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3.1. "Where it's thin, that's where it breaks"
Interest in studying the subtle emotional experiences born of love appeared in Turgenev at a very early stage of his work and became one of the main themes of his entire writing career. An important place in his legacy is occupied by dramatic works, which are based on a love-psychological conflict: “Where it is thin, there it breaks,” “A Month in the Country,” “Evening in Sorrente.” The analysis of the relationship between a man and a woman, proposed by Turgenev in these plays, allows us to see in them an expression of the writer’s conceptual idea of love.
According to V. Toporov, while still a sixteen-year-old youth, Turgenev, working on the dramatic poem “The Wall,” “understood this fatal duel of two wills - the integral female and the divided male - and saw his future role in it” (236; 91). The writer first presented a vivid artistic embodiment of the indicated conflict in the play “Where it is thin, there it breaks.”
The proverb itself, included in the title, testified to the special subtlety of the “material” being subjected to dramatic treatment. F. I. Tyutchev even denied lyric poetry the ability to convey the entire depth of a person’s spiritual life, recording doubts with the famous “how the heart can express itself.” In relation to the field of stage literature, this doubt becomes especially acute. With the title of his first psychological play, Turgenev seems to legitimize the view of the dramatic genre as a type of artistic activity limited in the possibilities of psychological analysis. P. Karatygin immediately agreed with this in an epigram to the writer’s play:
Even though Turgenev has earned fame among us,
He doesn't do very well on stage!
In his comedy he was so over-toned,
What can you say reluctantly: where it’s thin, it breaks
(43; 332).
However, the metaphorical meaning of the title of Turgenev's play in terms of characterizing its artistic features can be seen in another way: the subtlety of the dramatic techniques used by the writer turned out to be ahead of the stage canons of the time and broke with them, not wanting to obey established norms. This is clearly visible when identifying the typological relationship of “Where it is thin, there it breaks” with proverb plays (proverbs) - a special dramaturgical genre popular in Russia in the 1830s.
The origins of the genre go back to the salon or secular comedy of the 18th century French playwright P. Marivaux. Based on the norms of classicist aesthetics, he concentrated the development of the action in a secular drawing room (salon), the driving spring of which was determined by the verbal sparring of the characters. A. Musset in the 19th century gave plays of this type structural completeness with a set of stable dramatic elements. The main thing in the test remained the verbal duel between the characters, demonstrating the sharpness of mind, intellectual ingenuity and graceful ease of speech passages of the characters. At the end of the proverb play there had to be an aphoristic remark, designed to sum up what was happening and reveal the instructive meaning of the events. In Musset, much attention is paid to the psychological development of characters and the validity of the motivations for verbal altercations.
The special interest of the Russian public in Musset's plays can be evidenced by the success in 1837 of the St. Petersburg production of the comedy by the French author "Caprice" ("A woman's mind is better than any thoughts"). Having learned about this, actress Allan also chose Musset’s work for her benefit performance in the Russian capital, and upon returning home, she insisted on including the play in the Comedie Française repertoire.
Domestic authors working in the genre of proofing have not achieved high artistic results. They were mostly content with the edifying morality of “dramatic proverbs,” caring little about the credibility of the characters. Thus, N.A. Nekrasov and V.P. Botkin, analyzing S. Engelhardt’s play “The mind will come - the time will pass,” criticized it for the superficiality of the plot, ponderous humor, lack of interesting characters and came to the conclusion that “in general, It has become our custom to treat this kind of dramatic works very unceremoniously" (164; 299). Of course, the appearance of Turgenev's play "Where it is thin, there it breaks" stood out against the general background of Russian proofs. Even such a strict critic of the writer’s dramatic experiments as A. Grigoriev was forced to admit this, although in general he considered the genre of the “dramatic proverb” to be lightweight and did not welcome Turgenev’s attention to it (79; 240).
Defending the classic from accusations of lightness, most Soviet literary scholars denied the connection between Turgenev’s play and the traditions of the proverba, seeing in the “subtle psychological validity of the writer’s dialogues a break with the aesthetic principles of the “dramatic proverb” (29; 141). However, back in the 1920s, L. Grossman emphasized that Turgenev in “Where it is subtle, there it breaks” inherited his interest in the psychological development of characters within the genre of proof-of-the-story from Musset, and in the late 1980s A. Muratov, insisting on such a genetic relationship of the work, put this thesis in the title of an article about play (“Secular Comedy” by I. S. Turgenev “Where it is thin, there it breaks”) (158). “The main thing is,” writes the researcher, “that “Where it is thin, there it breaks” repeats the basic genre principle of “proverbs” : these are also “small dramatic conversations” almost devoid of stage action, reproducing the style of behavior and range of interests of people of the nobility” (158; 185).
While agreeing with the scientist’s general approach to Turgenev’s work as a type of “secular play,” it is impossible, however, to accept Muratov’s indication of “almost devoid of stage action” as a genre characteristic of the proverb in general and Turgenev’s plays in particular. It is important in this case to trace what new the writer contributed to the development of “secular comedy”, turning it essentially into a psychological drama and thereby giving an expanded concept of “stage action”, which will be theoretically established only at the turn of the century and recognizes the phenomenon of “underwater” as acceptable. ", "invisible" action in the three-dimensional space of the scene.
Here we must pay attention to the fact that in the Russian theater, even before Musset, the “secular comedy” was enriched with elements of psychologism, if you look at the play “Woe from Wit” by A. S. Griboyedov as a work with the features of this genre model.
There is an action unfolding in a secular living room (the house of an influential Moscow nobleman), constant verbal duels of characters (Chatsky - Famusov, Chatsky - Molchalin, Chatsky - Sophia, Sophia - Famusov, Liza - Famusov, etc.) and the aphoristic capacity of the language of the work, phrases from which, according to Pushkin’s famous prediction, quickly became proverbs. But Griboyedov endows the main character of his play with a deep internal conflict (“the mind and the heart are not in harmony”), which provides the image of Chatsky with a special attractiveness and full-bloodedness of life, which is not characteristic of the gallant characters of a traditional “secular play.” And the social urgency of the issues raised in verbal disputes brings the problematic of Griboyedov’s work to a socially significant level, which was also not required from the followers of Marivaux and Musset.
Turgenev also followed the same path of internal transformation while observing external genre forms of verification. In the play “Where it is subtle, there it breaks,” the writer retains the visible signs of the “dramatic proverb”: the title of the work contains an aphoristic statement, and at the end it sounds like a remark from one of the characters - Mukhin, with which he reproaches his friend for the excessive subtlety of the psychological game with the charming girl; verbal duels permeate the entire effective fabric of the play; the events unfold in “the hall of a rich landowner’s house in the village of Mrs. Libanova” (249; II, 74-75).
