The purpose of the lesson:
— expand students’ knowledge about personality and creative biography writer;
— help students understand I.S. Turgenev as a person and a writer, to cultivate interest in the writer’s work;
- lead students to answer the main questions of the lesson.
Lesson type: a lesson in studying and initially consolidating new knowledge.
Methodical techniques: repetition of what has been covered, work with the text, teacher’s lecture, general conversation, selective reading (the story “Singers”), student’s message (if planned), teacher’s comments, creative work (searching for a solution to a problem and revealing a problematic issue).
Interdisciplinary connections: history, world artistic culture.
Equipment used: presentation, recording lecture provisions on the board.
Leading task: The teacher’s lecture about Turgenev may include student reports about individual pages of the writer’s life and work. Students will be helped in this work by Yu. V. Lebedev’s book “Turgenev” from the “Biography of a Writer” series (M., 1990).
Write on the board: topic of the lesson, plan of the teacher's lecture, problematic issues of the lesson, phraseological unit Annibal's oath.
During the classes:
I.Vocabulary work.
Goal of the work : contribute to the development of students’ speech and enrichment of their vocabulary.
Write on the board and in notebooks:
Hannibal's oath.
According to the Roman historian Polybius (c. 201 - 120 BC) and other ancient authors, the Carthaginian commander Annibal ( modern version named after Hannibal, 247-183 BC. BC) said that when he was ten years old, his father made him swear an oath throughout his life to be an implacable enemy of Rome, which turned Carthage into its colony. And Hannibal kept his oath.
Allegorically: an expression of firm determination to fight someone or something and win, a vow to make something the work of one’s life.
(Encyclopedic Dictionary winged words and expressions. Author. Serov V. (compiled).— M.: “Locked-Press, 2005. - 880 S.)
II.Teacher's word. Announcing the topic and objectives of the lesson. Raising problematic issues. Write in a notebook and on the board.
Goal of the work: create a conscious image of the anticipated result of the lesson, towards which the students’ actions are aimed.
Teacher: Topic of today's lesson: I. S. Turgenev. Life and art. “Notes of a Hunter” and their place in Russian classical literature.
“Russia can do without each of us, but none of us can do without it. Woe to the one who thinks this, double woe to the one who really gets along without it.” These words were written by a man (Turgenev in the novel “Rudin”) who spent two thirds of his life away from his homeland. A year before his death on May 30, 1882, Turgenev wrote to his friend Polonsky: “When you are in Spassky, bow from me to the house, the garden, my young oak tree, bow to the homeland, which I will probably never see again.” What made the writer, a Russian thinker, a patriot, live so much time abroad? This is the first question you have to answer.
And he, a believer, a writer who created the story “Living Relics”, who built a church for his peasants on the site of a burnt tavern, asked to be buried in his homeland, at the Volkov cemetery near his friend Belinsky, famous literary critic, Western philosopher, democratic revolutionary, materialist("in words God And religion I see darkness, darkness, chains and a whip") . He could have been buried in one of the most famous cemeteries in France, where several thousand famous Russian emigrants are buried, but his request was fulfilled. It would be useful to remind you that he also dedicated his novel “Fathers and Sons” to V.G. Belinsky. Why? This is the second question we have to answer at the end of the lesson.
Aren't you guys surprised by the fact that I.S. Turgenev, being one of the richest people in Russia, having huge estates, countless fortunes, 5,000 serf souls who increased the well-being of the Turgenev family every year, fought against serfdom all his life? Why? This is the third question we have to answer.
At I.S. Turgenev was a personal enemy. " This enemy was serfdom. Under this name I collected and concentrated everything that I decided to fight against to the end - with which I vowed never to reconcile...
It was mine Hannibal's oath"(I. S. Turgenev, Literary and everyday memories. Instead of an introduction). Did Turgenev keep his oath? How? This is another question that you have to answer.
And today, modern writers, discussing the literary process of the last century, cannot help but mention the name of the classic writer. Let's listen to their statements about Turgenev.
Here is the first opinion modern writer Evgenia Popova about Turgenev’s place in Russian literature:
“If I were building a photographic portrait of Russian prose writers of the 19th century, then in the first row I would have Gogol, Dostoevsky, Tolstoy and Leskov, and Turgenev would sit at their feet. He did not reach the depths or heights of style and spirit, but nevertheless he is a major writer.
But here is a second opinion about the work of I.S. Turgenev of our contemporary - writer Vladimir Sorokin:
“If we try to imagine Russian literature in the form of a Russian landscape, then we will see Tolstoy’s fields overgrown with quinoa and nettles, Dostoevsky’s terrible ravines, Leskov’s winding paths, Goncharov’s roadside boulders, Gogol’s swamps, but I see Turgenev in the form of a copse. Simply put, without Turgenev, the Russian literary landscape would have lost nothing.”
Do you agree with the opinion of modern prose writers about Turgenev’s place in Russian classical literature? This is the last question that we have to reflect on today and in the rest of the lessons on the work of the classic writer.
So, let’s formulate once again the problematic questions that we will reflect on today and which we will answer at the end of our lesson:
Problematic questions of the lesson(write on the board):
1. Name the reasons why the writer spent two thirds of his life away from his homeland.
2. Why did the writer ask to be buried in his homeland? on Volkovovo (now—
3. Why did Turgenev fight against serfdom all his life?
4. Did Turgenev keep his Hannibal oath? How?
5. Do you agree with the opinion of modern prose writers about Turgenev’s place in Russian classical literature?
III.Lecture with elements of conversation. Speeches by students.
Goals of work: introduce students to the biography of the writer; show the role of the Russian estate in the formation of the writer’s personality; learn to select and take notes on the main information of the lesson; develop attention and memory.
Lecture outline(write on the board) .
1. Childhood of I.S. Turgenev.
2. Years of study. Moscow and St. Petersburg universities. First publications.
3. Study in Germany.
4. First literary works, "Notes of a Hunter".
5. Meeting with Polina Viardot.
7. Last years life.
Teacher's lecture.
The main stages of life and creative path ( theses):
1. Childhood of I.S. Turgenev.
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The birth of a writer. Spasskoye-Lutovinovo. Memory of the first childhood joys: fairy tales, riddles, proverbs and sayings, horror stories about the old master Ivan Ivanovich, about the cruel steward killed by peasants in a ravine near Ivanovsky Pond, etc. Nature, estate park, ponds. Village children, songs and round dances. Friendship with Leon Serebryakov, his mother's serf servant. Poems by Lomonosov, Sumarokov, Kantemir, Kheraskov. Home library. The boy's talents: unusually acute sensitivity, vivid figurative memory, independent and quick mind. The emergence of a sense of homeland, awareness of blood ties with one’s people, the beauty of one’s native land. Ivan Sergeevich’s mother: a powerful, intelligent and educated woman. Her destiny. The transformation of a downtrodden hanger-on into one of the rich brides in the area, the owner of huge estates and almost five thousand serfs. Her acquaintance with Sergei Nikolaevich Turgenev. The writer's father. Retired cuirassier colonel. Hero of the War of 1812. Participant in the battles against the French near Vitebsk and Smolensk, the Battle of Borodino. Awards: insignia of the Military Order of St. George and a silver medal on a blue ribbon. Marriage. “I have nothing to remember my childhood,” Turgenev said many years later. “Not a single bright memory. I was afraid of my mother like fire.” Pictures of violence and injustice. Mother's cruelty towards courtyard people and children. |
Features of the mother in the lady from the story “Mumu”, Glafira Petrovna from the novel “ Noble Nest”, the domineering grandmother from the story “Punin and Baburin”.
