Acia

by Ivan Turgenev, Constance Garnett (Translator)

Tolstoy considered Asya, written in 1858, one of Turgenev's two best stories, along with First Love. Asya is a tragic story of two Russians abroad who are in love but conceal it from each other. Constance Garrett and Isabel Hapgood translated Asya in antiquated style approximately 100 years ago. Despite the story's superb character portrayals, it has rarely been available since.

This eBook features the unabridged text of ‘Acia by Ivan Turgenev - Delphi Classics (Illustrated)’ from the bestselling edition of ‘The Collected Works of Ivan Turgenev’.

Having established their name as the leading publisher of classic literature and art, Delphi Classics produce publications that are individually crafted with superior formatting, while introducing many rare texts for the first time in digital print. The Delphi Classics edition of Turgenev includes original annotations and illustrations relating to the life and works of the author, as well as individual tables of contents, allowing you to navigate eBooks quickly and easily.

eBook features:* The complete unabridged text of ‘Acia by Ivan Turgenev - Delphi Classics (Illustrated)’* Beautifully illustrated with images related to Turgenev’s works* Individual contents table, allowing easy navigation around the eBook* Excellent formatting of the text

Genres: Classics, Russia, Russian Literature, Fiction, Short Stories, Romance, 19th Century

130 pages, Kindle Edition

First published January 1, 1858

About the author

Ivan Sergeyevich Turgenev (Cyrillic: Иван Сергеевич Тургенев) was a novelist, poet, and dramatist, and now ranks as one of the towering figures of Russian literature. His major works include the short-story collection A Sportsman’s Sketches (1852) and the novels Rudin (1856), Home of the Gentry (1859), On the Eve (1860), and Fathers and Sons (1862).

These works offer realistic, affectionate portrayals of the Russian peasantry and penetrating studies of the Russian intelligentsia who were attempting to move the country into a new age. His masterpiece, Fathers and Sons, is considered one of the greatest novels of the nineteenth century.

Turgenev was a contemporary with Fyodor Dostoevsky and Leo Tolstoy. While these wrote about church and religion, Turgenev was more concerned with the movement toward social reform in Russia.

Reviews

[Flo · Rating 4 out of 5]

The Peach Blossom Spring is a Chinese tale written by Tao Yuanming (c. 365–427). It tells the story of a fisherman who, by chance, discovers a beautiful place where its community and the natural surroundings were in perfect harmony. Dynasties, people, politics, fashion - everything outside their haven of peace and plenty was unbeknownst to them. The fisherman was received and treated with great cordiality and after several days of idyllic landscapes and hospitality, the man left not without marking the route with signs. He tried to return but never found it again. This story is the inspiration for Wei’s poem.
There is no such thing as a utopia, but even something remotely beneficial is hard to find. One of the many ironies of life is that, when we find it, we are usually oblivious to its existence until we lose it.
We are prone to clichés.

That’s the rule. To imagine it, to see it, to finally grasp it. And to let it go, unaware of the transient nature of things and people. To contemplate the distance between the bodies, the unspoken words, the constant glances. There, where the soothing Rhine, whitened by the moonlight, became the path to confusion, intense happiness and immeasurable loss. Turgenev told his story using a most delectable language, the kind that is often inspired by a bittersweet reminiscence.

The sound of a soft, carefree laugh which could melt glaciers. The eyes to which everything is saying goodbye. A withered geranium flower given as a gift amidst laughs. The only permanent thing he owns is the memory of its faint fragrance, which finally outlived him: N. N., who spent unforgettable days in the small German town of Z–– on the left bank of the Rhine, when he was about 25. The unwary writer who thought he could buy time, control circumstances, trick fortune. The one who would later travel the world to find that fragrance again, just to see his enthusiasm wane at the thought of defeat. The one whose love had burst alight with irresistible force only a few moments later, when there was nothing to be done.

Loss is everywhere and regret, a faithful companion.
A similar issue is addressed in one of the books I’ve read recently which left a deep impression on me. Using the kind of gorgeous language whose lucidity stirs the heart, Yoshida Kenkō discusses the nature of delay: the art of vacillation, the tendency to procrastinate. I’m one of its victims trying to recover, so this monk’s words kept reverberating through my head: ...always intending to make more effort later. And if such are your days, how much less aware must you be of the passing moment’s indolence. Why should it be so difficult to carry something out right now when you think of it, to seize the instant? To seize the instant. To seize the instant that will never repeat itself. The simplicity of the statement is overwhelming. Taking into account the natural awareness of human finitude, why should it be so difficult to…?