Moreover, Turgenev’s work strictly adheres to the classicist principle of unity not only of place, but also of time. Moreover, temporary tension is deliberately emphasized by the playwright. The remark describing the situation indicates a large wall clock hanging “in the corner” (249; II; 75), which must accurately record time intervals, since throughout the entire action they are loudly indicated by the participants in the events. At the very beginning, Gorsky will ask himself and immediately give the answer: “What time is it?.. Half past nine,” and then he will determine the essence of the moment, “Today is the decisive day...” (249; II; 75). Soon he will again ask Mukhin a question about time, and he will say “ten” (249; II; 78). Then Vera will not want to go for a walk in the garden, because “it’s hot now... It’s almost twelve o’clock” (249; II; 89). And before lunch, all the necessary decisions will be made by the actors - no more than four hours will pass from the beginning of the events.
In the temporal space of the play, yesterday’s evening, when Gorsky and Vera went boating, and Evgeniy Aleksandrovich read Lermontov to the girl, and the upcoming walk by all the inhabitants of the Libanov house into the forest after Vera accepted Stanitsyn’s proposal are also noticeably present. The situation, which unfolded over the course of four hours, is intended to explain why the partner in the duet with the younger Libanova changed.
The situation is organized by a “fight” between two main characters: the nineteen-year-old daughter of the owner of the estate and the young neighbor-landowner Evgeniy Gorsky. The man perceives his relationship with the girl only in terms of military operations: “There is a terrible struggle between me and Vera Nikolaevna” (249; II; 78); "Aux armes!" (let's arm ourselves) (249; II; 81); “Either I will win, or I will lose the battle...” (249; II; 85); “We are condemned not to understand each other and to torment each other...” (249; II; 99); “Well, well, I’m broken... But how shamefully broken... Let’s die, at least with honor” (249; II; 109). It is no coincidence that the retired captain Chukhanov awarded Gorsky a high military rank: “We didn’t go under such fortifications... We only wish we had colonels like Evgeniy Andreevich” (249; II; 87-88).
The theme of the game is closely intertwined with the main plot motif of the struggle in the work, which is generally characteristic of the “salon play” genre, which creates a model of reality based on the principle “life is a game.” The game in the comedy “Where it breaks is where it breaks” is talked about no less often than about battles. And this means a card game, a piano game, Chinese billiards, and a psychological game, with others and with oneself. Varieties of games complement and brighten up the measured existence of people, becoming its constant background. At the end of the play, the conversation about preference will become a reflection of the psychological game, summing up its result. And the scene of Gorsky’s last explanation with Vera will take place to the “accompaniment” of remarks from Mukhin and the governess playing billiards. Faith. Listen... this is probably the last time we talk about this... You are a smart person, but you were grossly mistaken about me.
Mukhin (loudly). J"ai gagne. (I won).
M"lle Bienaime. Eh bien! la revanche. (Well then! Revenge).
Faith. I didn’t let myself be played with - that’s all... Believe me, there is no bitterness in me...
Gorsky. Congratulations... Generosity befits a winner.
Faith. Give me your hand... here's mine.
Gorsky. Sorry: your hand no longer belongs to you. (Vera turns away and goes to the billiards).
However, everything is for the better in this world.
Faith. Exactly... Qui gagne? (Who is winning?)
(249; II; 110).
The technique of parallel dialogue used in this scene allows Turgenev to show how the play of feelings and the excitement of the winner in a billiard game merge together. The second exposes the first as an untenable activity that devastates the soul and deprives a person of the fullness of life perception.
The main player in the field of psychological fun is Gorsky. He leads the party, “directs” the situation and observes others and himself. “...in the most magnificent moments of human life I am unable to stop observing...” admits Evgeniy Andreevich (249; II; 80).
The character, like Pechorin, constantly analyzes what is happening. After yet another showdown with Vera, Turgenev always gives Gorsky a moment of loneliness, when he can aloud evaluate the event, the girl’s behavior and his own. In sobriety of analysis, frankness and ruthlessness of attitude towards himself and others, Gorsky is not inferior to Lermontov’s hero. In literary criticism, the similarity between the images of Pechorin and Gorsky has been repeatedly pointed out.
However, it is worth noting that in drama before Turgenev, the image of a person who did not fit into the strict framework of a positive or negative character was not developed. At the end of the century, such a task will still be considered relevant by L. N. Tolstoy, creating the play “The Living Corpse”. Turgenev in the play “Where it is thin, there it breaks” was the first in stage literature to record the complex “dialectics of the soul” of a “fluid” personality.
It is also necessary to emphasize that Gorsky exists, unlike the “homeless” Pechorin, in a homely atmosphere, loving and appreciating the comfort of life: “... After all, I am healthy, young, my estate is not mortgaged” (249; II; 94). Comfort, stability and solidity are included in the character’s value system; he is endowed with the rare gift of seeing the beauty of reality: “...What poetic work of genius can compare... well, at least with this oak tree that grows in your garden on the mountain?” (249; II; 93). At the same time, Gorsky experiences a genuine fear of marriage, such a seemingly necessary condition for complete earthly bliss, and he sees the relationship between a man and a woman as an arena of constant struggle. Even at the moment of the “wonderful moment” that Evgeniy Andreevich allowed himself (an evening walk with Vera), he reads to the girl Lermontov’s poem about the heart, where “love fought so madly against enmity” (“Justification”, 1841).
In this regard, A. Muratov notes that “in Lermontov’s work, Turgenev’s hero finds support for his judgments about life” and the poem “Justification” was not chosen by Gorsky by chance, for he “highlights in it the motive of love-hate, one of the most stable in Lermontov’s poetry and close to his consciousness" (158; 178).
With the tale of the Baroness and the Three Suitors, Evgeniy Andreevich tries to explain to Vera that a woman always demands promises, but a man never wants to promise anything. Four years after the appearance of Turgenev’s play, F. I. Tyutchev, in the poem “Predestination” (1852), gave the classic formula for the conflict of relationships between a man and a woman, calling them a “fatal duel.”