2. Years of study. Moscow and St. Petersburg universities. First publications.
Moscow. Pension Weidenhammer; boarding house of the director of the Lazarevsky Institute Krause. Faculty of Literature, Moscow University. St. Petersburg University.
Reading the works of Pushkin, Gogol, Belinsky’s articles “Literary Dreams” and “On the Russian Tale and Gogol’s Stories.”
Dreams about scientific activity. Classes in history, ancient languages and philosophy.
The first literary experiments of I.S. Turgenev. 1830s - dramatic poem "The Wall". 1838 - Sovremennik magazine - the first publication of Turgenev’s works: the poems “Evening” and “To the Venus of Medicine”.
The unbearability of life in Russia. Searching for an answer to the question: “How to change the existing system?”
3. Study in Germany.
A thirst for knowledge. Deep dissatisfaction with the entire way of life in autocratic-serf Russia.
"Flight" abroad. “I could not breathe the same air, stay close to what I hated... I needed to move away from my enemy so that from my very distance I could attack him more strongly. In my eyes, this enemy had a certain image, wore famous name: This enemy was serfdom. Under this name I collected and concentrated everything against which I decided to fight to the end, with which I swore never to be reconciled... This was my Hannibal oath; and I was not the only one who gave it to myself then.”
Studying at the University of Berlin: “I studied philosophy, ancient languages, history, and studied Hegel with particular zeal under the guidance of Professor Verdun. To prove how insufficient the education received at that time in our higher institutions was, I will cite the following fact: in Berlin I listened to Latin antiquities from Zumpt, the history of Greek literature from Beck - and at home I was forced to cram the Latin grammar and Greek that I knew Badly. And I wasn’t one of the worst candidates.”
Music and theater: operas by Mozart and Gluck, symphonies by Beethoven, dramas by Shakespeare and Schiller.
Return to Russia (1841)
4. The first literary works, “Notes of a Hunter.”
1843: “Then I had plans to become a teacher, professor, scientist,” Turgenev recalled, “but... soon I met Vissarion Grigorievich Belinsky... began to write poetry, and then prose, and all philosophy, as well as dreams and plans for pedagogy were left aside: I devoted myself entirely to Russian literature.”
Poem "Parasha". Reviews by Belinsky. Mother’s confession: “I see talent in you,” she wrote to her son. - No joke, great. In “Notes of the Fatherland” the analysis is fair... I am proud that such new thoughts came to my son... Now they are serving me strawberries. We villagers love everything real. So, your “Parasha”, your story, your poem... smells like strawberries.”
1846 - Turgenev’s new poem “The Landowner”. Friendship with Belinsky, a man who could almost accurately see and guess the future of a writer from his first steps in literature.
Collaboration in the Sovremennik magazine. A short essay-story “Khor and Kalinich. The beginning of the fight against the enemy that Turgenev was thinking about. Heroes of the essay. The landowner Polutykin is a mediocre, empty man. Khor is a smart, economical man. Kalinich, a cheerful, meek dreamer with a good-natured and clear face, like the “evening sky.”
He “came to the people from a side from which no one had approached them before” (Belinsky). “You yourself don’t: know what “Khor and Kalinich” are... Judging by “Khor”, you will go far... Finding your way, finding out your place - this is everything for a person, this means for him to become himself yourself" (Belinsky).
Publication of stories from “Notes of a Hunter”. New stories. "The Burmist", "Living Relics".
5. Meeting with Polina Viardot.(Student's presentation is possible).
Michelle-Paulina Viardot-Garcia. Prototype main character George Sand's most popular novel, Consuelo.
First meetings. Opera concert In Petersburg. “Delight could no longer be contained in the huge mass of people greedily catching her every sound, every breath of this sorceress... Who said “ugly”? - absurdity!.. It was some kind of intoxication, some kind of infection of enthusiasm that instantly gripped everyone from bottom to top” (Petersburg newspaper).
“She sings like she breathes! Her expressive face changes with amazing speed, with extreme ease, not only in accordance with the scene, but also in accordance with the phrase she sings. She has the main secret of creativity: before expressing a feeling, she feels it. She listens not to her voice, but to her heart” (Alfred de Musset).
“I think it would be difficult to find another... in love like Turgenev. He loudly announced his love for Viardot everywhere and to everyone, and in his circle of friends he spoke of no one else but Viardot” (A. Panaeva).
Correspondence of Turgenev with Polina Viardot: “I have not seen anything in the world better than you... Meeting you on my way was the greatest happiness of my life, my devotion and favor has no boundaries and will die only with me.”
Devotion of Turgenev the admirer: “Oh, my feelings for you are too great and powerful. I can no longer live away from you, I must feel your closeness, enjoy it; “The day when your eyes didn’t shine on me is a lost day!”
The appearance of Pauline Viardot in correspondence and the prose poem “Stop!” Abroad.
The life of the serf peasantry. "Singers". The terrible truth life in which the Russian serf village perished. "Bezhin Meadow"
Obituary on Gogol's death: “Gogol is dead! “What Russian soul would not be shocked by these two words?” Arrest. The story "Mumu".
Creator of the Russian novel. The theme of “superfluous people”, democrats - commoners, the theme of Russian women.
7. Last years of life.
Departure abroad. Bougeval. Life with the family of Pauline Viardot.
Homesickness: “I remember I was walking home, not thinking about anything, but with a strange heaviness in my heart, when suddenly I was struck by a strong, familiar Russian smell in Germany. I stopped and saw a small patch of hemp near the road. Its steppe smell instantly reminded me of my homeland and aroused in my soul a passionate longing for it. I wanted to breathe Russian air, to walk on Russian soil. What am I doing here, why am I wandering around in a strange place among strangers? - I exclaimed. And the deathly heaviness that I felt in my heart suddenly resolved into bitter and burning excitement" (Tale "Asya").
Novels "Smoke" and "Nov". Poetic testament - poems in prose. Honorary Doctorate from Oxford University, Elected Vice-President of the Paris Literary Congress.
Funeral.
IV. General conversation. Detailed statements-answers of students to problematic questions of the lesson.
Goal of the work: provide students with the opportunity to:
— joint search for answers to problematic questions;
- summarize the lesson;
- Demonstrate oral communication skills.
