionable, subtle and talented. After this meeting, he noted: “What an unattractive woman this Sand is! Is she really a woman? I’m ready to doubt it.” In many ways, their tastes diverged, but beauty and music united the two beautiful souls.

Chopin found in George Sand a force that attracted him and helped him; Aurora could appreciate him, inspire him, give advice and did not demand anything for herself.

In 1841, the family moved from Paris to Nohant. There they spent five unforgettable years.

From morning to evening, bursts of music coming from Chopin's room, mingling with the scent of roses and the singing of birds, reached George Sand, who was working in her office on the top floor. V.A. Mozart and J.S. Bach did not leave the music stand. Delacroix, for whom a workshop was set up in Nohant, Chopin, Aurora’s son Maurice, already a 20-year-old youth, began talking about art, and she listened. At this time, Georges Sand was working on the novel Consuelo. Polina Viardot, talented singer and a family friend, served as the prototype for the heroine.

They created their own theater. They acted out skits and danced comic ballets. In short, everyone loved and created their own masterpieces...

Chopin loved Georges Sand; she felt tender for him mother's love. She admired the musician's genius; he respected the wonderful writer. But the most sacred and dear feelings to the heart are easily vulnerable, they are fragile, and the slightest mistrust can destroy them. “Well-wishers” began to pit Frederic Chopin against Georges Sand. And they succeeded... “I forgive you and from now on I will not send you a single reproach...” - she wrote in her last letter Chopin.

George Sand's life was not ideal, but it was illuminated by a deep faith in the Ideal. The craving for love, for beauty, for nature, for God was reflected in her life and literary works.

George Sand always treated her work calmly, without giving it of great importance, the main thing remained to love. And at the end of her life, she, the grandmother, gave her ardent love to her grandchildren...

Was George Sand happy? Undoubtedly, because this requires very little. “I had to work hard to remain kind and sincere. But here I am very old... I am completely calm, my old age is as chaste in its mind as in its deeds, not the slightest regret about youth, no desire for fame, no desire for money, except to leave it to my children and grandchildren... I feel that I can be useful more personally, more directly. I have achieved, I don’t know how, great prudence... As always, I am a believer, endlessly believing in God. They are mistaken in thinking that in old age everything declines.”

In June 1876, George Sand died.

2. “The Woman Question” in the works of George Sand

The first step towards self-affirmation for J. Sand was to solve the “women's question” or the emancipation of women.

But first we need to understand what is meant by this concept. In sociology, the “women’s issue” is a complex social problems, including problems of the position of women in society and the family, the protection of motherhood and infancy, and ways to liberate women from oppression.

The word “emancipation” itself comes from the Latin verb emancipare - to free a child from paternal authority or, more commonly, in a broad sense, to renounce any powers or property rights, and formally these powers and rights were not destroyed, but were transferred to another person, and the “emancipated” thus gained not freedom, but a new ruler.

In the 30s of the 19th century, George Sand dreamed of marriage reform - a law that would transform married woman into a resigned and powerless being, she opposed the union of hearts and intellects, jealously protecting family happiness. Her divorce proceedings had just ended, which had caused her a lot of grief and humiliation, so she was especially preoccupied with family problems. She agreed to write a number of journalistic articles on the women's issue for the newspaper Le Monde, founded by the Abbé Lamennais, under common name"Letters to Marcia" (1837). Marcia, a sensible but disillusioned woman, finds no consolation in religion, does not see in society worthy person, with whom she could connect her life; her friend, under whose name the author of the letters will appear, advises her to look for the ideal in everyday affairs and, disdaining wealth and arranged marriage, think first of all about the greatness of female dignity. “Letters to Marcia” took shape moral code, in which provisions on equality between women and men are developed. “Many men are now trying to preach on the basis of psychology and physiology that the male body is superior to the female body<…>If a woman is inferior to a man, let her be freed from all bonds, let neither constancy in love nor legal motherhood be prescribed to her, let even the laws protecting life and property be abolished regarding her, let war be waged against her without any ceremony. Laws, the purpose and spirit of which she supposedly does not have the opportunity to appreciate as well as those who create them, these laws would be meaningless.”