Gorsky's fear of marriage is most openly manifested in the episode when he fiercely pushes billiard balls, drowning out the irritation from jealous thoughts. Evgeny Andreevich comes across a novel that tells about disappointments in family life. He reads aloud: “So what? Less than five years after marriage, the already captivating, lively Maria turned into the plump and loud Marya Bogdanovna...”. However, it is not the possible metamorphoses of his future wife that frighten Gorsky: “But here’s what’s scary: the dreams and aspirations remain the same, the eyes don’t have time to fade, the down on the cheek has not yet gone away, and the husband doesn’t know where to go... So what! a decent person Already before the wedding, the fever is pounding. We need to save ourselves... Phew, my God! It’s like in Gogol’s “Marriage”..." (249; II; 96).
Gorsky here compares himself with Gogol’s Podkolesin, who ran away from his bride on the eve of the wedding through the window. And the point is not in situational similarity (Turgenev’s character did not even go as far as proposing marriage), but in the mystical horror of marriage that overcomes both heroes. Another parallel arises, this time not openly indicated by Turgenev in the text of the play. The surnames Gorsky and Gorich from “Woe from Wit” by A. S. Griboyedov are similar in sound. The family life of Platon Mikhailovich is very sad: complete subordination to his wife, mental apathy and laziness. “And who forces us to marry!” - he sighs (78; 111). It is this bitter fate of a man who loses interest in life in marriage that frightens Gorsky - he lets go, scares away the girl in whom he has a genuine interest. Or rather, she refuses to further participate in Gorsky’s complex psychological experiments and accepts the proposal of the simple-minded, funny Stanitsyn, who is madly in love with her.
The German researcher E. Zabel saw in the relationship between Gorsky and Vera Libanova a projection of the communication between Benedict and Beatrice from Shakespeare’s play “Much Ado About Nothing” (300; 157). But Turgenev’s heroine does not have the passion, pressure and offensiveness of Shakespeare’s girl. A. Muratov even sees in the central female character of the play “Where it is thin, there it breaks” the features of an ingénue - a role built on playing up the naivety and straightforwardness of the character (158; 178). However, this characteristic does not express the essence of the image. In this case, it is better to trust Turgenev himself. Through the lips of the intelligent, insightful and sober-minded Gorsky, the author gives the following assessment of Vera Libanova: “She is still fermenting all by herself,” like new wine. But she can turn out to be a nice woman. She is subtle, smart, with character; and she has a tender heart, and she wants to live, and she is a big egoist" (249; II; 78).
At nineteen years old, Vera does not need to “learn to control herself” - she is fluent in this art and does not allow herself to be offended. This is clearly manifested in the climactic scene, which therefore becomes the highest point in the development of the conflict in the play, because Vera boldly accepts Gorsky’s challenge, not allowing herself to be laughed at. Soft, feminine and calm in appearance, she, just like Evgeniy Andreevich, cruelly destroys the charm of yesterday's evening spent together, and gives away to everyone's ears what is dear to her soul. She fearlessly parries the attacks of male pride, contrasting it with female pride. After sharing with Gorsky the destruction of memories dear to both of them, Vera decides to marry Stanitsyn.
It would be an exaggeration to say that the girl is experiencing a deep personal drama. It was not love that determined their relationship with Gorsky, but a premonition, an anticipation of it. The thrill of expectation of love, personal interest in each other connected the younger Libanova and Evgeniy Andreevich. The girl has nothing in common with Stanitsyn. It is hardly possible to be happy in marriage without experiencing real feeling, without even knowing what it is. Vera Nikolaevna’s personal dramas are still ahead. Turgenev has already told us about a similar female fate in “Carelessness” and will tell us more in “A Month in the Country.”
It is generally accepted that “Faith defeats Gorsky” (158; 178). The only question is what is the meaning of victory. The girl, of course, did not allow Gorsky to impose someone else’s will on herself, but at what cost? After all, Vera has a future ahead of her: marriage to a man who recently caused only ridicule.
There are no winners in the play “Where it is thin, it breaks.” As Yu. Babicheva astutely noted, “the action of the comedy has only a formal completion... the struggle of pride and wills has not ended, life continues” (16; 15). Let us add to what has been said the future internal problems of Vera Nikolaevna in order to note the unresolved conflict of the play, the openness of the ending of the work, characteristic of all Turgenev’s dramas.
Thus, the author violated the genre setting of checking for the exhaustion of action with an edifying verbal summary in the form of a proverb. In the play, before our eyes, people’s possible happiness is torn apart, and with a feeling of disintegration of spiritual ties, they enter the next stage of their lives. And the unfulfilled union of Vera and Gorsky itself is regarded by the author as a natural result of the eternal “fatal duel” between a man and a woman. The psychological conflict in Turgenev's play reflects this existential collision, which the writer perceives as an archetypal model of gender relations.
It is significant that when in 1912 the Moscow Art Theater staged the play “Where it is thin, there it breaks” with O. Gzovskaya and V. Kachalov in the leading roles, critics noted the depth of psychological layers in identifying the conflict: “In cursory artistic hints, here are the irreconcilable eternal contradictions of life" (86; 319).
Therefore, the sharp comparison of Vera with a snake, which Gorsky resorts to, seems quite natural. “Will this snake slip out of my hands or strangle me myself,” Evgeniy Andreevich reflects at the beginning of the play (249; II; 79). An ancient mythological image that synthesizes the feminine and devilish principles (modern scientific etymology even traces the name of the biblical Eve to the word “snake” in the Aramaic and Phoenician languages (154; 419), takes on the appearance of a lovely young girl in Gorsky’s mind.
The internal action of the play is precisely aimed at identifying the reasons for Gorsky’s strange and inconsistent behavior, which sometimes runs counter to the norms of secular etiquette, and for Evgeniy Andreevich’s constant presence in an offensive-defensive position in relation to the girl.
The verbal “battles” of Gorsky and Vera are fueled by the intensity of their internal experiences. To make the psychological background of what is happening visible, Turgenev uses an extensive system of remarks. Some indicate the emotional state of the characters through their physical actions: “Vera silently raises her eyes and looks intently at him,” “Vera quietly turns away” (249; II; 84); Gorsky, seeing the flower left by the girl, “slowly takes the rose and remains motionless for some time,” “looks at the rose,” “carefully puts the rose in his pocket” (249; II; 85); in the scene of explanation with Stanitsyn, “Vera slowly moves towards the window; he follows her,” “Vera is silent and quietly bows her head,” “He stops. Vera silently extends her hand to him” (249; II; 97).
Other remarks record unspoken aloud assessments of events and people: the constant “sweet smiles” of Varvara Ivanovna, a poor relative who has no right to her own voice and is forced to obey the slightest whim of a rich landowner. The third type of remarks draws the readers' attention to the discrepancy between the words and desires of the inhabitants of the Libanovs' house: “Chukhanov (who doesn’t want to play at all). Come on, mother, come on... How early? You need to get even” (249; II, 89).