Loss is everywhere and time never calls a truce. It’s inevitable. Alone, in a little room, you find a tiny piece of paper with a few words written in pencil: ...if you’d said one word to me, just one word, I’d have stayed. You didn’t say it.
Turgenev knew it well. So do we. Countless examples with solutions and complete desolation.
The keys you lost because of your general absent-mindedness. The job opportunity that slipped out of your hands due to perpetual doubts. The potentially entertaining conversation with a stranger that never started thanks to your shyness, even your mistrust. The quarrel you couldn’t avoid because of your senseless and oppressive silence, or a shameless lie that never knew guilt; a mixture of both and the following distance that preserves ‘dignity’. The possibility of a little happiness you didn’t pursuit because of fear. Or the arrogant thought that the unique was going to appear in your life a thousand times.





Jan 16-Feb 05, 18
* Also on my blog.
** Actual rating: 4.5 stars.

[P.E. · Rating 3 out of 5]

A Perpetual Adjournment


'Gagin and Mr. N.', illustration by Xenia Alexandrovna Klementeva for Turgeniev's short story, 1939


One the one hand, this book offers exquisite descriptions of the surrounding countryside, of the crooked streets and quaint buildings of Leubsdorf-am-Rhein, banks of the Rhine and nature in general, in a pleasant Romantic fashion (possibly slightly amused or detached from this fashion, at that). You are also offered a thorough, convincing psychological study of the namesake character Asya, who looks like a sort of oddball, all the more so when compared to the main male characters of this short story, N. and her brother, driving you to read more to find out about her latest quirks.

On the other hand, it is severely lacking in the verisimilitude departement: N.'s unaccountable behaviour when confronted with Asya's own puzzling decisions creates the optimal conditions for a deeply tragic misunderstanding, but, let's face it: when all the tragedy originates from the silliness evinced by the hero/narrator and a conveniently awkward conversation with Asya's brother, well the fateful element is altogether hardly convincing.

-----
Finally, I can't help sharing a couple of emblematic descriptions of the Rhineland landscapes near Sinzig (Z.) and Leubsdorf (L.):

'Я любил бродить тогда по городу; луна казалось, пристально глядела на него с чистого неба; и город чувствовал этот взгляд и стоял чутко и мирно, весь облитый ее светом, этим безмятежным и в то же время тихо душу волнующим светом. Петух на высокой готической колокольне блестел бледным золотом; таким же золотом переливались струйки по черному глянцу речки [...]'

'Вечерние тени уже разливались в воздухе, и узкая полоса неба, над темной улицей, алела отблеском зари. Я слабо стукнул в дверь; она тотчас отворилась. Я переступил порог и очутился в совершенной темноте.'


'Asya', illustration by Xenia Alexandrovna Klementeva for Turgeniev's short story 1939

------

Also see :
Wuthering Heights
Breakfast at Tiffany's
The Brothers Karamazov (Smerdiakov)

Dependance


Phonograph:
Silence and I - Alan Parsons Project

🌳🌲🌳🌲🌳🌲🌳🌲🌳🌲🌳🌲

Faux-fuyants :


'Gaguine et M. N.', illustration de Xenia Alexandrovna Klementeva pour la nouvelle de Tourguéniev, 1939

Autant les descriptions minutieuses et exquises de la nature rhénane environnante, leur ancrage résolument romantique m'ont enthousiasmé, et pour creusé que soit le caractère, la personnalité, le personnage entier d'Assia enfant de noble et d'une servante, déchirée en même temps que fondée par son scepticisme, en quête d'elle-même, autant je trouve que, vraiment, cette histoire pèche terriblement sur la question de la vraisemblance... Le comportement de N. est tout à fait inouï. Tout ça donne lieu à de belles pages, d'un tragique à frémir, indiscutablement. Mais quand tout le tragique provient de la nigauderie du héros-narrateur... Comment dire, le caractère fatidique de l'histoire en pâtit.

Non, vraiment, N est bien piteux. Je donne en annexe quelques passages pour éclairer la chose, à l'adresse de ceux que ça peut intéresser de se faire spoiler ou bien qui l'ont déjà lu :

[N.]
'Вы хотите знать, — произнес я твердым голосом, — нравится ли мне ваша сестра? Да, она мне нравится…'

[...]

[Gaguine, le frère d'Assia]
— ведь вы не женитесь на ней?

[N.]
— Как вы хотите, чтобы я отвечал на такой вопрос? Посудите сами, могу ли я теперь…
- p.124 de cette édition.


[En clôture de ce chapitre, N, en son for intérieur:]

«Жениться на семнадцатилетней девочке, с ее нравом, как это можно!» — сказал я, вставая.

----

[Ensuite, quand il est temps pour N. de s'entretenir avec Assia:]

'и в этом вы одни виноваты, вы одни. Зачем вы сами выдали вашу тайну?'