Students' answers to questions:
Question 1. Name the reasons why the writer spent two thirds of his life away from his homeland.
Answer:
1) He wanted to get an answer to the main question of his life: how to change the existing system in Russia; and since there was no philosophy department in his homeland, he left for Berlin.
2) The hated Russian slavery, which seemed to have no end, gave rise to the decision to leave Russia forever. He could not live in a country where people were trafficked: “I could not breathe the same air, stay close to what I hated... I needed to move away from my enemy so that from my very distance I could attack him more strongly.”
3) The love of his life, Polina Viardot, lived abroad, and his daughter was raised there.
Question 2. Why did the writer ask to be buried in his homeland? on Volkovovo (now—Volkovskoe) cemetery, near his friend Belinsky?
Answer:
1) In Paris, at the farewell of the coffin with the writer’s body to Russia, the French writer and publicist Edmond About said: “France would proudly adopt you if you wished, but you always remained faithful to Russia... Russia took first place in your affections. It was you who served her first and foremost.”
2) The great critic was the first to predict the literary future of I. Turgenev. He was a teacher and leader of the younger generation of writers - the galaxy of 1840s, including I.S. Turgenev.
Already during the first meetings of Belinsky and Turgenev, the foundations of their lasting friendship were laid. In the May issue of Otechestvennye Zapiski a large article by Belinsky about the poem appeared. The critic warmly praised the author of “Parasha” and was the first to notice his literary talent. The friendship with Belinsky lasted about five years, and only the death of the great critic ended it. Belinsky closely followed the development of Turgenev's talent.
Almost all of Ivan Sergeevich’s works that appeared in print during his lifetime were noted and reviewed by Belinsky in his articles, reviews and surveys. In Turgenev's poetry. Thanks to his closeness with him, Turgenev entered the circle of St. Petersburg writers and became one of the active contributors to Otechestvennye Zapiski, and then in 1847 to the updated Sovremennik.
Closeness with Belinsky was very important and decisive for Turgenev. It marked the beginning of a deep internal change that took place in the forties in Turgenev, when not only his socio-political and aesthetic views, but also his moral character.
Question 3.Why did Turgenev fight against serfdom all his life?
Answer:
1) The memory of his mother’s cruel reprisals against the peasants, of the exiled people, of the angry, gloomy glances with which the serfs often saw his mother off fell heavily on the writer’s soul.
"How to live? What to do?" - thought Turgenev. And is it only his mother who treats her serfs so cruelly? Aren't all landowners in Rus' the same? And he decided to fight serfdom all his life. “This was my Hannibal oath - and I was not the only one who took it to myself then,” he wrote.
2) Serfdom and undivided power over people distorted the beautiful soul of his smart, educated mother, and he began to consider him his personal enemy.
Question 4: Did Turgenev keep his Hannibal oath? How?
Answer:
Protesting against the people's suffering, Turgenev gave Annibal an oath to fight serfdom all his life and kept it. It is not for nothing that his first collection of stories, “Notes of a Hunter,” was assessed by his contemporaries as “an orderly series of attacks, a whole battalion’s fire against the life of the landowners.” Charming, poetic images of peasants are contrasted in “Notes of a Hunter” with images of soul owners - people who are deeply immoral, mentally limited, and cruel.
The writer also writes the story “Mumu,” which is similar in its anti-serfdom orientation to “Notes of a Hunter.”
Simultaneously with Notes of a Hunter, Turgenev created the plays “The Freeloader” (1848), “Breakfast with the Leader” (1849), “A Month in the Country” (1850), etc. In his plays, he portrays a small man who is a victim of social inequality, satirically depicts serfdom morals .
Readers were convinced of the spiritual superiority of the enslaved people over their enslavers. And this emphasized the monstrosity of serfdom and the existing system in Russia and brought its abolition closer.
Question 5. Do you agree with the opinion of modern prose writers about Turgenev’s place in Russian classical literature?
Answer:
No, we don't agree. The highest appreciation for the life and work of I.S. Turgenev was given by the Russian people themselves. One day Turgenev was traveling from Orel to Moscow. When he stepped out onto the platform at one of the stops, two people approached him. It was clear from their clothes and manners that they were tradesmen or artisans.
“Let me know,” one of them spoke, “will you be Ivan Sergeevich Turgenev?”
“I am,” came the answer.
— The same one who wrote “Notes of a Hunter”?
- The same one...
Then both took off their hats and bowed to the writer from the waist.
“We bow to you,” said one, “as a sign of respect and gratitude on behalf of the entire Russian people...
V. Reflection.Exercise “Plus-minus-interesting.”Justification and grading.
Purpose of the stage: students' self-assessment of the results of educational activities.
Students performing exercises “Plus-minus-interesting” : fill out a table of three columns.
In the “P” - “plus” column, everything that was liked in the lesson, information and forms of work that aroused positive emotions, or, in the student’s opinion, may be useful to him in achieving certain goals are written down.
In the “M” - “minus” column, everything that was not liked during the lesson, seemed boring, caused hostility, remained incomprehensible, or information that, in the student’s opinion, turned out to be unnecessary for him, useless from the point of view of solving life situations.
In the “I” - “interesting” column, students write down all the interesting facts that they learned about in class and what else they would like to know about this problem.
VI. Homework.
1. Reading the novel “Fathers and Sons” (chapters 1-10).
2. Write a profile of N.P. Kirsanov.
3. Analysis of E. Bazarov’s behavior at a party. His relationship with Arkady and P.P. Kirsanov.
Notes
N.S. Sher "Ivan Sergeevich Turgenev". Stories about Russian writers. State Publishing house of Children's Literature, Ministry of Education of the RSFSR, - M., 1960.
YU. IN. Lebedev. Turgenev. From the series “Biography of a Writer.” - M: Young Guard, 1990. (Life of wonderful people).
The publications also turned out to be important for the history of Russian literature, in particular for the history of the distribution of “Notes of a Hunter” among Russian readers. No attention has yet been paid to the fact that the widest distribution and popularity of this book by Turgenev is in various Western European literatures. It is no coincidence that Turgenev himself was very interested in the impression that “Notes of a Hunter” made in these countries - due to the fame of the critics who first turned their sympathetic attention to “Notes” here, and due to the opportunity to personally contribute to the correct interpretation of his book. We will try below to fill in some gaps from history with the speed of the victorious dissemination of “Notes of a Hunter” abroad, without, however, claiming to be exhaustive; further study this question is certainly necessary, but it will require many more long-term joint efforts before the complex and lively picture that interests us can appear before us in all its diversity and brightness, but with the main
images of her foreground.
In the literature about Turgenev, there is a belief that he was first noticed in France. There is no doubt that the first French translations of “Notes of a Hunter” played a decisive role in the dissemination of this book throughout the world; this was explained not so much by the widespread use of the French language in mid-19th c., how much central position and the important role that the advanced French literature This time she played in the world literary process, until later she gave up this role to Russian literature. A book translated into French and received the approval of French critics could count on being noticed everywhere; French magazines were read in the Old and New Worlds; Translations of foreign books were often made from French into other languages in the West and the Middle East.