Turgenev actively uses music to convey the feelings of the characters. When Vera is irritated and offended by Gorsky’s behavior, she begins to play Clementi’s sonata, “an old and boring thing,” “hitting the keys hard” (249; II; 90), after an explanation with Evgeniy Andreevich to the disharmonious sounds of the old sonata, the girl “moves on to a brilliant waltz" (249; II, 92). The music here is not a background, but expresses the heroine’s mood, its rapid change.
Working with the subtle “material” of human feelings, Turgenev searches for non-verbal forms of their expression in drama and proves, despite even the title of his own play, that the transfer of emotional experiences is completely subject to stage literature and their depiction in the theater can be effective.
New dramatic techniques and an appeal within the testing genre to the substantial nature of the conflict allowed Turgenev to create the first example of a play in the Russian theater, which was based on the psychological contradictions of the relationship between a man and a woman. The source of drama here is the feeling itself, and not external obstacles that prevent the union of loving people.
In the dramaturgy of the turn of the century, this conflict was most fully and painfully frankly expressed by A. Strindberg; in the mid-nineteenth century, Turgenev revealed it in the elegant form of a salon play.
The capillaries in my eyes often burst. What could this be a sign of?
D. Ostapenko, Ruza
Marina MINAEVA, a doctor of the highest category, ophthalmologist at the State Scientific Research Center for Preventive Medicine, answers:
FIRST of all, you need to understand what the patient calls a burst vessel: hemorrhage under the conjunctiva in the form of a scarlet spot that covers the entire white, and the white becomes practically invisible, or simply significantly dilated vessels, which patients sometimes mistake for a burst vessel.
As for dilated vessels, first of all you need to pay attention to the general condition of the veins. Vascular pathology in general can manifest itself as varicose veins in the legs and dilation of venules (small veins) in the eyes. This often occurs in hypertension due to the fact that the blood pressure on the vessel wall is significantly higher than normal. Vessels often lose their tone, that is, they stretch, but cannot narrow back and remain dilated for a long time. There are dilated vessels not throughout the eye, but at its inner or outer corner. Patients regard the reddish spot of the dilated vessel as hemorrhage.
As for true hemorrhage, it is more common in people after 40-45 years of age with fragile vessels and existing atherosclerosis. Often, once a vessel has burst, it begins to constantly rupture in the same place due to the formation of an aneurysm - thinning of the vessel wall at the site of the old rupture. This can happen 3-4 times in a row. As soon as a person bends down to, for example, lace up a shoe, hemorrhage appears. In such a situation, the patient should be sent to the laser department of the eye institute in order to find the thinned vessel wall and precisely coagulate (“cauterize”) it with a laser, that is, remove the aneurysm. Then all hemorrhages will stop.
Hypertensive patients with severe atherosclerosis, who have extensive hemorrhages under the conjunctiva, should keep in mind that such hemorrhages are a definite “wake up call”. The vessels of the eyes and the brain are the same, and it is good that the vessel ruptured in the eye and not in the brain. Such patients should be immediately given good vascular therapy and warned about the need to limit heavy physical activity. Almost for life, they are categorically contraindicated from bending work (for example, in the garden), lifting heavy objects, going to a very hot bath or sauna - that is, anything that can cause significant dilation of blood vessels. If the vessels are severely damaged by atherosclerosis, any flow of blood to the head can cause rupture of blood vessels in any part of the brain.
This article is devoted to the analysis of such a topic as the specifics of the actions of negative programs. Namely, the principle “Where it is thin, it breaks.”
Perhaps this article will allow you to find answers to the questions: “Why is this happening to me? Why exactly is this happening?
The penetration of negative energy occurs, first of all, into that area of human life where the negative “feels” the weakest point.
A few examples to give an idea of this principle.
According to the strength of strength, the structure will crack at its weakest point.
The rope begins to tear and burst at the thinnest point.
The garment will crack at the weakest point of the seam.
A river that is blocked by a blockage will first “test” the blockage for strength, and if the pressure of water does not break through the blockage, the river will spread in streams throughout the space available to it.
Likewise, humans have weaknesses. Every person. One or several? Not only in the body, but in life in general. And it is in these places that one should wait for the first blow if “dirty deeds” have begun to be done on him.
What are these weak points? Everyone has their own. But they can be "calculated" according to certain principles.
And now - examples from life.
There lived a family. Mom, dad, 8 year old daughter. And there was one aunt who first wanted to take dad away from the family, and then she got angry that it wasn’t working out, and decided to do something nasty to him and his entire family. (From love to hate there is one step, as you know). But nothing significant happened until one day my daughter was run over by a tram... And the presence of negativity in the family was determined after the death of the child when analyzing the situation. And there was a discharge of negativity at the weakest link.
This aunt did not need the death of the child, she simply wanted to take revenge “as the cards fall” on both the man and his family. And the negativity worked for the child.
One lady, the owner of a chain of stores, had a “blood enemy.” And as soon as this enemy “hit” her health, mostly, she fell ill, and at the same time, trade in her stores fell sharply. She devoted half her life to building this trading network on her own, and valued this life’s work more than her health. She rooted for them with all her soul, and it was they who became her weak point, which “torn” along with her health. She recovered from the problems of health impacts on her own, and the stores themselves did not “get up” without active help in resuscitating them.
But why is this so? The practice of observation has made it possible to determine a number of principles of how “where it’s thin, it breaks.”
If there is negativity in the family, it is especially the weakest or the youngest who suffer from it. It is on them - the weak (weak in health, spirit, character) or the younger ones - that the greatest concentration of negativity occurs. Because the weak and younger have low resistance to negativity. They are the weakest link, the “thin spot.”
And by the way, if the negativity “chooses where to go” between an old man and a child (even if they are equally weak in terms of health), it will most likely go towards the child. Because life has already “chewed” and hardened old people.
And when choosing between children, the principle of “attractiveness” will most likely work not with the youngest, but with the weakest. Weak in spirit, character, will, health, karma. Although, often you can’t guess for sure...
However, sometimes there is a conscious placement of oneself in the role of a “weak link”, in the mode of self-sacrifice, a “human shield”.
Many have heard about cases, or have themselves observed such cases in their lives, when a cat (dog), which loves its owner very much and is attached to him, comes to a sick (damaged, dying) person, “breathes” his negativity, his illness, is saturated with its negativity, suffers, but suffers consciously. And then he goes to die.