'Вы не дали развиться чувству, которое начинало созревать, вы сами разорвали нашу связь, вы не имели ко мне доверия, вы усомнились во мне…'


Enfin, quand N. repense aux évènements après coup :

'Когда я встретился с ней в той роковой комнате, во мне еще не было ясного сознания моей любви: оно не проснулось даже тогда, когда я сидел с ее братом в бессмысленном и тягостном молчании'

-----
Je ne résiste pas au plaisir de mettre à l'honneur quelques descriptions des paysages environnant Sinzig (Z.) and Leubsdorf (L.) :

'Я любил бродить тогда по городу; луна казалось, пристально глядела на него с чистого неба; и город чувствовал этот взгляд и стоял чутко и мирно, весь облитый ее светом, этим безмятежным и в то же время тихо душу волнующим светом. Петух на высокой готической колокольне блестел бледным золотом; таким же золотом переливались струйки по черному глянцу речки [...]'

'Вечерние тени уже разливались в воздухе, и узкая полоса неба, над темной улицей, алела отблеском зари. Я слабо стукнул в дверь; она тотчас отворилась. Я переступил порог и очутился в совершенной темноте.'


'Assia', Illustration de Xenia Alexandrovna Klementeva pour la nouvelle de Tourguéniev, 1939

------

Lectures voisines :
Wuthering Heights
Breakfast at Tiffany's
Les Frères Karamazov (Smerdiakov)

Dependance


Phonographe:
Silence and I - Alan Parsons Project

[Evoli · Rating 4 out of 5]

3.5 ☆

Now that is THE Turgenev that I craved and waited to find while reading "Rudin" (another work by Turgenev that I read prior to this one)...
Anyway-

The work of Turgenev that I'm talking about now, "Asya", is such a moving and tragic story about love!!
And, oh, what would literature be without those yearnings, tragedies and dramatic turns of events? It would most likely be mundane, monotone and not as relatable/relevant for past, current and future generations, since life is a constant balancing out of positive and negative aspects and occurrences for every individual and society under whatever general ideology! Life is never a constant, it's more of a bumpy road, as they say.

"У счастья нет завтрашнего дня; у него нет и вчерашнего; оно не помнит прошедшего, не думает о будущем; у него есть настоящее - и то не день, а мгновенье."

The prose is truly exquisite and, as one could say, flows like a river.
Very smoothly readable and the atmosphere is described in such a manner that you feel as if you're part of that world of the characters!!

Moral of the story: Don't postpone doing things that your gut tells you are important for your peace of mind and harmony inside you (heart and soul), since it could one day suddenly be too late to act upon your intentions... Which will cause you great sufferings for the rest of your life due to the unfortunately and stupidly missed opportunity.

If you want to read a book with a similar vibe and plot line, I can definitely recommend you "The Precipice" by Goncharov!

[Annetius · Rating 4 out of 5]

3,75*

Ένα διήγημα με τη στόφα των παλιών κλασικών όπου όλα λέγονται σύντομα και που διατηρούν μια ενέργεια μέχρι το τέλος. Μια ιστορία για το ατελέσφορο, αυτό που δεν ολοκληρώθηκε ποτέ, τον έρωτα που είδαμε, μυρίσαμε, αλλά δε γευτήκαμε ποτέ όταν έπρεπε κι έτσι μένουμε μετέωροι πάνω από τις αναθυμιάσεις της ανάμνησης, την οποία κουβαλάμε σαν μια μικρή πληγή, που θα αναβλύζει πού και πού τον πόνο της μέσα στη σύντομη ζωή μας, και ίσως και μετά από αυτήν.

[Ivana Books Are Magic · Rating 5 out of 5]

Asya is a story about love. Would it surprise you if I added that it is a story about a traffic love? Probably not, for what is more suitable to be called literature than a well told tale of a tragic love. I would describe Asya as one of the best novellas that I have ever read. The writing is simply superb. Turgenev’s prose flows effortlessly. As always, Turgenev writes beautifully. The plot and the pace of the story are both impeccable. With the way the story is told, it’s impossible not to be moved by it, unless one has a start made of stone. That is how it seemed to me anyhow, for I remember being extremely touched while reading it.


The story opens with an unnamed narrator (N.N), a mature Russian man who thinks about his youth. After this brief introduction, we are transported to N.N’s past, to the time when he was a young man, staying abroad, recovering from an end of an affair with a married woman. N.N moves to an unnamed German city L., a city he took a liking of and like many other Turgenev’s protagonist’s he seeks solace in long walks, admiring nature and studying the scenery. N.N observes rather than acts, describing what he sees, for example German students on the streets. There is some kind of gathering on the streets, there is music, and N.N enjoys observing the cheerful faces of students, but not surprisingly he is, at the same time, in a melancholic mood. N.N is Russian after all, his soul is a mixture of joy and sadness.


Suddenly, N.N hears a masculine voice addressing a girl by the name Asya, asking Asya (in Russian) whether she had had enough. Upon hearing them, N.N turns around and sees a handsome young man and a girl whose face isn’t clearly visible. N.N proceeds to ask them whether they are Russian. Gagarin introduces himself and after a second of hesitation introduces Asya as his sister. N.N introduces himself to them. Usually, N.N. avoids other Russians when he travels/stays abroad, that is what he tells us (the reader), but N.N makes an exception, as he takes an instant liking to Gagarin, noticing that his face is that of an honest man. In addition, N.N observes that there is something special about Asya and takes a notice of her big dark eyes.