Raising the question of the position of women in French society, George Sand, perhaps for the first time, linked the personal freedom of women with common problem social liberation. She argues that a woman can achieve an independent position only when social order will be based on the principles of equality and freedom, when men, on an equal basis with women, will not feel social oppression in their Everyday life: “Women are indignant against slavery; let them wait for the time when men will become free, since a state of general oppression is incompatible with freedom. Wait and your ideas will prevail. There may not be long to wait, what one group of people so hopes for and what another so fears.” George Sand's view of the position of women in society allows her to come to the conclusion that in antiquity and the Renaissance, women occupied a more honorable position and played a more significant role in the spiritual life of the state than, for example, under Louis XV, in the era of unbridled debauchery, damaged the marriage death blow.

While fully supporting the idea of the family, J. Sand at the same time condemns those who think of marriage as a union of unequals; under such conditions, retrogrades can make it hateful and humiliating. According to the author of “Letters to Marcia,” the root of evil lay not only in the shortcomings of the civil code and in the perversion of morals. It is the fault of the humiliated woman to accept her position with slavish obedience religious system education, since the only moral support provided to a woman was religion, and the man, freed from his public duties, considered it good for the woman to observe the Christian precepts of suffering and silence.

George Sand was known as a nihilist in matters of morality, a destroyer of family foundations, and a staunch opponent of official marriage. Even at the beginning of the twentieth century, the historian French literature Louis Megron saw the detrimental influence of her novels on the morals of French society.

Her reputation as a fighter for women's liberation made her many friends in all circles of society, but even more enemies. The romantic charm with which her heroines were filled seduced more than one woman’s heart with her preaching of freedom.

In “The Story of My Life,” J. Sand writes that her break with her husband in 1831 was an expression of protest not only against a specific person, but also against the social tradition to which this person was subject. It was impossible for him, while remaining within the framework of this law, to do anything that could stop or alleviate the state of humiliating dependence to which the traditional family structure doomed her. Obviously, the quite mature views of J. Sand at the time of writing “The Story of My Life” allowed her to generalize her family drama in a broader socially, than she could do in 1831–1832, having barely begun her public activities. Nevertheless, even then in her life she seeks liberation not from the person with whom the law binds her, but from false public morality, which neglects the true happiness of the individual. George Sand died in 1876, when her fame as a writer was firmly established in France and beyond. Victor Hugo said in his funeral eulogy: “I mourn the dead and greet the immortal. I loved her, I admired her, I was in awe of her<…>I praise her for being great and thank her for bringing good to people<…>Have we lost her? No... Great people disappear, but do not turn to dust<… >George Sand was a thought; she is outside the flesh, and now she is free; she died, and now she is alive. George Sand will remain the pride of our century and our country.”

Alien, much attracts, even more is incomprehensible, much is assimilated and adopted, although without understanding, superficially, adapting to a different level. Chapter 3 Post-reform Russia in I.A. Goncharov’s novel “The Precipice” 3.1. Attitude of I.A. Goncharov to post-reform Russia Russian historians have created a number of valuable works on the socio-economic history of Russia mid-19th century, i.e. in that circle of historical...

Introduction

After the French Revolution of 1789, interest in democratic ideas, and in particular in the question of the status of women, increased among the enlightened nobility. In noble salons, ladies become noticeable due to their education, intelligence and activity. At this time, romantic literature, and especially the works of George Sand, became widely popular in Russia, where the ideas of enlightenment, as well as the emancipation of women, were decisive. But so far literature could not yet master the subject and was limited to individual features that still did not sufficiently explain this issue.

In the second half of the 19th century, democratic ideas became widespread. There were demands to free society from the burden of patriarchal structures - from the point of view of the radical intelligentsia, this implied not only the elimination of existing class differences, but also the abolition of the then system of relations between the sexes. The appearance of J. Sand in literature was evidence of important changes that occurred in her consciousness under the influence of social processes of that time.

Georges Sand is the pseudonym of Aurora Dudevant. These two names refer to different periods of this woman’s life. Between them is a line erected by social changes, the hub of which was the July Revolution of 1830. Aurora Dudevant was married to Casemir Dudevant, but the marriage was not a happy one. The main thing that characterized the young woman during this period was her desire to ensure her independence. Events in Paris allow her to take such a step as to leave her husband, and on January 4, 1831, she is already in the capital of France, where she begins to work for Delatouche’s newspaper “Figaro.” Thus, George Sand enters a new period of his life, so different from hers peaceful existence in the provinces.