Thus, love and compassion consciously, wanting to help, to alleviate the suffering of a loved one, readily makes self-sacrifice in order to share (take away) the negative of another. Parents root for their children, wives (husbands) take the blow themselves, consciously deflecting negativity from their partner, taking it for themselves. Consciously becoming a “weak link.” Here it is the impulse from the very depths of the soul that turns on the mechanism of self-sacrifice. But not everyone knows how to do this.
However, you cannot assign yourself a “thin place” in order to secure more important things, and in order to get by with “little loss.”
You cannot say: “Let me lose my car, but let me maintain my health,” “Let me die, but not my child,” “I’d rather go broke than lose my beloved.” The weak link pops up on its own, and you can see what “broke” in this particular place only after the fact of destruction. You can’t bargain with negativity about what it should take and what it should spare. You just need to get rid of it.
Often, when applying negativity to achieve a specific goal, a different effect is obtained.
I will surprise you by the fact that even damage to death in more than half of the cases does not lead to death. You can live with it, and live for a long time. True, “falling apart” and observing the destruction around you.
If a person has good health, and the person is given a negative death sentence, then the health will withstand the siege (gradually weakening), and then the program and energy of the negative will look for its outlet and implementation elsewhere. And where will this negativity go - to a weak spot. Using the method of “probing” these weak points - in business, in personal relationships, in close people.
Weaknesses should be identified in advance and strengthened.
Sometimes aggressors specifically calculate weak points and hit them in order to cause more suffering to the victim (often even children). And then they either rejoice at his losses, or finish off the victim, weakened by suffering, sorrow, worries, and losses.
The next principle that determines which link in your life is weak is the one about which you are most anxious and worried. And also where there are already problems.
If your business or job is unstable, this area is under threat.
Relationships are “shaky” - they are under threat.
Health is “limping” - it is under threat.
The child is “nervous” - he is the one in the “risk group” for problems.
There were chronic diseases in my health - they were in danger of worsening during an attack.
You have had negative influences before (even if they have been cleared) - you are an easier target for new magical attacks.
In case of damage to health or death, the weakest link in health will “burst”. This can explain those seemingly “sudden” and sudden deaths from cases where many survive.
There is also such a mechanism as “discharging” negativity. "Compensatory explosion." If a person has a strong negative, but also has a defense, then such an explosion can literally happen. Such cases occur in car accidents, when the car is smashed to pieces, but the person has no scratches or minor injuries.
A person can create a weak point for himself, but not understand where exactly. First of all, with your emotions - fear, anxiety, worries.
Suspiciousness, hypochondria, exhaustion, loss of strength - a “thin place” for damage to health.
Weakness of character, suggestibility, ignorance, weak will, immaturity of personality - a “thin place” for a love spell.
A “shaky” business or weak positions at work are a “thin place” for damage to the business, bad luck, or ruin.
What was a weak point for parents (especially if it concerns so-called “ancestral” karmic problems, including ancestral damage or a curse), then with a high probability these places will be a “thin place” in a person.
A person who remains with old, “uncleaned” negativity is easier for negative attacks. The new negativity will “awaken” the old negativity, and together they will become stronger. There were many cases when a love spell of average strength met with an old, almost gone negative, and created the effect of a nuclear explosion - destroying the personality, turning the victim into an obsessed psychopath.
If we talk about relationships between people, then here too they can “crack” precisely at the weakest link. If your partner is weak-willed, weak-willed, mentally unstable, “damaged,” then your relationship is at risk.
Another example.
A woman found a “lining” at her door. An adult son lived with her, who was at that time in a state of nervous exhaustion (he turned out to be the weak link in the family at that time). And at that time the son had a tense relationship with his fiancée (the son’s weak point). And that same evening, after a huge scandal with her, they broke up. And my mother knew a lot about cleaning, and she cleaned the apartment, herself and her son. After 3 days, the son met the bride and they made up, and everyone could not understand why they were so mad at each other.
Let's continue the conversation... With a love spell, it will work quickly if, as I wrote above, the client is already weakened by previous negative programs. Moreover, if this is helped by the client’s character - lack of will, lack of will, suggestibility, melancholy, genetic inclinations for “partying”.
And you yourself can create a “weak link” in your life from your relationships. There is no need to be surprised by “cracks” in relationships, breakdowns in the family, “sudden” departures and love spells, if there is a routine cooling of feelings, if “everyday life is stuck,” if there is cooling in intimacy, if one of the parties accumulates irritation, fatigue, and apathy. Then this marriage and this relationship becomes a “thin place.” The percentage of troubles and threats of leaving, breaking up would be less if these relationships were cherished as the “apple of the eye.”
It's better to be safe than sorry.
Frequent words: “After all, everything was fine, everything suited him, and then everything suddenly turned bad...”. Yes, yes... until they pressed on a weak spot. Where it's thin, that's where it breaks. And such “subtly” is often determined post factum - when everything has already “cracked” or broken...
And by the way, in a midlife crisis (35-45 years old), men become a complete “thin place”, to say the least - they are not on friendly terms with their heads. Here problems can be expected from anywhere. So, dear ladies, get ready for this period in the life of your companion, and try to prevent the “hemorrhoids” that this period of his life will have in store for you.
And now - advice.
Conduct a constant “audit” of your life for the presence of weak points in them, as well as for a possible threat of attack, both for you and for your weak points.
Learn to spot early warning signs that “something is wrong.” Observe, analyze, compare. A disease has symptoms, and in areas of life there are symptoms that will allow us to determine that this particular area of life is “sick.”
Listen and observe the signals of the space around you. It is “thinner”, more sensitive than you. It reacts to negative symptoms earlier than it “reaches” you.
Scandals out of nowhere, minor or major troubles, illnesses one after another, losses, breakdowns, accidents, disrupted meetings and plans, deterioration of relationships towards you, and many other problems.
However! Signals can only be identified as a sign of a threat if they are repeated regularly, systematically, and frequently. According to the principle: “One is an accident, two is a coincidence, three is a pattern.”
And the first thing you should do is check yourself for negativity and cleanse yourself.
And “turn on” your intuition and start trusting it.
Be vigilant and careful. Find your weak points, strengthen them, eliminate threats in the early stages. And be happy.
Stanislav Kucherenko.