What happens next is that Gagin says to Asya that they had watched Germans enough and she agrees with her brother, and then Gagarin invited N.N to visit them in their home. N.N follows the brother and sister to their place, and when Asya takes her hat of, N.N notices Asya’s black hair, cut short as a boy’s hair. Three of them spent hours together, their talk lasting for hours. The day turns into night, and they can still hear music from the city. Once it gets late, Asya excuses herself and goes to bed. Gagarin and N.N talk a bit more and when N.N returns home, he feels happy, but he can’t understand why he is so happy. What does it mean, N.N asked himself? Am I in love?


Early in the morning, Gagarin pays N.N a visit. Long story short, the three become friends and end up spending a lot of time together. Asya’s acts a bit odd at times, and this confuses N.N, but it is pretty obvious that these two are falling in love with one another. However, N.N continues to be confused by Asya’s inconsistent behaviour. What confuses N.N is that something Asya acts like a well brought up young lady and sometimes not. N.N starts to suspect that Asya’s is not truly Gagarin’s sister, but his mistress, until there comes a time when Gagarin speaks to N.N openly. Gagarin ends up telling N.N the full story of Asya’s history, something they have been keeping secret for a good reason. Asya is Gagarin’s half-sister, a bastard daughter of Gagarin father, raised with love but in difficult circumstances. Gagarin’s father only begged Gagarin to take care of her on his death bed. After hearing this story, N.N is better able to understand her character. All the things that seem contradictory about Asya’s behaviour, now appear more clear to N.N. Asya’s behaviour and her strong attachment to her brother suddenly make sense in context of the isolated way she was raised. Gagarin begs N.N to be careful of the way he treats Asya, because she is such a sensitive girl.


I absolutely loved the characterization of the main female character Asya. The view into her soul was both fascinating and extremely touching. Asya’s sensibility could move anyone. There are so many things one can admire in this novella, for example the painfully accurate way the falling in love is described, but what I admired most about this one was the wonderful portrayal of this innocent young girl. Is there anything sweeter than a first love? The theme of first love is something Turgenev explored often. Supposedly, Turgenev drew from his own life experiences when he wrote this novella. In my view, that makes it even more touching.


What happens next? Is a spoiler to say that they didn’t live happily ever after? After all, I said that in the very first paragraph, warned you that this is a story about a tragic love. Like Lermontov's protagonist of Hero of Our Times, our N.N is indecisive and afraid of his own emotions. In addition, N.N seems to be confused by the enormity of the love he feels. Perhaps N.N feels that his love, as great it might be, cannot possibly measure up to the object of his love. So, N.N waits, while Asya suffers. The reader is tempted to hate N.N because of his passivity, only if N.N wasn’t so reluctant to defend himself. N.N honesty and self-reproach, make it hard for us readers to reproach him. Finally, aren’t we all afraid to love? Aren’t we all afraid of those we love? Aren’t we afraid for those we love? Isn’t love as frightening as it is wonderful? Isn’t it so easy to miss that perfect moment? Sometimes a moment in which we can profess our love is but a fleeting instant. Sometimes life takes that one opportunity to love from us. Sometimes it is our own fault, but it is not always easy to seize love, to know what the right moment is, to recognize it when it's there. When we are young, it seems to us that the opportunities for love are endless. When we grow older, we realize how fragile and fleeting love can be, even when it is true.

[ع. ر. افّلا · Rating 5 out of 5]

در این رمان صحنه‌ای هست که راوی تصادفا فالگوش کراشش می‌ایستد.
جمله فوق را اگر در ابتدای یادداشتی بر چند رمان دیگر تورگنیف هم ببینید درست است:
نخستین عشق
یادداشت‌های مرد زیادی
و اگر اشتباه نکنم آشیانهٔ اشراف حتی
و اینجوری بودم که چه مرگت است مرد حسابی؟ منحرفی؟ دیگر به اینجایم رسیده بود. گفتم باید پای چیزی در میان باشد. اصلا این مرا به یاد چیزی می‌اندازد. اما چه؟ آهان! ابژه پیتی آ! مفهومی در روانکاوی لکانی. خب. حالا شد یک چیزی. فهمیدم حرف حساب این مرد منحرف چیست. یا شاید دارم حرف توی دهانش می‌چپانم. یا خدا را چه دیدی، شاید این صحنهٔ پرتکرار (ناخواسته یا خواسته) تأثیر داشته روی لکان. به قول داوینچی: همه‌چیز به همه‌چیز مربوط است.
سخت نگیریم.