The appearance in Paris in 1854 of the first French edition of “Notes of a Hunter” translated by E. Charrière was reported earlier than others in the Russian press by the same Wiedert, and one must think that it was from him that Turgenev himself received this translation. A letter from Turgenev to Wiedert from St. Petersburg, sent to Berlin on April 5, 1855, has been preserved; This letter certifies that Turgenev valued information about. the fate of “Notes of a Hunter” abroad, which Wiedert shared with him: “I’m going to the village tomorrow... - and only yesterday I received your letter,” Turgenev wrote. “Thank you for sending reviews, which are just too flattering - this should be attributed to the news of the subject and imagined life. Nekrasov; now in his village - he will be with me in May, and in the fall he will certainly come abroad. With it I will send you all the promised books. The opportunity I was hoping for has burst, and in general now it’s difficult to send anything. Now, if we make peace, that’s a different matter! But this is all in the darkness of the future. If possible, send the 2nd part of your translation (“Notes of a Hunter”) to Panaev (i.e., to the editors of Sovremennik). Write to me and I will write to you. Bow to all your good friends, not forgetting Peach...”
The friendly tone of this letter, gratitude for the service Wiedert provided, mention of mutual friends, interest in German translation“Notes of a Hunter” (Turgenev was expecting the second part, therefore, he had already received the first earlier) confirm that Turgenev was widely privy to Wiedert’s literary plans and was good;) knew the history of the first German edition of “Notes of a Hunter” that he had been preparing for a long time. Moreover, there is every reason to believe that Turgenev was high opinion about this translation, which was distinguished by truly significant literary merits.
An entry dated August 6, 1856 in Farnhagen’s diary reads: “Ivan Turgenev came to me, accompanied by Wiedert, - welcome! Even today he travels further, to Paris, then to Rome. He talked about himself, about his month-long arrest and two-year exile caused by the appearance of “Notes of a Hunter.” Gave detailed information about the state of Russia. Two main issues are the growth of sectarianism and serfdom... Emperor Nicholas, limited and cruel, was by nature a mere police agent. The nature of his reign, the painful disintegration, the rotting of the state,” etc. Wiedert himself, no doubt, gave similar explanations to “Notes of a Hunter” to his German literary friends.
Despite all this, Wiedert’s translation of “Notes of a Hunter” did not play the pan-European role that the translator apparently hoped for: after all, Wiedert was the first to translate this Russian book, and this translation was a success and earned him approval. The reasons that this translation was not sufficiently appreciated were of a general nature:; THEY have already been indicated above. The meaning of the century-old translation, held for a number of years in German literature, it was exclusively local.
“Notes of a Hunter” aroused much greater attention throughout Europe when they were published in French translation in the same 1854 in Paris. With considerable “quite natural annoyance” Wiedert got acquainted with this translation by E. Charrière, which was destined for a more brilliant fate: “I looked at Charrière’s translation and, unfortunately, on every page I had to make sure that the translator was absolutely not in able to convey this work,” Wiedert wrote in correspondence with Moskovskie Vedomosti, reporting, by the way, examples of the “nonsense” that some French writers wrote about this translation.
The first translation of “Notes of a Hunter” into French appeared in Paris only in April 1854 under a changed title and without Turgenev’s name on the cover and title page of the book. This was a translation by Ernest Charrière, which earned sad fame in Russia: “Memoirs of a noble Russian master or a picture of the state of the nobility and peasantry in the Russian provinces at the present time.”
Turgenev’s name, however, was mentioned by the translator in the “Introduction,” where Charrière wrote: “The book of Ivan Turgenev offered to the reader in translation was published in Russian in Moscow in 1852 under the title “Notes of a Hunter,” which we considered necessary to change. If in our translation the book began to be called “Memoirs of a Noble Russian Master,” this was done in order to give it the character of a testimony of the Russian aristocracy regarding the actual situation in the country where it dominates,” etc.
It is interesting to note that it was Charrière who initiated it. Having released his translation of “Notes of a Hunter,” he immediately sent a copy of the book to Merimee with a request to respond to it in print; Charrière considered such an article not only flattering for himself, but also especially important for the success of his publication: Mérimée was already widely known in France not only as a writer, but also as a translator of Pushkin and Gogol. P. Merimee’s response letter to E. Charrière is dated May 20, 1854. “I read with great interest your translation of “Notes of a Hunter,” wrote Merimee, “and thank you for giving me the opportunity to get acquainted with such a wonderful work... As soon as I can have a little leisure, I propose to write a critical analysis of it for the Revue des Mondes and say there all the good things that I think about this work.”
Merimee was able to keep his promise only a month later: in the July 1, 1854 issue of the said magazine, his article about “Notes of a Hunter,” entitled “Literature and Serfdom in Russia,” appeared. This article belonged to a writer whose name spoke for itself, and could not help but attract the widest attention. True, it is not free from some tendentious exaggerations of the war year, since the author wanted to make it poignant and politically relevant for contemporary French readers.
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“Notes of a Hunter” has deep roots in Russian life and Russian literature. Turgenev's book was written at a time when all issues boiled down to the abolition of serfdom; it was the answer to this central question of the era, in the resolution of which the vast majority of the Russian people were vitally interested. In Belinsky’s letter to Gogol I saw a reflection of the sentiments of the serfs, their hatred of serfdom. Belinsky’s famous letter was the basis of Turgenev’s views in the 40s, during the period when “Notes of a Hunter” was created. In Turgenev’s own words, this letter contained his entire religion.
It is quite obvious that Turgenev’s book also absorbed the sentiments of the serfs, their burning dissatisfaction with serfdom, their protest. This is the nationality of “Notes of a Hunter”. Literary historians have talked a lot about all sorts of literary influences, which allegedly gave birth to this book, as well as Turgenev’s general interest in the peasant question. The influence of Russian life itself was not taken into account at all. To promote the turn of public interests towards living social issues - Turgenev saw this as the most important national task of advanced Russian people. Speaking about the Russian people, Turgenev described them in the quoted review as “a young and strong people who believe and have the right to believe in their future...”
So, the fight against romantic egoism had the significance of a great patriotic cause for Turgenev. There is no doubt that Turgenev formed these views under the direct influence of Belinsky. Personal closeness with Belinsky in the 40s further consolidated and strengthened the impact of his ideas. This closeness between Turgenev and Belinsky reached its peak in 1847, when Belinsky wrote his famous letter to Gogol in Salzbrung, where he lived with Turgenev.