Text sources
The first handwritten edition, with the full text of Gorsky’s tale, which was prohibited by censorship when the comedy was submitted for publication. A rough autograph, on 26 sheets of notebook (size 222×181), written on both sides. The date of the manuscript is July 1848. Later on the first page, above the title, it is written: “Dedicated to Natalya Alekseevna Tuchkova.” In the same manuscript, a pencil recording of 12 names of scenes and comedies, some already written, some not yet finished (“Student”), some just conceived (see p. 526 of this volume) and a draft version of the second edition of the tale of the three suitors (l . 1 volume), dated June 26, 1849. The autograph is kept in the manuscript department GPB(f. 795, no. 19). See: State Order of the Red Banner of Labor Public Library named after M. E. Saltykov-Shchedrin. Proceedings of the Department of Manuscripts. Manuscripts of I. S. Turgenev. Description. L., 1953, p. 14.
Typographic proofs of the magazine text of the comedy, sealed with the signature of censor A. L. Krylov (three large typeset sheets, 8 pages each, ending with Vera’s remark: “Really? Thank you for your frankness” - p. 100 of this volume). On the first sheet there is a typographical note: “To Mr. Censor. Oct. 6". There are several changes in the text of the proofs made by the censor (see about them below). The last two proofs of the same set, with the censor’s amendments and with his own note dated October 12, 1848, about the permission of the play for publication, belonged to A. A. Alexandrov until 1917, but did not reach us. See about them in the “Catalog of the exhibition in memory of I. S. Turgenev at the Imperial Academy of Sciences,” 2nd ed., with corrections. Compiled by F. A. Vitberg and B. L. Modzalevsky. St. Petersburg, 1909, p. 40. The first three proofs are kept in the I. S. Turgenev Museum in Orel, where they were transferred from the archive of O. V. Galakhova.
Sovr, 1848, No. 11. p. 5–38.
Belova’s autograph of the second edition of the tale of the three suitors, from the words “One Baron” to “I have not yet managed to collect information about this,” on two sheets of notepaper, pasted into the print of the first-printed magazine text of the comedy. This print, now kept in the manuscript department IRLI, previously belonged to the Library of the Imperial Theaters (inv. No. 612). In the printed text there are a number of marks and abbreviations of the director's order. The printed list of characters is supplemented by hand with the names of the first performers of the play on the St. Petersburg stage on December 10, 1851.
A clerk's copy of the journal text of the comedy, supplemented by Gorsky's tale of the three suitors of the Baroness (based on the manuscript IRLI) and submitted to the theater censorship on November 29, 1851. Copy on 50 sheets, bound. The text of the play is divided into 28 phenomena and is riddled with censorship and director's abbreviations. On the first sheet there is a note from the senior theater censor A. Gederstern dated December 3, 1851 about permission for the play to be staged. This copy, stored in the Library of the Imperial Theaters (inv. No. 611), is now in the Leningrad Theater Library named after. A.V. Lunacharsky (No. 1063, code: II. 1. 94), see below, p. 575–576.
For easy reading, vol. IV, p. 173–227.
Table of corrections and additions made by Turgenev in 1868 to the text For easy reading in preparation of the 1869 edition; white autograph ( State Historical Museum, I. E. Zabelin Fund, No. 440, unit. hr. 1265, l. 169).
T, Soch, 1869, Part VII, p. 95–146.
T, Soch, 1880, vol. 10, p. 97–148.
The comedy was first published: Sovr, 1848, No. 11, p. 5–38, with dedication to N. A. Tuchkova. Signature: Iv. Turgenev. Gorsky's tale about the princess's three suitors, excluded from the magazine text by censorship, was replaced with p. 31st with two rows of dots. Reprinted, with a new version of the tale: For easy reading, vol. IV, p. 173–227. The dedication to N.A. Tuchkova was absent here and was not repeated in any re-release of the comedy. With minor cuts and stylistic corrections, it was included in T, Soch, 1869. When preparing this edition, Turgenev made several amendments on a special sheet to the text of the comedy, which was published in 1857 in the collection For easy reading. The most important of these corrections: p. 174 collections – “you see” has been corrected to “you will see”; With. 175 – “looking around” is replaced by “looking around him”; The word “better” was also removed there; With. 180 – after the word “habitual”, “person” is added; With. 184 – after “he” added “told you something”; With. 187 – after “and” added “says”; With. 192 – added after “said” “(After a pause for a moment.) What a wonderful house you have!”; With. 194 – “took” is replaced by “chose”; With. 205 – “I say” is replaced by “I’ll talk”; With. 208 – “you must” is corrected to “you must know”; With. 211 – after the words “Varvara Ivanovna” a remark was added "(entering)"; With. 218 – “it is visible” has been corrected to “it is clear that”. In addition, six typos in French words have been eliminated.
The text of the comedy, established in 1869, was reprinted in all subsequent editions of Turgenev's works.
In this edition, the comedy “Where it is thin, there it breaks” is printed according to the latest authorized text ( T, Soch, 1880, vol. 10, p. 97–148), with the elimination of typos noted by Turgenev himself. Moreover, two typos that were not noticed by Turgenev in 1880 in Gorsky’s remarks have been eliminated: instead of the erroneous one: “if his estates are not lost at auction,” it is printed: “if his estates are not sold at auction” (p. 93, lines 40 –41); instead of: “Not like that. Don’t worry, my friend” – “Well, so. Don’t worry, my friend” (p. 112, lines 11–12). These corrections were made based on the manuscript and text of the first publications of the comedy.
The comedy “Where it is thin, there it breaks” was written by Turgenev in Paris in July 1848. The time spent working on this play, which delayed the completion of the previously planned “Freeloader,” is documented by a mark on the title page of her draft autograph: (“Dramatic Sketches. Paris. July 1848."
The first mention of the new play is Herzen’s letter from Paris to his Moscow friends: “Turgenev,” he reported on August 5, 1848, “wrote a small play, very nice, for the theater, and is writing another for Mich. Sem. » ( Herzen, vol. 23, p. 90).
N. A. Tuchkova, to whom Turgenev dedicated his new play, notes in her memoirs that “Where it is thin, there it breaks” was read in her father’s house during the stay of A. A. Tuchkov with his daughters in Paris. The memoirs of N.A. Tuchkova testify to Turgenev’s great attention to her at this time, which is confirmed by N.P. Ogarev’s letter to her, dating back to the beginning of January 1849: “Today I read Turgenev’s comedy,” he wrote. “There is so much observation, talent and grace here that I am convinced of the future of this man.” He will create something important for Rus'. And then he loves you" ( Rus Propylaea, vol. IV, p. 73).