The influence of new times was imprinted in the fate of many famous women of that era. But the changes in the life of J. Sand in the early 30s of the 19th century are even more striking: passivity is over, the freedom to do nothing and not be responsible for anything is rejected as a state of dependence and slavery; To this freedom to order domestic servants, she prefers the need to work, since this, together with material independence, gives real freedom to choose and decide for herself. The active literary and social activities of J. Sand begin. During the Restoration, J. Sand's break with her husband and move to Paris would have been simply a scandal and a crime against morality. In Paris in 1831, this is perceived as liberation of the individual. For a woman to decide on such an act, it took an event such as the July Revolution, which, despite all the limitations of its political results, contributed to a fundamental renewal of morals. This is precisely the meaning of George Sand’s own remark that in Paris “freedom, if not social, then at least individual, prevails.”

The topic of our research was “The Women's Question in the Novels of George Sand.” This problem worried and excited European society in the 19th century, and has not lost its relevance today, when women already have an active life position.

1. Biography of George Sand and general characteristics of her work

On the evening of July 1, 1804, a girl was born to Maurice Dupin, an aristocrat from an old family whose ancestors were even kings, and Sophia Victoria Delaborde, the daughter of a bird catcher. She was named after her grandmother, Maurice’s beloved mother, Aurora.

But society looked at such an unequal marriage with condemnation. Maurice's mother did not accept her daughter-in-law, and Aurora's childhood passed between two fires - grandmother and mother.

Four years later, Maurice Dupin died, and the grandmother took her little granddaughter to her place on the Noan estate. Sophie didn't mind, not wanting to deprive her daughter of a better future.

Aurora fell in love with rural life. It brought her joy to run with the village children, care for the lambs, and listen to the stories of the hemp grinder. The aristocratic grandmother, however, did not really like this: she wanted, first of all, to raise her granddaughter to be a sophisticated society lady. It was impossible to subjugate Aurora, but instilling a love of music and literature was not difficult.

From early childhood, Aurora asked herself questions: “Why do I exist? Why all this light? Why old countesses?

In the Augustinian convent she was nicknamed “the notebook” - even then she was happy to write in her diary: “Alas! My dear father Vilel, I often got dirty with ink and put out the candle with my fingers.< …>I fell asleep in the lessons of the law of God, I snored at mass, I said that you are ugly< …>This week I made at least 15 blunders in French and 30 in English<… >This is my sin, this is my sin, this is my gravest sin."

This alarmed everyone. “You have become sad, gloomy, somehow frantically enthusiastic. - Abbe de Premort told her. “As punishment, I order you to return to games, to innocent entertainment characteristic of your age.” The abbot, seeing an enthusiastic, poetic soul in the girl, understood that she would not find happiness on the path of the nun.

Having once again become the instigator of all the games in the monastery, having returned the attention of her friends and nuns, in the depths of her soul Aurora firmly decided that she would not give up on her desire to take monastic vows. But the grandmother’s letter changed everything - Madame Dupin urgently asked her granddaughter to return to Nohant in order to marry her off. In 1822, Aurore Dupin became the wife of Casimir Dudevant. Marriage did not bring her happiness. She and her husband were different people. Casimir found pleasure in hunting, was interested in politics and loved to drink; he did not understand Aurora’s attraction to books. And she thirsted for knowledge, read the works of philosophers, and studied natural sciences with interest. Her natural sense of beauty manifested itself in her understanding of music, drawing, and poetry.

She was hired as a journalist for the satirical magazine Figaro. Its editor, Henri de Latouche, a man who “created more authors than works,” was the teacher of Honoré de Balzac, Charles Nodier.

Aurora wrote her first novel, Rose and Blanche, together with Jules Sandot. Having met Jules, Aurora again felt the taste of life. They were brought together by their interests, dreaminess, and poetry. All they needed to feel happy: two cutlets and cheese, an attic overlooking Notre Dame and the river, a job to pay for housing and food. But this union did not last long - Jules and Aurora separated. “My dreams were always too lofty,” she will say. However, the pseudonym remained with her forever George Sand, by which she became known not only in France.