But even before 1847, Turgenev largely followed Belinsky. Turgenev never rose to the heights of his revolutionary democratic ideas, nevertheless, following Belinsky, the author of “Notes of a Hunter” affirmed the great possibilities of the Russian people, “a young and strong people”; following Belinsky, he rejected cosmopolitanism. Together with Belinsky, Turgenev demanded that thinking Russian people shift their attention from “small contradictions in their own lives” to the great contradictions in the life of humanity and society, to social issues and tasks.
In 1845, Turgenev wrote “The Landowner,” a physiological essay in verse, which introduced Turgenev into the circle of Writers of the Gogolian movement. Belinsky greeted Turgenev's work with delight. “The Landowner” by Turgenev,” he wrote, “is a light, lively, brilliant improvisation, full of intelligence, irony, wit and grace.” And then he added meaningfully: “It seems that here Turgenev’s talent has found its true kind, and in this kind it is inimitable.”
By creating this kind of satirical images of effectiveness and strength, Turgenev continued the traditions of “Dead Souls”, moreover, to Gogol’s gallery of the dead souls Turgenev added a gallery of living souls, taken primarily from the peasant environment. Those people whom I thought about in the famous lyrical digression, stood up to their full height in “Notes of a Hunter.” Next to the Stogunovs and Zverkovs, real people appeared - Kdlinych, Ermolai, Yakov Turok, peasant children. Near " statesman“Penochkin turned out to be a true statesman - Khor. The deceitful “humanity” of the landowner was contrasted with the harsh humanity of Biryuk and the poetic humanity of Kasyan. Enthusiastic lovers of art, landowners and patrons of the arts, these, in the words of Turgenev, “clubs smeared with tar,” discovered their true value next to such a true connoisseur of art as the Wild Master. Stupid Andrei Belovzorov, Tatyana Borisovna's nephew, artist and conqueror of hearts, a caricature in himself, became even more of a caricature when compared with the great artist of the people - Yakov Turk.
It is also important that many peasant characters in “Notes of a Hunter” turned out to be not only carriers of excellent spiritual qualities; goodies in the peasant environment are depicted as bearers best features Russian national character. This, first of all, was Turgenev’s protest against serfdom and public importance his books. Turgenev, in connection with “Notes of a Hunter,” was more than once reproached for idealizing the peasantry and deviating from realism.
Need to download an essay? Click and save - "Notes of a Hunter" and Russian Literature. And the finished essay appeared in my bookmarks.Approximately mid to last quarter XIX century“The weather” in the global (including Ukrainian) literary process was made mainly by realist writers. The Russians F. Dostoevsky and L. Tolstoy confidently took the baton of the French Stendhal, Balzac, Flobsr, the Englishman Dickens and went further than their predecessors. It is enough to recall the works of those times that were included in the treasury of world literature: “The Humiliated and Insulted” (1861); "The Gambler" and "Crime and Punishment" (both 1866); "The Idiot" (1868); "Demons" (1871); “The Brothers Karamazov” (1879-1880) by F. Dostoevsky; “War and Peace” (1863-1869), “Anna Karenina” (1873-1877), “Resurrection” (1889-1899) by L. Tolstoy. The work of Dostoevsky and Tolstoy became the pinnacle of not only Russian, but also global realism. They enriched world literature(in particular and above all the genre of the novel) by its very glance at the eternal problems of humanity: recognition or non-recognition by an individual of social laws and norms, the right to “step over” these laws and norms (“Crime and Punishment”); vision of the problems of war and peace, war and people, “people's thought” (“War and Peace”); family problems, “family thoughts” (“Anna Karenina”), etc.
Until this time, the deep psychologism of their works amazed literary scholars and ordinary readers. The work of these writers is truly immortal; it has survived and will still survive many literary fashions and even social formations, because both in the meaning and in the form of their works they have reached universal, truly global heights.
Theme, ideological meaning and artistic originality of “Notes of a Hunter” by I. S. Turgenev.
In January 1847, the Sovremennik magazine published an essay from folk life, “Khor and Kalinich,” which, unexpectedly for the author and some members of the editorial board, had big success from readers.
By genre "Z.O." - a series of essays.
In two peasant characters, Turgenev represented the main forces of the nation. The practical Khor and the poetic Kalinich are serfs, dependent people, but slavery did not turn them into slaves; spiritually they are richer and freer than the pitiful half-tikins.
Inspired by success, Turgenev writes other stories. And in 1852, “Notes of a Hunter” was published for the first time as a separate publication.
In this book, Ivan Sergeevich appears as a mature master of folk storytelling, here the peculiar anti-serfdom pathos of the book was determined, which consisted in the depiction of strong, courageous and bright folk individuals, the existence of which turned serfdom into a shame and humiliation of Russia, into a social phenomenon incompatible with the moral dignity of the Russian person.
Turgenev's narrator plays an important role as the unifying beginning of the book. He is a hunter, and the hunting passion, according to Turgenev, is generally characteristic of Russian people; “Give a man a gun, even tied with ropes, and a handful of gunpowder, and he will go wandering... through the swamps and forests, from morning to evening.” On this basis, common to the master and the peasant, the special, open nature of the narrator’s relationships with people from the people is established in Turgenev’s book.
The narration comes from the hunter's point of view. The book maintains simplicity oral speech. The author's creative efforts remain unnoticeable in it; the illusion arises that it is life itself that shows us bright folk characters and amazing pictures of nature.
Gradually, from essay to essay, from story to story, the idea of the incongruity and absurdity of the serf system grows in the book. Any foreigner felt freer in Russia than a Russian peasant. For example, in the story “Ovsyannikov’s One-Palace,” the Frenchman Lejeune turns into a nobleman. The image of Stepushka from “Raspberry Water” is especially striking. Turgenev shows in this story the dramatic consequences of serfdom, their corrupting effect on the psychology of the people. A person gets used to the unnatural order of things, begins to consider it the norm of life and ceases to be indignant at his situation: “Stepushka sits under the fence and gnaws on a radish.” The same story shows the master's indifference, callousness, and stupidity towards the peasant Vlas, who, having lost his son, goes on foot to Moscow and asks the master to reduce his rent. But instead of sympathy, the master drove away poor Vlas. It is not without reason that the story about a meaningless meeting with the master brings Stepushka into an excited state, despite the fact that he is very downtrodden, unresponsive and timid. In the story of Vlas, he apparently found a repetition of his miserable fate.
In “Notes of a Hunter” the musical talent of the Russian people is observed. Kalinich sings, and the sober, businesslike Khor helps him along. The song brings people together; through individual destinies it leads to the all-Russian fate.
The artistic integrity of “Notes of a Hunter” as a single book is also supported by the art of Turgenev’s composition. Unusually sensitive to everything momentary, able to capture the beautiful moment of life, Turgenev was also free from everything personal and selfish. “Our time,” he said, “requires to grasp modernity...” All his works not only fell into the “present moment” of Russian social life, but at the same time were ahead of it. An impartial, unselfish love of life allowed him to be a prophet. In his works he constantly gets ahead of himself.