‏Objet petit a -
مفهومی که خود لکان اصرار داشت ترجمه نشود و من هم برخلاف سایر علاقه‌مندان ایرانی‌اش نمی‌خواهم ترجمه‌اش کنم. طرفه آنکه ترجمه‌اش هیچ کمکی به کسی نمی‌کند و حتی تشریحش هم چندان از ابهامش کم نمی‌کند. اما خب:
در مرحلهٔ اول منِ کودک فکر می‌کرد «سوژه» را چون عکاس‌ها ازش استفاده می‌کنند لابد چیزی غیر از «من» است،
که دکارت در مرحلهٔ دوم زد توی سرش که نه! برعکس! سوژه «من»م، و ابژه آن چیزی است که دیده می‌شود.
و در مرحلهٔ سوم (و پایانی) لکان ابژه‌ای را معرفی می‌کند که باز هم «من»م: ابژه پیتی آ. حتما شما هم این تجربه را داشته‌اید که من آن را می‌خواهم، نه این نه، آن‌یکی، و آن‌یکی، و آن‌یکی. همانطور که استادمان کاشانی می‌گفت غم‌انگیز آن است که مهاجرت کنی و بفهمی آنجا هم جای تو نبوده (نقل به مضمون)، یا اینکه مرغ همسایه غاز است، و خلاصه: میل.
میل امری سیری‌ناپذیر است، و همواره به چیزی روی دارد که نیست. هر چیز آنگاه که «هست» شود از دایرهٔ میل خارج می‌شود. میل را می‌توان به نوعی «آینده» دانست، که آینده‌بودنش در گرو نبودنش است، چه اگر باشد حال (و در نتیجه گذشته) شده.
«ابژه پیتی آ» درواقع آن چیزی (ابژه‌ای) نیست که به آن میل داریم، بلکه علت گرایش به چیزها ست. همین است که می‌گوییم ابژه‌ای است که «من» است: ابژه‌ای درون سوبژه، اما نه این، که منشاء آن است که ما را به تورگنیف می‌رساند: هنگامی که نوزاد از عرصهٔ فردی‌اش قدم به اجتماع (نظم نمادین) می‌گذارد، باید از این کنکور سربلند بیرون بیاید: پذیرفتن نقش اجتماعی‌اش به عنوان کسی که میل می‌ورزد. پس این «علت میل ورزیدن» را معلول دیگری است، همان جامعه، زبان یا نظم نمادین.
مهدی ملک در یادداشتی روی فیلم آگراندیسمان این مفهوم را به لحاظ سینماتیک به زیبایی توصیف می‌کند: «سوراخی در حوزهٔ دیداری که چشم قادر به دیدن آن نیست، و در همان زمان و پیشاپیش از آنجا نگریسته شده است. به تعبیر دیگر «نگاه» در سمت ابژه‌ای است که به سوژهٔ در حال «دیدن» خیره شده است.»
و این شاید یکی از ترسناک‌ترین مفاهیم تاریخ اندیشه باشد: تصور کنید یکی دارد شما را دید می‌زند و شما هرگز نمی‌بینیدش. ترومن‌شو، ۱۹۸۴.
این دقیقا موقعیت راوی تورگنیف است که دارد گفتگوی کراشش با شخصی را می‌شنود، بدون اینکه آنها هرگز از وجود او آگاه شوند. این موضوع نزد لکان نیز (به‌مانند تورگنیف) به عشق مربوط است: برای اینکه بگوییم چرا عاشق کسی هستیم دلایل زیادی می‌توانیم بیاوریم: اینکه او زیبا ست یا مرا کامل می‌کند، اما همواره چیزی غیرقابل‌توضیح هم وجود دارد، اینکه دوستش دارم اما نمی‌دانم چرا. هر چه بگویم کافی نیست. انگار چیزی هست که به زبان نمی‌آید، و بله، این همان ابژه پیتی آ است. شکافی در روان ما که ما را به سمت میل‌ورزیدن سوق می‌دهد. انگار تورگنیف (با روایت عشق‌های همواره نافرجام) دارد توجه ما را نه به معشوق، که به نفس عشق برمی‌انگیزاند.


- من تاب تحمل گریهٔ زنان را ندارم
این جمله از کتاب مرا به یاد دیالوگی از فرندز انداخت:
Crying women makes me uncomfortable (Gavin).


- دوش‌های شما هم بال درخواهدآورد؟
این جمله نیز مرا به یاد کاراکتری از ایکس‌من انداخت که واقعا دوش‌هایش بال درآورد: اینجل.