She continues to work hard, tirelessly, releasing a novel a year. Once upon a time, Aurora dreamed of at least seeing V. Hugo, O. de Balzac, and now they are talking about her talent. She meets famous writers, musicians, and poets. Here are just a few names: Alfred de Musset, Franz Liszt, Gustave Flaubert, Charles Sainte-Beuve, Eugene Delacroix, Prosper Merimee, Pauline Viardot, Ivan Sergeevich Turgenev...

However, her blood froze from eternal work at the table, left alone, deprived of the joy of giving her love, she forgot that she was still young, and her soul seemed to fall asleep...

George Sand and Frederic Chopin met in 1837 in Paris. She immediately drew attention to the young musician, impressionable, subtle and talented. After this meeting, he noted: “What an unattractive woman this Sand is! Is she really a woman? I’m ready to doubt it.” In many ways, their tastes diverged, but beauty and music united two beautiful souls.

Chopin found in George Sand a force that attracted him and helped him; Aurora could appreciate him, inspire him, give advice and did not demand anything for herself.

In 1841, the family moved from Paris to Nohant. There they spent five unforgettable years.

From morning to evening, bursts of music coming from Chopin's room, mingling with the scent of roses and the singing of birds, reached George Sand, who was working in her office on the top floor. V.A. Mozart and J.S. Bach did not leave the music stand. Delacroix, for whom a workshop was set up in Nohant, Chopin, Aurora’s son Maurice, already a 20-year-old youth, began talking about art, and she listened. At this time, Georges Sand was working on the novel Consuelo. Pauline Viardot, a talented singer and family friend, served as the prototype for the heroine.

In France, as in England, romanticism was not a single movement: at the very beginning of the 19th century, reactionary romantics came out and declared a campaign against the revolution and the enlighteners; Somewhat later, before the July Revolution, representatives of progressive romanticism entered the literary struggle, and in those years dealt a crushing blow to the reactionary art of the Restoration era.

Historical events in France these years were very turbulent and tense. The first French bourgeois revolution had just ended. The new socio-political system had basically already taken shape, but the fierce resistance of the enemies of the revolution was far from being broken.

The struggle between the progressive and conservative forces of French society was clearly reflected in literary life countries. In the very first years of the 19th century, a number of publicists, philosophers, and writers began their activities in France, whose task was to overthrow the ideas of the revolution and the Enlightenment. These philosophers and writers consistently rejected all the ideas of the Enlightenment. They considered reason to be the source of all evil, proposed to restore the rights of faith, religion, and the church, rejected the ideas of religious tolerance and freedom of conscience, for which the enlighteners fought, and demanded the restoration of a single Catholic Church with its head, the pope. Finally, they rejected the principle of democracy, calling for the return of the feudal monarchy.

In the early 30s of the 19th century, a writer appeared in France, whose real name, Aurora Dudevant (née Dupin), is rarely known to anyone. She entered literature under the pseudonym Georges Sand.

Aurora Dupin on her father's side belonged to a very noble family, but on her mother's side she was of democratic origin. After the death of her father, Aurora was raised in her grandmother’s family, and then in a monastery boarding school. Soon after finishing the boarding school, she married Baron Casimir Dudevant. This marriage was unhappy; Convinced that her husband was a stranger and distant to her, the young woman left him, leaving her estate Nohan, and moved to Paris. Her situation was very difficult; there was nothing to live on. She decided to try her hand at literature. In Paris, one of her fellow countrymen, writer Jules Sandot, invited her to write a novel together. This novel, Rose et Blanche, was published under the collective pseudonym Jules Sand and was a great success.

The publisher ordered Aurora Dudevant a new novel, demanding that she keep her pseudonym. But she alone did not have the right to a collective pseudonym; Having changed her name, she retained the surname Sand. This is how the name George Sand appeared, under which she entered literature. Her first novel was Indiana (1832). Following him, other novels appeared (“Valentine”, 1832; “Lelia”, 1833; “Jacques” 1834). For my long life(seventy-two years old) she published about ninety novels and stories.