Turgenev's portrait is very detailed: information is given about the hero's clothing, the shape of his body, and when depicting the face, the forehead, nose, mouth, and eyes are described in detail. Nature in Z. O. has its own soul and its own secret. Turgenev's landscape is always spiritual, his nature lives its own special life, often reminiscent of a human one: it yearns and rejoices, grieves and rejoices. The technique of psychological parallelism underlies the composition in such essays as “Biryuk” and “Date”.
A system of lessons for studying the life and creativity of I.S. Turgenev, his novel “Fathers and Sons”
1. “My entire biography is in my writings” I. S. Turgenev. Life and creativity (with a generalization of what was previously studied). “Notes of a Hunter” and their place in Russian literature. The teacher's lecture about Turgenev includes reports from tenth graders about individual pages of the writer's life and work. A book for students by Yu. V. Lebedev “Turgenev” from the “Biography of a Writer” series (M., 1990) will help with this work. Main points of the lecture Page one - "Mother".The difficult childhood and youth of Varvara Petrovna Lutovinova’s mother, a constant feeling of dependence and at the same time an extraordinary mind and great abilities. Strong will, pride, the desire for independence in an atmosphere of lack of love turned into a desire to rule and control the destinies of people. A woman with a heavy, despotic, capricious character was gifted and charming in her own way. In relation to her three sons, she was caring and tender, but this did not stop her from tyrannizing them and punishing them for any reason. The mother’s features are recognizable in the lady from the story “Mumu”, Glafira Petrovna from the novel “The Noble Nest”, and the domineering grandmother from the story “Punin and Baburin”. His mother's diary, discovered after her death, shocked Turgenev. I couldn’t sleep all night, I thought about her life: “What a woman!.. May God forgive her everything!” But what a life!” Page two - “A few words about love.” Perhaps it was from his mother that Turgenev’s contradictions in relation to women were formed: worship of the “beautiful half of humanity” and an insurmountable rejection of family, marriage, and stable “philistine happiness.” This explains the strange love for Pauline Viardot (Michelle Fernand Paulina Garcia). The beauty of the 22-year-old singer's voice in the role of Rosina from " Barber of Seville
"G. Rossini captivated Turgenev. In a letter to her we read: “Oh, my feelings for you are too great and powerful. I can no longer live away from you, I must feel your closeness, enjoy it; “The day when your eyes didn’t shine on me is a lost day!” Her appearance is inspired by the prose poem “Stop!”, which can be read in class. Page three - "Father". First meeting with true love
Turgenev's is unrequited. They preferred someone else to him. The “other” turned out to be the future writer’s father, Sergei Nikolaevich. The son did not hate his father, but in the story “First Love” he portrayed him “quiveringly and lovingly.” (The lecture can include a short report from the student about the problems and poetics of the story “First Love” with a summary of what has been previously studied.) Favorite Spassky. An old manor garden, where his mother’s secretary Fyodor Ivanovich Lobanov taught him to read and write, a huge manor house with 40 rooms, a huge library and a boy who thought about life early, acutely felt pain and deeply understood beauty. (Here it is possible to show video materials about Spassky-Lutovinov or take a correspondence tour of the Turgenev estate.)
Page five - “First work.” Literary activity Turgenev begins as a poet. 1843 - the poem “Parasha” was created. Everything here is Turgenev’s, this is a statement of one’s own style, the first sketches of the image of a “Turgenev girl.” (You can read aloud several excerpts from a poem or poems about love dedicated to Tatyana Bakunina.)
Page six - “Notes of a Hunter.” 1852 - Turgenev writes an obituary on Gogol’s death and publishes “Notes of a Hunter” (the stories were published separately in Sovremennik from 1841 to 1851). For these publications and “violation of censorship rules” “by the highest command” Turgenev was arrested and exiled to Spasskoye-Lutovinovo until November 1853. “An indictment of serfdom” - this is what Herzen called “Notes of a Hunter”. The stories are varied. This is a story about the greatness and beauty of the Russian people, about their position under the yoke of serfdom, about the harmful influence of serfdom on people, about the beautiful Russian nature. Turgenev sees the Russian peasant as a mysterious sphinx. “Yes, then you, Karp, Sidor, Semyon, Yaroslavl, Ryazan peasant, my compatriot, Russian bone! How long ago did you end up in the sphinxes? - he asks in the prose poem "Sphinx". (You should summarize information about stories from “Notes of a Hunter”, studied in primary school and read independently, for example “Bezhin Meadow”, “Biryuk”, “Khor and Kalinich”, “Singers”, “Living Relics”, etc., recall the features their content and form. It is also possible for a previously prepared student to report on the collection “Notes of a Hunter”, its content, structure, problematics and poetics.)
Page seven - “Liberals”. Turgenev had a great friendship with Sovremennik; he had a hard time breaking up with it. (About the reasons for disagreements with the editorial board of the magazine, the novel “On the Eve”, Dobrolyubov’s article “When will the real one will come day?" the teacher will tell or the student’s message will be heard.) It should be emphasized that Turgenev was a liberal of the 1840s. In the 1860s. it was already a different liberalism. “This word “liberal” has become incredibly vulgar lately, and not without reason... Who, think of it, didn’t hide behind it! But in our time, in my young time... the word “liberal” meant a protest against everything dark and oppressive, it meant respect for science and education, love for poetry and art, and, finally, most of all it meant love for the people.”
Page eight - “Last years.” In the 1880s, dying in a foreign land from a serious illness, yearning for his homeland, Turgenev wrote to Ya. Polonsky: “When you are in Spassky, bow for me to the house, the garden, my young oak - bow to the homeland, which I have probably already , I’ll never see.” Turgenev died on August 22, 1883, and rests in Russian soil at the Volkov cemetery in St. Petersburg. His poetic testament, summarizing his philosophical reflections on life, was “Poems in Prose.” (You should remember the previously studied “Russian Language”, “Twins”, “Two Rich Men” and read some prose poems about eternal problems existence: love, death, creativity, attitude to the Motherland, for example “Village”, “Old Woman”, “Path to Love”, “Sparrow”, “We will fight again!”, “Rose”, etc. (at the teacher’s choice). )
Lesson summary. The complexity of I. S. Turgenev's life is reflected in his work, where the heroes, as a rule, are unhappy, their characters are contradictory, strong and beautiful. The writer sought to show moral people. M.E. Saltykov-Shchedrin wrote about this in his obituary: “Turgenev was a highly developed, convinced man who never left the soil of universal human ideals... he is a direct successor of Pushkin and does not know any other rivals in Russian literature. So, if Pushkin had full reason say about yourself that he awakened „ good feelings“, Turgenev could say the same thing about himself and with the same justice. These were not some conventional “good feelings”... but those simple, universally accessible “good feelings” that are based on a deep belief in the triumph of light, goodness and moral beauty.” 2. “And the distance of a free novel...” I. S. Turgenev is the creator of the Russian novel. Problematics and poetics of one of the writer’s novels. The history of the creation of the novel “Fathers and Sons.” Lesson Objectives- to identify the features of the novel genre and the reasons for its development in the middle of the 19th century, to trace the development of the novel genre in the work of Turgenev.