“On the evening of yesterday, Annenkov read your comedy “Where it is thin, it breaks,” wrote N. A. Nekrasov on September 12, 1848 from St. Petersburg to Paris to Turgenev. – Without exaggeration, I will tell you that it is unlikely to find more graceful and artistic things in contemporary Russian literature. Well conceived and well executed - maintained to the last word. This is the opinion not of me alone, but of everyone who listened to this comedy, and there were about ten of them - by the way, Druzhinin, whom I introduced to Annenkov. I noticed (and everything with me immediately agreed) that the tale about dolls is a little awkward, because respectable audience can take this whole place in the most ferocious direction and burst into foal laughter. Bring this place to mind, look at it from this points - perhaps you will find this remark worthy of attention and consider it necessary to replace that place. For this purpose, I am telling you this. If you send me more stories, I would publish the comedy in issue 11, and leave all the stories, as many as there are, for the first issue. Write as you want. If the comedy is No. 11, then hurry up with the amendment (of course, if you decide to make it)" ( Nekrasov, vol. X, p. 114–116).
However, before the “most respectable public” could respond to Gorsky’s “fairy tale”, about some ambiguity of which Nekrasov warned the author, this entire episode was unconditionally removed from the printed text of the comedy by censorship: “The fairy tale was erased from your comedy,” wrote Nekrasov on December 17, 1848 Turgenev - and I replaced this place with dots, there was nothing to do! I tried to defend it, but in vain” (ibid., p. 121).
Not only the text of the fairy tale about the three suitors of the princess was completely removed from the magazine edition of the comedy {20}, but also several other places recognized by the Sovremennik censor as unacceptable in print. Among the eliminated words and lines were those that sharpened the satirical characteristics of representatives of the ruling class (for example, the remark “old sycophant” in the information about Captain Chukhanov on p. 78, the word “landowner” in the mention of the “loud landowner Marya Bogdanovna” on p. 96, some significant details of Gorsky’s self-confession (for example, on p. 85: “This ridiculous caution, this exaggerated fear, does not imply some kind of childish faith in the future and in life”) and even individual words (for example, on p. 99 in the remark: “But do not demand, for God’s sake, the same courage and freedom from a dark and confused person like me,” the words “and freedom” were removed). It is characteristic that in all the later reprints of the play Turgenev did not eliminate those imposed on him in 1848 by censorship of distortions of the initial text.
Turgenev returned to finalize the text of “Where it is thin, there it breaks,” as evidenced by the manuscript of the comedy, in mid-June 1849, probably having in mind the possible production of the play on stage. Leaving the main text unchanged, he remade only Gorsky's tale of the three grooms, taking into account censorship requirements. The exact date of the new version of the tale is determined by a note in the manuscript of the first edition of the comedy (fol. 20 vol.) in the margins of the original version of the tale: “NB. Look. Le 26 Juin 1849". This date was repeated on the same sheet twice more, and once in the form “26 (14) J.”, which allows you to set the processing time according to the old and new styles. With the same ink and the same pen, on the second sheet of the manuscript, which had previously remained blank, Turgenev sketched the second edition of the fairy tale. This new version of it was significantly different from the original one, in which it was not about a baroness, but about a princess, not about a baron, but about a tsar, not about two grooms who differed in their clothes (“yellowish” and “bluish”), but about three , differing in the color of their hair (blond, light brown and black-haired). In the new version of the tale, the motif of trials offered to the princess’s suitors was developed, and the lines about dolls, the inappropriateness of which was noted in Nekrasov’s letter dated September 12, 1848, were completely removed.
Not only the draft autograph of the new version of Gorsky’s tale has reached us (see. T, PSS and P, Works, vol. II, p. 326–328), but also its white text – on two sheets of thin notepaper, pasted by Turgenev into the print of the first printed text of the comedy ( IRLI, 4192, p. 39, l. 17 and 19). From this summary text, a clerk's copy of the play was made, with the director's breakdown of it into 28 phenomena, presented on November 29, 1851 to the theater censorship. The comedy was approved for production on December 3, 1851, with some additional changes: in Gorsky’s first monologue, “general” was replaced by “baron,” and instead of “sniff out,” it was put “find out.” In Gorsky’s remark: “What a touching picture,” etc. (p. 111), “stupid” is replaced by “stupid.” On the next page, in the line: “After all, I still remain the master of ceremonies,” “your” is inserted before the last word. Us. 106 crossed out: “And God bless your legs! A decent person should not allow himself to get bogged down in these down jackets” (see: Pypin, Lists of plays T, With. 204–205).
In addition, several directorial cuts were made in the theatrical edition of the comedy, and French maxims and dialogues were translated into Russian. In the same censored theatrical list of the comedy, the director’s version of its ending was preserved:
« Mukhin (taking his place with Mlle Bienaimé, in Gorsky’s ear). Okay, brother, okay. But agree...
Gorsky. Where it's thin, that's where it breaks. Agree! (A curtain.)"
The premiere of the comedy “Where it is thin, there it breaks” took place on December 10, 1851 in St. Petersburg at a benefit performance for N.V. Samoilova. The play was staged among six other one-act comedies and vaudevilles in the presence, apparently, of Turgenev himself. The list of performers of the play, which was made by Turgenev on the first page of its draft manuscript, also dates back to this time: “Sosnitskaya. V. Samoilova. Mlle J. Bras. Martynov. Maksimov. Karatygin 2nd. Grigoriev" {21}.
“The poster is wonderful,” wrote the famous vaudeville player and director N.I. Kulikov, impressed by this performance, on December 10, 1851. “Six different pieces, the performance ended at 1 o’clock... but alas... the collection was very small in comparison with previous benefit performances . The best of all is Turgenev’s play “Where it is thin, there it breaks,” a comedy in one act. V. Samoilova and Maksimov 1 performed their roles excellently. Although there is no real comedy in the play according to the vulgar rules of drama, the scenes are full of life, intelligence and feeling. The idea of Onegin and Tatiana - which, however, is still new on the stage” (Library of Theater and Art, 1913, book IV, p. 25).
The play, however, was not successful and after two more performances (December 12 and 16) it was removed from the repertoire ( Wolf, Chronicle. Part II. St. Petersburg, 1877, p. 170; St. Petersburg Ved, 1851, № 278, 282, 284).
The anonymous author of the review “St. Petersburg Theaters in November and December 1851,” characterizing “Where it is thin, there it breaks” as a “wonderful comedy,” concluded his detailed retelling of its content with the following words: “Judging by the fact that this play appeared on stage three years after it was published, one can conclude that it was not written for the stage. In fact, there is very little that is scenic in it, very little that would amaze everyone and please everyone. It also contains many long passages that are very entertaining and even necessary to read, but tiresome on stage. That is why this play made a dubious impression, despite the fact that it was beautifully performed. Ms. Samoilova 2nd and Mr. Maksimov understood their roles very correctly and managed to convey their psychological side with great skill" ( Otech Zap, 1852, No. 1, dept. VIII, p. 60).