For most, it was unusual for a woman to write and publish her works and to live on her literary income. There were many different stories and anecdotes about her, very often without any basis.

George Sand entered literature somewhat later than Hugo - in the early 30s; The heyday of her work falls in the 30s and 40s.

One of best images Among the democratic heroes of George Sand is Consuelo, the heroine of the novel of the same name. Consuelo is the daughter of a simple gypsy, a wonderful singer. Not only her voice is beautiful, but also her entire moral character. The poor, lonely, defenseless girl has such strength of character, such courage and fortitude that she is able to withstand the most cruel and merciless enemies. She is not afraid of any trials, nothing can break her courage: neither prison, nor the despotism of Frederick of Prussia, nor the persecution of her enemies.

Like all democratic heroes in George Sand, Consuelo has plebeian pride: she leaves the Rudolstadt castle despite the fact that she becomes the wife of Albert Rudolstadt.

The novel tells the story of a girl who has not known her father since childhood, but has a wonderful voice. Musician teacher Porpora, recognizing the girl’s extraordinary talent, gives her lessons for free. Consuelo's best friend is Anzoletto, who also has excellent voice. When they grow up, they begin to perform in the salons of Venice. Anzoletto realizes that Consuelo’s singing has no equal, and envy awakens in him.

Over time, the friendly feelings of Consuelo and Anzoletto develop into passion, but Anzoletto does not want to marry his childhood friend and convinces her that this could interfere with their musical career. After some time, Consuelo learns of Andzoletto's betrayal and flees Venice in upset feelings. On the recommendation of her mentor Porpora, she leaves for old castle on the border of the Czech Republic and Germany to become the companion and music teacher of the young Baroness Amelia. The Baroness is engaged to her cousin Albert, who lives in the same castle. Albert has the gift of clairvoyance, which frightens his family, and those around him consider him crazy. After some time, Albert falls in love with Consuelo, but she does not reciprocate his feelings, feeling only sisterly friendship for him.

The action takes place in the 40-50s. XVIII century Together with his heroine, the outstanding singer Consuelo, the reader from sunny Venice finds himself in a dark Bohemian forest, goes along the roads of the Czech Republic, Austria and Prussia.

Consuelo, the daughter of a gypsy who did not know her father, is naturally endowed with amazing musical abilities and has a wonderful voice. Hardworking and modest, she becomes the favorite student of the famous teacher-musician Porpora, who, recognizing her true talent, gives her lessons for free. The girl's mother has died and she lives alone; she is taken care of by the orphan boy Anzoletto, who also has a wonderful voice, but has neither the perseverance nor the diligence of Consuelo. Children love each other with pure, innocent love.

Having entered the time of adolescence, Anzoletto becomes a real handsome man, Consuelo, who was previously considered ugly, also became unusually prettier. Anzoletto is getting used to easy victories - both over women and in the musical field. His patron, Count Zustignani, invites him to his theater. Andzoletto's singing was favorably received in the salons of Venice.

Almost simultaneously with Anzoletto, Consuelo makes her debut, after whose performance everyone understands that she has no equal in either skill or voice. Consuelo is alien to vanity, but envy awakens in Anzoleto’s soul.

The friendly feelings Anzoletto harbors for his childhood friend develop into passion. Consuelo agrees to become his wife, but Anzoletto does not even want to think about legal marriage, trying to convince his beloved that this will interfere with their artistic career. Consuelo agrees to wait. Her integral and clear nature is disgusted by lies and hypocrisy, while her friend has long been accustomed to cunning and dodging. And now, secretly from Consuelo, he started an affair with the prima donna, the mistress of Count Zustignani Corilla. At the same time, he consoles himself with the fact that Count Zustignani liked Consuelo, which means that he will certainly make her his mistress. Therefore, he, Anzoletto, has the right to take his beloved from the count.

Corilla falls more and more in love with Anzoletto and arranges scenes of jealousy for him. Anzoletto is increasingly jealous of Consuelo's success, wherever she performs - in the temple or on stage comic opera. Count Zustignani begs Consuelo to give him his love. Faced with something so alien to her behind the scenes life theater, Consuelo is horrified and flees Venice. On the recommendation of Porpora, she goes to the ancient castle of the Giants, located on the border of the Czech Republic and Germany, in order to temporarily become a companion and music teacher of the young Baroness Amalia, the bride of the young Count Albert. Porpora himself is going to leave for Vienna after some time, where his beloved student will then come to him.