“The novel arose in an era when all civil, social, family and human relationships in general became infinitely complex and dramatic; life has spread in depth and breadth in an infinite variety of elements,” Belinsky wrote.
Features of the novel form are a large form (a large number of characters, great interest in the circumstances of human life, large exposition, no restrictions in time and space), but artistic completeness.
Questions for frontal conversation
1. What kind of hero is Turgenev looking for when turning to the novel genre? (The writer is looking for a new hero, but at first he relies on the traditions of depiction " extra person" Such is Rudin, who never found the real case.) “Onegin was replaced by Pechorin, Pechorin by Beltov and Rudin. We heard from Rudin himself that his time had passed, but he did not indicate to us anyone who would replace him, and we still do not know whether we will soon see his successor,” Chernyshevsky wrote. Such is Lavretsky in the novel “The Noble Nest”, suffering from disorder and loneliness. Such is the hero of the novel “On the Eve” Insarov, who never reached his homeland to join the fight for its liberation.
2. Why were the heroes of the first three novels unable to use their powers? How does the image of a new hero change from novel to novel? (“Then a complete, sharply and vividly outlined image of the Russian Insarov will appear in literature” (Dobrolyubov). Bazarov will become such a hero.)
3. What is the situation in the country at the time the novel was written? (Reforms; arrest of Chernyshevsky, Pisarev; development of science - Butlerov, Sechenov, Mendeleev; aggravation of confrontation between social forces.)
4. What is the meaning of the novel's title? (The meaning is double: socio-historical (the confrontation of two social forces) and universal (family).) The novel was first mentioned in a letter to E. E. Lambert (1860). In the history of the creation of the novel, there are three stages of writing: 1) August 1860 - August 1861 - creation of the main text; 2) end of September 1861 - January 1862 - “plowing up the novel”, introducing numerous amendments caused by changes political situation; 3) February - September 1862 - preparation of the novel for publication. The result is 238 sheets of Turgenev’s neat handwriting. Due to the break with Sovremennik, the novel was published in M. N. Katkov’s magazine “Russian Messenger”.
5. What did Turgenev want to show in the novel? What is his plan? (The writer wanted to show the rise of the revolutionary democratic movement, the new type emerging as a result of this movement - nihilism; to criticize moral qualities nihilists, particularly conceit; imagine the conflict of two forces: new (nihilists) and old (conservatives and liberals); dwell on family problems.)
6. What explains Bazarov’s central position in the novel? What are its prototypes? (Turgenev was reproached for the lifelessness of the image of Bazarov, but the author himself said that it was important for him to observe the “living face.”) In the article “About “Fathers and Sons”” we read: “...at the basis of the main figure, Bazarov, lay One personality that struck me was a young provincial doctor. This man embodied - to my eyes - that barely born, still fermenting principle, which later received the name of nihilism.” According to researchers of the work of I. S. Turgenev, it is based on the traits of several “living persons”:
- Doctor D. - district doctor Dmitriev. “Without the district doctor Dmitriev there would have been no Bazarov” (Turgenev).
- A young Russian doctor who met Turgenev on a train during a trip to Germany.
- The young doctor whom Turgenev met in the Nikolaevskaya carriage railway.
- A young provincial doctor, a neighbor on the estate, Viktor Ivanovich Yakushkin. (Version by N. Chernov.)
- Traits of representatives of revolutionary democracy: Chernyshevsky, Dobrolyubov.
- Traits of Belinsky, to whom the novel is dedicated.
Lesson summary. The appearance of the novel on Russian soil was caused by the time, which required the study of all aspects of life, since it did not suit progressively minded people. Turgenev made a great contribution to the development of the novel form. It is no coincidence that the definition of “Turgenev’s novel” even appeared. We can also talk about Turgenev as the creator of the Russian novel. The writer's novels are a search for a hero and possible ways development of society. 3. “I put “nihil” over everything that is done.” The spiritual conflict of generations and worldviews in the novel “Fathers and Sons.” Bazarov is a hero of his time. Lesson Objectives- show Bazarov as the type required by time; prove that the hero of the novel - a nihilist who obeys the laws of theory - will not stand the test of life; reveal two aspects of Bazarov: a literary type and a living person.
“And if he is called a nihilist, then it should be read: revolutionary,” Turgenev wrote about his hero.
The novel was written at a time when the struggle between different views and movements intensified in Russia. Turgenev, showing the confrontation between liberals and revolutionary democrats, could not take either side. Neither one nor the other had a clear author's relationship. But more attention is paid to Bazarov, the author is interested in this hero, because this is something new that tries himself.
Questions and tasks for conversation
1. There are two aspects to the image of Bazarov: a militant democrat and a nihilist. Analyzing chapters II, III, IV, V of the novel, prove its democracy (clothing, speech, appearance, behavior, relationship with servants, reading range, etc.).
2. Why did Prokofich dislike Bazarov? Give reasons for your opinion. How did other residents of the estate treat him?
3. How does Bazarov behave during his stay in Maryino? Compare his activities with those of Arkady (chap. X).
4. How does Bazarov talk about his origin (chap. X, XXI)? What do we find out about him? life path, about his parents? How does this help to understand his image?
5. Why does Bazarov “diligently” oppose himself to Pavel Petrovich and behave defiantly?
6. Nihilism - nihil (lat.) - nothing- a mental trend that denies generally accepted values, ideals, moral standards, culture. On the one hand, Turgenev is not a supporter of nihilism, so his attitude towards Bazarov is complex and ambiguous. On the other hand, Bazarov does not really “fit” into the framework of nihilism, which also increases its complexity and inconsistency. Describe the views of Bazarov the nihilist (Chapters V, X). What is he denying? What is he guided by in his denial? Are his views specific?
7. Bazarov is engaged in natural sciences. How does this relate to the problems of the novel?
8. Identify your strengths and weak sides nihilism. Where does Bazarov's nihilism fail?
9. How are Bazarov’s relations with the people shown? Watch how they change. Why do the residents of Maryino and the residents of his father’s estate treat Evgeniy differently?
10. What does Turgenev mean by the word “nihilist”? (This is what Russian revolutionaries were called abroad.)
11. Why is the hero so contradictory? What role does the author’s position play in these contradictions?
Lesson summary. Turgenev could not have an unambiguous attitude towards his hero, so the image of Bazarov is contradictory. Explicitly denying nihilistic views, the author shows him in many scenes stronger than the older generation. Turgenev himself could not determine his attitude towards Bazarov: “... I myself don’t know... whether I love him or hate him.” 4. “Everything gave rise to disputes between them...” "Fathers" and "sons" in the novel "Fathers and Sons". Supporters and opponents of Bazarov. The very title of the novel identifies two forces: “fathers” and “children.” This the main problem novel, which is revealed in social and universal terms. The objectives of the lesson are to consider both aspects of the problem of “fathers” and “children” and determine which of the two is more important for Turgenev.