On June 15, 1856, Nekrasov turned to Turgenev with a request to give permission to reprint the comedy “Where it is thin, there it breaks” in the series he was publishing For easy reading (Nekrasov, vol. X, p. 278). In letters dated July 4 and 10 of the same year, Turgenev expressed his consent to this reprint, after which his play was included in the fourth volume of the publication For easy reading.
In this collection, approved by censorship on September 13, 1856, the comedy “Where it is thin, there it breaks” first appeared in print with the text of Gorsky’s fairy tale about the three suitors of the Baroness, but not in the version that was included in the theatrical edition of the comedy in 1851 g., and with some new stylistic corrections, which then passed without any changes into the 1869 edition.
The text “Where it is thin, there it breaks,” published in the collection For easy reading in 1856, had one more feature: it lacked the dedication of the play to N. A. Tuchkova, who was already at that time the wife of the emigrant N. P. Ogarev. There is every reason to assume that the withdrawal of the dedication in this case was explained not by the will of the author, but by censorship and police requirements, since this dedication was absent in a separate edition of the comedy, published by the bookseller F. Stellovsky in 1861, without any participation of Turgenev {22}. The text of this publication, approved by censorship on January 18, 1861, was a mechanical reprint of the magazine text of the comedy, distorted by censorship, with all its defects, even with two rows of dots, which replaced Gorsky’s fairy tale in Sovremennik in 1848. In the 1856 edition, the comedy “Where it is thin, there it breaks,” with the most minor cuts and corrections, was included in the 1869 edition of “Scenes and Comedies.”
A special literary and theatrical genre, the themes and forms of which Turgenev mastered in “Where it is thin, there it breaks,” was canonized in the late thirties and early forties in “Dramatic Proverbs” (“Proverbes dramatiques”) by Alfred Musset. The characteristics of plays of this type, given on the pages of Sovremennik immediately after the publication of “Where it is thin, there it breaks,” so skillfully defined the specific features of the new dramatic style that, despite the absence in this anonymous article (its author was, apparently, I. . I. Panaev) direct references to Turgenev, it can now be considered as the first historical and literary commentary on one of the most popular “scenes and comedies” later.
“Mr. Musset created another new kind of small dramatic conversations, which he called proverbs (proverbe), because by their action they express the meaning contained in these proverbs ...
Where it's thin, that's where it breaks
Wed. Turgenev. (Title of the comedy).
Wed. Where it's thin, that's where it breaks: in the sense - whoever has little loses (literally and allegorically).
Wed. He felt attacks of shortness of breath and began to fall on one leg... And on top of that, the usual St. Petersburg bad weather... by virtue of the proverb: “where it’s thin, that’s where it breaks”... appeared before him in all their darkness.
Saltykov. Collection. Senile grief.
Wed. Your mind is going crazy... huh where it's thin, that's where it breaks.
Dahl. The Tale of the Shemyakin Court.
Wed. Man zerreisst den Strick, wo er am dünnsten ist.
Wed. From the one who does not have, even what he has will be taken away.
Matt. 25, 29. Luke. 19, 26.
Cm. Poor Makar is in trouble .
Russian thought and speech. Yours and someone else's. Experience of Russian phraseology. Collection of figurative words and parables. T.T. 1-2. Walking and apt words. A collection of Russian and foreign quotes, proverbs, sayings, proverbial expressions and individual words. St. Petersburg, type. Ak. Sci.. M. I. Mikhelson. 1896-1912.
See what “where it is thin, it breaks” is in other dictionaries:
Where it's thin, that's where it breaks. Where it's bad, that's where it gets flogged. See HAPPINESS LUCK Where it is thin (or: briefly), there it breaks. See Grief Grief... IN AND. Dahl. Proverbs of the Russian people
Where it's thin, that's where it breaks. Wed. Turgenev. (Title of the comedy). Wed. Where it breaks thinly: in the sense that whoever has little loses (literally and allegorically). Wed. He felt shortness of breath and began to fall on one leg... And on top of that... ... Michelson's Large Explanatory and Phraseological Dictionary (original spelling)
Where it's thin, that's where it breaks (Turgeneva)- comedy... Dictionary of literary types
Blenalme, m-lle ("Where it is thin, it breaks")- See also >> companion and governess 42 years old. He sighs for Paris, loves le petit mot pour rire and rolls his eyes languidly... Dictionary of literary types
Gorsky, Evgeniy Andreevich ("Where it's thin, it breaks")- See also Libanova’s neighbor, 26 years old, an intelligent man, an old friend of Vera; reputed to be a mocking and cold person. Of his own accord, he rarely indulges in sublime feelings. Sensitivity does not suit him. It's much more pleasant for him to laugh... Dictionary of literary types
Gutman, Karl Karlych ("Where it's thin, it breaks")- See also the Doctor, young, handsome, with silky sideburns, did not understand his business at all... Dictionary of literary types
Grooms (“Where it’s thin, that’s where it breaks”)- See also blond, fair-haired, brown-haired; pack l... Dictionary of literary types
Libanova, Anna Vasilievna ("Where it is thin, there it breaks")- See also Landowner, 40 years old, a rich widow, n?e Salotopine, a kind woman, she lives herself and gives others to live. Does not belong to high society; In St. Petersburg they don’t know her at all, but her house is the first in the province. Administrative head... House in... ... Dictionary of literary types
Mukhin, Ivan Pavlovich ("Where it's thin, it breaks")- See also Libanova’s neighbor, 26 years old, hot player... Dictionary of literary types
Stanitsyn, Vladimir Petrovich ("Where it is thin, there it breaks")- See also Libanova’s neighbor, 28 years old, retired lieutenant of the guards, the kindest fellow, a modest man, narrow-minded, lazy, homebody. Trusting and talkative: what’s in his heart is on his tongue. Gorsky calls him a ladies' man... Dictionary of literary types
Books
- I. S. Turgenev. Works in twelve volumes. Volume 2, I.S. Turgenev. 1979 edition. The condition is good. The second volume includes scenes and comedies by I. S. Turgenev: “Carelessness”, “Lack of Money”, “Where it is thin, there it breaks”, “Freeloader”, “Bachelor”, “Breakfast at ...