با ترجمهٔ سروش حبیبی و خوانش بهرام سروری‌نژاد
ممنون از هر دو

[AiK · Rating 4 out of 5]

Все герои несколько странны. Странность Аси, очевидно, объясняется даже не столько тем, что она росла в другой среде, и, будучи вырванной из нее, чувствовала себя неловко, сколько комплексами, которые неизбежны при такой смене статуса и двусмысленным положением незаконнорожденной дочери помещика. Но в ней чувствуется очень сильный характер, гораздо сильнее рассказчика Н.Н. Он производит впечатление недалекого человека, эдакого медведя косолапого, неуклюжего и толстокожего. Ничего-то он не понимает сразу, даже в своих чувствах толком разобраться не может. Ася не может жить и чувствовать наполовину, ей нужна любовь, целиком и полностью завладевающая человеком. Ей нужно было только одно слово: «люблю», который этот увалень Н.Н. не догадался сказать. Вместо этого, он начал рассказывать ей про его разговор с братом, да упрекать ее в том, что она сама все рассказала. Гагин поступил правильно, увезя сестру. Она слишком порывиста и не довольствуется малым, Н.Н. слишком долго соображает. С такой разницей скорости мыслительных процессов, трагедия была бы неизбежна.

[Edita · Rating 5 out of 5]

Да, хорошо! так же тихо отвечала она, не смотря на меня. – Если бы мы с вами были птицы, – как бы мы взвились, как бы полетели ... Так бы и утонули в этой синеве ... Но мы не птицы.
*
И я сам – что сталось со мною? Что осталось от меня, от тех блаженных и тревожных дней, от тех крылатых надежд и стремлений.

[Quân Khuê · Rating 4 out of 5]

Câu chuyện về cuộc gặp gỡ ngắn ngủi giữa một chàng trai, nhân vật xưng "tôi", và một cô gái tính tình có phần hoang dại này có vẻ đẹp của một tình yêu bất thành. Trong sáng mà đớn đau, lãng mạn mà không bi lụy, nếu đọc vào tầm 18-20 tuổi nó sẽ là thứ truyện đóng đinh vào tuổi trẻ. Tiếc là tôi qua tuổi ấy mất rồi. Tôi vẫn cảm nhận được vẻ đẹp của nó, nhưng sự rung động mà nó gây ra cho tôi, vào thời điểm này, chỉ còn chừng mực mà thôi.

[Nik Kiri · Rating 5 out of 5]

I read the two novellas Asya and First Love in one sitting and was impressed by the ability of the author to create such dramatic, extraordinary and unforgettable women's characters like Asya and Zinaida, by his unquestionable talent to turn into a masterpiece a seemingly simple and straightforward story and by the magnificent and vivid descriptions of the people and places in the stories. Turgenev's writing style is poetic and melancholic, I devoured every word and every sentence admiring his exceptional skill of using words. Of both novellas I have a slight preference for Asya because the book kept me in suspense until the end and because of the deep psychological portrait of a complicated and contradicting person like Asya, a girl capable of many emotions and whose mental state, mood and behavior change a lot even in a short period of time. At one moment she is confident of herself, bright and ready to fly, the next moment she is despondent, pessimistic and hopeless which is due to her social and family status, upbringing and her fears. She falls in love with the main character but because he is confused of his feelings, he does not respond with the same passion and only when she disappears from his life because she mistakenly thinks he is indifferent, does he realize his true love and is hit by an enormous sense of loss and despair. When we lose something precious, we always regret the missed chance at happiness, love and wonder what would have become of us if we had acted in a different way and had made another choice.

[Έλσα · Rating 5 out of 5]

ΥΠΕΡΟΧΟ, ΟΝΕΙΡΕΜΕΝΟ, ΑΠΡΟΒΛΕΠΤΟ!

ΣΟΥ ΑΦΗΝΕΙ ΜΙΑ ΓΛΥΚΙΑ Κ ΠΙΚΡΗ ΓΕΥΣΗ ΣΤΟ ΤΕΛΟΣ! ΤΕΤΟΙΑ ΒΙΒΛΙΑ ΔΕ ΓΡΑΦΟΝΤΑΙ ΠΛΕΟΝ. ΤΕΤΟΙΕΣ ΙΣΤΟΡΙΕΣ ΑΓΑΠΗΣ ΔΕ ΣΥΜΒΑΙΝΟΥΝ ΣΗΜΕΡΑ.

ΤΟ ΛΑΤΡΕΨΑ! ΑΓΑΠΗΣΑ Κ ΠΑΘΙΑΣΤΗΚΑ ΜΕ ΤΟΥΣ ΧΑΡΑΚΤΗΡΕΣ. ΤΟΣΟ ΙΔΙΑΙΤΕΡΟ, ΤΟΣΟ ΓΛΥΚΟ, ΤΟΣΟ ΜΙΚΡΟ ΑΛΛΑ ΟΥΣΙΩΔΕΣ Κ ΟΛΟΚΛΗΡΩΜΕΝΟ!

ΡΩΣΙΚΗ ΛΟΓΟΤΕΧΝΙΑ 🙏🙏🙏!!!! ΣΕΒΑΣΜΟΣ!!!! 💎💎💎💎✨✨✨

[Andrei Tamaş · Rating 3 out of 5]

Nostalgia iubirii pierdute, iubire de ordin platonic povestită cu o mare dezinvoltură şi fără nicio reticenţă într-un singur plan narativ.
O metaforă plăcută: "Ce cameleon mai e şi fata asta!"