The Castle of the Giants belongs to the Rudolstadt family, of Czech origin, but for the sake of saving the heirs, they “Germanized” their family name during the Thirty Years’ War. Since then, the Rudolstadts have lived on their estate, setting an example of faithful Catholics and devoted servants of Maria Theresa.

The last representative of this noble and valiant family, young Albert, the only son of Count Christian, “reached the age of thirty without knowing or seeking any other honor and glory than that which he possessed by birth and fortune.” Albert’s behavior seems strange to many: he surrounds himself with people from the common people, tries to give away as much as possible more money poor, he often experiences “attacks of sleeplessness”, he confuses years and decades, mistakes himself for his distant ancestor Poděbrad. Pictures from the history of the old Czech Republic appear before his eyes every now and then:

battles of the Hussites, executions of Protestants, monks hanged on oak branches, the formidable one-eyed Zizka, avenging the insulted honor of his sister Wanda...

Count Christian and his sister, Cononess Wenceslaus, want to marry Albert to his cousin Amalia, with whom he was friends in childhood. Having arrived at the castle with her father, Amalia is languishing with boredom, and Albert does not seem to notice her presence at all. Amalia happily greets her companion, although she is somewhat disappointed by her sad appearance.

Consuelo makes a huge impression on Albert. Rising from the table, this young aristocrat, dressed all in black, with casually hanging hair and a black beard on his tanned face, gives Consuelo his hand, causing her to become dizzy, and Amalia, although she does not love the count, feels a pang of jealousy .

One day Count Albert disappears. Usually he is gone for several days, and when he returns, he behaves as if he had only been away for a few hours. However, this time his absence becomes protracted, the family is in constant anxiety. Searches in the vicinity of the castle lead to nothing.

In the courtyard in front of Albert's windows, Consuelo notices a well with strangely muddy water. Watching him, she sees Zdenko releasing water from there and going down. Following him, the girl discovers an underground passage leading to caves under mysterious rock Schreckenstein.

Consuelo goes down the well and, wandering through the underground corridors, discovers Albert's hideout. The young count is daydreaming - he either calls the girl Zizka’s scolded sister, or his mother Wanda...

From the shock experienced in Albert's underground domain, the girl falls ill, and the young count, like an experienced nurse, nurses her. When her health is no longer in danger, he declares his love for her and asks her to become his wife. Consuelo is confused: her own heart is still a mystery to her. Count Christian joins his son's request.

Unexpectedly, Anzoletto appears in the castle; he pretends to be Consuelo's brother. After scandals in Venice, he manages to receive letters of recommendation to Prague, Vienna and Dresden. Having learned that Consuelo lives in Rudolstadt Castle, he decides to see her and win her away from the young count, who, according to rumors, has made her his mistress. Anzoletto threatens to ruin Consuelo's reputation if she does not open her bedroom door to him at night.

The girl is in despair: she understands that she can no longer love Anzoletto, but she does not yet feel love for Albert either. Then Consuelo writes to Count Christian that he is going to Vienna, to his teacher and adoptive father Porpora, in order to tell him about the count’s proposal and ask him for advice. Under cover of darkness, Consuelo flees the castle.

In the surrounding forest she meets the young Joseph Haydn; he goes to the castle of the Giants to ask for the patronage of the famous Porporina, so that she will intercede for him with the maestro. Haydn feels the vocation of a composer; his music teachers taught him everything they knew, and now he wants to learn from Porpora himself. Consuelo admits that she is Porporina and invites the young man to travel together. For greater safety, she dresses in a man's suit.

On the way, they fall into the clutches of recruiters of the Prussian King Frederick, and only the courage of Baron Friedrich von Trenck saves them from soldiery. Having stopped for the night in the house of a kind canon who loves music, Consuelo is present at the birth of Corilla. The newborn Andzolina, whose father is Andzoletto, is thrown by the prima donna to the canon, and she rushes to Vienna in the hope of getting an engagement in the opera of Maria Theresa.