[d · Rating 5 out of 5]

Tardé 7 horas en leer estas 50 páginas. Me interrumpía a cada rato, lloraba de alegría, me iba a tomar un té, volvía, leía unas páginas más, volvía a llorar de absoluta felicidad.
Una novelita bellísima. Turgenev te mete en un mundo donde lo único que importan son las relaciones justas entre los hombres, la naturaleza, el amor y la paz. Esto puede sonar muy hippie, pero no. Acá hay humanidad, y esta descrita como los dioses:

En la calle, debajo de la baja cerca del jardín, se había reunido una gran cantidad de gente: los pacíficos ciudadanos de la villa de L., que no querían perderse la ocasión de echar un vistazo a esos huéspedes recién llegados. Me uní a esa muchedumbre de curiosos. Me divertía contemplar los rostros de los estudiantes; sus abrazos, sus exclamaciones, su inocente presunción, sus miradas ardientes, sus risas sin motivo —las mejores del mundo—, todo ese alegre bullicio lleno de vitalidad y frescura, ese afán de ir hacia delante, sin importar adónde, con tal de que fuera hacia delante, y esa benévola despreocupación me conmovían y me exaltaban. «¿Por qué no unirme a ellos?», me pregunté...

[Liubov · Rating 5 out of 5]

"У счастья нет завтрашнего дня; у него нет и вчерашнего; оно не помнит прошедшего, не думает о будущем; у него есть настоящее - и то не день, а мгновенье."

[Anastasia · Rating 4 out of 5]

*Read for class.

So, I seem to like Turgenev more and more. This novella captivated me from the start and I NEEDED to know what was gonna happen. I'm pretty sure I've read it in school, just couldn't remember it until now. Anyways, I had to reread it for uni and I'm glad I did. An unusual main heroine, which I appreciated a lot. The ending was pretty predictable, and, honestly, a bit stupid from my point of view on the main character, but I made peace with it. Classics need a tragic love story.

[Elaenia Montañera · Rating 5 out of 5]

"La felicidad no tiene mañana, no tiene ayer, no se acuerda de lo pretérito, no piensa en lo futuro, no tiene más que "hoy", y su "hoy" no es un día, es un instante nada más".

[Steven R. Kraaijeveld · Rating 5 out of 5]

"There are in the world certain happy faces that everyone takes pleasure in contemplating, as though one were warmed or caressed by them."

[sofa kachan · Rating 5 out of 5]

4,5⭐️

[Nhi Nguyễn · Rating 4 out of 5]

Văn học Nga quả là nổi tiếng với những câu chuyện tình đẹp, trong sáng nhưng kết thúc buồn, và câu chuyện này cũng không là ngoại lệ... Ôi Ivan Turgenev, bác nổi tiếng thế kia mà sao đến giờ cháu mới đọc truyện của bác hu hu hu...

"Asya", đúng chất bi thương (nhưng không bi lụy) của văn học lãng mạn Nga, là một câu chuyện của hai con người yêu nhau nhưng không nói, của một nhân vật chính N. đã từng nghĩ mình sẽ không bao giờ kết hôn với Asya - người con gái 17 tuổi tính tình bốc đồng, luôn mang trên vai cái gánh nặng vô hình của nguồn gốc và xuất thân cô không lấy gì tự hào cả. Để rồi khi cái khoảnh khắc của hạnh phúc qua đi, tất cả còn lại chỉ là niềm tiếc nuối đau thương cho ngôn từ đã không được bày tỏ, là cái vẫy cánh bay đi mất của những tình cảm trẻ trung, sôi nổi, sáng trong, chân thành mà N. sẽ không bao giờ còn được trải nghiệm trong cuộc đời...

Đúng như N. đã thốt lên trong câu chuyện, hạnh phúc chẳng phải là cái gì quá lớn lao to tát, nó đơn giản chỉ là một khoảnh khắc vụt đến của tình yêu, của niềm vui khi được ở bên Asya. Cả một thời ngồn ngộn tình yêu và sức sống, hóa ra chỉ có thể như ánh sao chói lòa trong thoáng chốc thế sao?...

[Keely · Rating 4 out of 5]

Turgenev has done it again. Another beautiful short masterpiece about nostalgia, love and regret. No one is better at such a thing. You could feel the pain in the last pages. Exquisite.

[Ivan · Rating 5 out of 5]

Kao divna sentiš numera od 3 minuta, koja ti pokrene nežne emocije ali i podstakne na iskrenost ka sebi.
Prvi deo knjige je zagrevanje, prava stvar kreće od polovine kada te knjiga ščepa i ne pušta.

[Darcel Anastasia · Rating 5 out of 5]

I loved it. Brilliant and sentimental.

[Reza · Rating 3 out of 5]

خوب بود، واقعی بود، منو یاد دلبستگی‌های هفده هجده سالگی انداخت که خیلی عقلانی نیستند، برای شکل‌گرفتنشون نیازی نیست زمان زیادی بگذره ولی وقتی تو دلت نشست، میسوزونتت و احتمالا خیلی‌هامون چنین تجربه‌هایی داشتیم و وقتی سنت یکم بیشتر میشه و پخته تر عاشق میشی بازم اسمش عشقه ولی شاید دیگه اون سوز درونی رو تجربه نکنی. البته شاااااید.
در کل این خیلی غم‌انگیزه که نمیدونی آیا حسی که الان به یک نفر داری، عمیق ترین و عاشقانه ترین حسیه که در تمام عمرت به یک شخص داشتی و خواهی داشت یا نه!؟
داستان یه جوون روسه که برای فراموشی عشق نافرجامش به سفر آلمان میره و اتفاقی در اونجا یه خواهر و برادر هموطنش رو می‌بینه و به نوعی معنای جدیدی از عشق رو درک می‌کنه، قلم تورگنیف واقعا روان و زیباست.
«خوشبختی فردا نمی‌شناسد، دیروز هم نمی‌شناسد، نه برای گذشته حافظه‌ای دارد نه امیدی برای آینده، برای خوشبختی جز امروز وجود ندارد، آن هم نه یک روز، بلکه فقط لحظه حال.»

[Federica · Rating 4 out of 5]

I enjoyed Asja far more than I had expected.

A simple story, made poignant by the beautiful way it is written, I was really impressed by the way I became involved with the narration. Asja's character caught my attention,her changeability and care to what others think of her, as well as the way Mr. N. related to her, his inability to overcome prejudices. The way he fell in love with her was nice because it was realistic: slowly, day by day, without even knowing it till the end.

Really, really liked it.

[Hawk Zoro · Rating 5 out of 5]

Read it 5 years ago ...
I was living an exact adventure!
Unfortunately I lived the same sad ending of the novel !

I don't know if you already noticed how can Russian authors be so deep, changeable and Outstanding!

[TheTaleTellingHeart · Rating 5 out of 5]

Tomorrow I'll be happy! Happiness has no tomorrow. It has no yesterday. It does not remember the past, it does not think of the future. It only has a present time - and that's not a whole day, but only an instant.

[Miladin Dimov · Rating 3 out of 5]

The story of how a man in his twenties, who still has feelings for his ex, meets a young girl, who has not yet completely matured, and the mixture of their non-concurrent feelings of love. The main dilemma which the character faces - to listen to his mind or follow his heart. Is he going to trust his emotions and respond to her feelings despite his brain telling him that she is childlike and immature, or is he going to remain phlegmatic in the face of her sincere and childish love for him and let her go?
The main lesson for me from this book is to realize that happiness is not about the future, or the past, or even about the present day. It is about now, the everflowing present. To seize the moment and to not wait for the future, for the correct moment to arrive, thinking that you still have time. Don't wait for tomorrow, it might be too late.

[Leyla · Rating 3 out of 5]

The novella is about the despairing first love of a young lady (17) with an unnamed protagonist (apparently, self-insertion of Turgenev) N.N.

The protagonist and Turgenev himself were travelling across Europe simultaneously at the time the story was being written.

The reader may think Asia is a reticent young lady with juvenile behaviours and the continent's name :) since she's trying to hide her true self and be in the centre of attention with odd actions. However, this is expected when we take into account the relationship with her consanguinity.

P.S. N.N's (Russophil) love dilemma and the way he described German people and everyday life was admirable though.

[Ira Therebel · Rating 4 out of 5]

I can't say that I care much for the love story in this novella but the writing is outstanding. The descriptions of the countryside around Rhine are so vivid and warm. And I love Turgenev's portrayal of human personalities. Whether he talked briefly about a crowd of people, like the group of German student's full of life and energy, or really looking into the character, such as that of the extraordinary girl Asya, one can really see, understand this people and believe that they are real. He is very observational both to surroundings and people. I am pretty excited to read some Turgenev where I care about the plot as much as about the amazing writing.

[Hasan Abbasi · Rating 4 out of 5]

نوولتی در باب عشق زنان. با داستانی رمانتیستی روبرو هستیم که فضای عشق و تردید های این فضا را مورد بررسی قرار میدهد. انسان ها در وضعیت هایی زندگی میکنند که به واسطه ی احساسات لذت جویانه شان احساسات عاشقانه شان گم و حذف میشود. زندگی فرصتی هایی کوتاه به انسان میدهد که به واسطه ی غرایز که ابعادی پسا لحظه ای دارند خراب میشود. انسان در زمان گم میشود و عشق او نیز گم میشود. داستان در مورد مردیست که عاشق دختری غریب و استثنایی میشود ولی ترس و تردیدشان آنها را از هم دور و ادامه زندگیشان را تباه میکند. نام دختر آسیاست و یا بهتر است بگوییم آنا.