Questions and tasks for discussion
1. Analyze chapters II and IV and determine what role the hand motif plays in revealing the theme of “fathers” and “sons.” (Bazarov has a “naked red hand,” which he did not immediately offer to Nikolai Petrovich; Pavel Petrovich has a “beautiful hand with long pink nails,” which he not only did not offer to Bazarov, but hid back in his pocket. Peter “as an improved servant did not approached the barich's hand." Prokofich "went up to Arkady's hand." Thus, the hand is an indicator of the confrontation between Pavel Petrovich and Bazarov, and the conflict between “fathers” and “children” exists even among the servants.)
2. Prove that this conflict reaches its peak in Chapter X. Watch how the heroes' dispute develops. What are they right and what are they wrong? (They argue about the meaning of the nobility, about nihilism, about the Russian people, about art, about power.) The results of the dispute about “principles”:
| Bazarov is right: We need to get things done. Any truth must be verified | Pavel Petrovich is right: We need a connection in time, i.e. continuity |
| Bazarov is wrong: In relation to the past: in the principles of explaining life through the denial of love, nature, beauty, dreams (love is physiology, nature is a workshop, beauty is benefit, dream is rotten) | Pavel Petrovich is wrong: In denying the need to test life; in the absolutization of a number of truths; in putting principles first |
4. Follow the text of Chapters II, III, VI, VII, IX, X, XXV, XXVI, XXVIII to see how Arkady’s attitude towards nihilism changes. Find the author’s attitude towards Bazarov’s nihilism (chapter XI). What do Pisarev’s words say: “Arkady... wants to be the son of his age and puts on himself the ideas of Bazarov, which absolutely cannot merge with him. He is on his own, and the ideas are on their own, dangling like an adult’s frock coat put on a ten-year-old child”? (Arkady’s passion for nihilism is a tribute to fashion and time. He imitates Bazarov, which evokes the author’s irony.)
5. Analyzing the vocabulary of chapters XII and XIII, show the author’s attitude towards the characters who consider themselves Bazarov’s students. Why are they caricatured? What are their compositional role in the novel? (Kukshina and Sitnikov are needed as a background against which the image of Bazarov is revealed. The caricature and unnaturalness of the imaginary nihilists highlight the strength and power of Bazarov.)
6. Describe Bazarov’s relationship with his parents. What is the ideological and compositional role of the images of the old Bazarovs for understanding the character of the main character? (Bazarov has no closeness with his parents, although he loves and pities them. The hero consciously refuses family traditions, continuity of generations, denies authority, believes that he raised himself. This is a hero of time, without a past and, sadly, without a future.)
7. Describe the relationships in the Kirsanov family. What is the compositional role of the Kirsanovs’ images for understanding Bazarov’s personality? (Pavel Petrovich respects traditions, but refuses changes in life. This is a hero without a future, everything is in his past. He, like Bazarov, is proud, uninfluenced, and lonely. Both heroes are lifeless. It is no coincidence that Turgenev linked “fathers” in the title "and "children" by a connecting union. It should be like this: both fathers and children remain alive, because one strives to take all the best from the "fathers", and the other constantly keeps the past in mind and tries to understand the future. heroes create families, that is, they continue the family line, have a future.)
Lesson summary. In revealing the social aspect of the conflict in the novel, Bazarov is left alone, and Pavel Petrovich is alone, since Nikolai Petrovich almost does not enter into the dispute. If we talk about the universal, family meaning of the title, then in the system of images we find a confrontation between the Kirsanov family and the Bazarov family. The first continues to live, and the second gradually leaves. Children are the future, but only if they learn the traditions of the past. For Turgenev it is more important family relationships built according to the laws of understanding and respect. Only in the family are traditions passed on from generation to generation. A person deprived of this is not able to understand others. Bazarov and Pavel Petrovich are lonely, but Arkady and Nikolai Petrovich are close to each other, they have families, their lives go on. 5. “Love follows people who are not in love like a ghost.” Love in the novel "Fathers and Sons". Lesson Objective- consider four love plots, four views on this problem: Pavel Petrovich’s love for Princess R., Bazarov’s love for Odintsova, Arkady’s love for Katya and Nikolai Petrovich’s love for Fenechka. It is more advisable to work in groups during the lesson.
Group 1. Pavel Petrovich and Princess R.
1. Working on the vocabulary of Chapter VII, show how Pavel Petrovich changed after the death of Princess R.
2. Find key words that characterize Princess R. Confirm the uncertainty and mystery of the heroine. How does the image of Princess R. reveal the character of Pavel Petrovich? How does Pavel Petrovich's love for Princess R. help us understand the image of Bazarov?
3. Using the text of Chapter XXIV, explain why Pavel Petrovich was interested in Fenechka.
Conclusion. This love is a love-obsession that “broke” the life of Pavel Petrovich; after the death of the princess, he could no longer live as before. This love brought people nothing but torment.
Group 2. Nikolai Petrovich and Fenechka.
1. Tell the story of Fenechka, highlight the main features of this heroine. What is the compositional role of this image?
2. Compare the experiences of Nikolai Petrovich (end Chapter VIII) with the experiences of Pavel Petrovich.
3. Compare the brothers' love. What are the similarities and differences in their feelings? What role do they play? love stories brothers in understanding the image of Bazarov?
Conclusion. The love of Nikolai Petrovich and Fenechka is natural and simple. If the relationship between Pavel Petrovich and Princess R. could not translate into marriage, a family, they resembled a fire that broke out, and then the embers smoldered for a long time, then the relationship between Nikolai Petrovich and Fenechka is, first of all, a family, a son. Their love is like a candle, the flame of which burns evenly and calmly.
Groups 3 and 4. Bazarov and Odintsova.
1. Using the text of chapters VII, XIV and XVII, characterize Bazarov’s attitude towards women.
2. Observing the vocabulary of chapters XIV, XV, XVI, watch how Bazarov imperceptibly changes, how cynicism gradually disappears, embarrassment appears. Based on the text, prove that Bazarov is experiencing terrible mental anguish.
3. Tell us about Odintsova, prove that she could understand Bazarov. Why couldn’t the heroes’ love “take place”? Prove your opinion using the text of chapters XVI and XVIII. Is Odintsova to blame for not answering Bazarov?
4. Compare two scenes of Bazarov’s explanation - late in the evening and during the day (chapters XVII, XVIII). Why did the explanation take place during the day, when there was no longer that charm of the night that “flows into the soul and makes it tremble”? Describe Bazarov’s behavior after the explanation. Did love “trample” Bazarov?
5. How are the love situations of Bazarov and Pavel Petrovich similar and different?
6. What is the ideological and compositional role of the image of Fenechka for understanding the characters of Bazarov and Pavel Petrovich?
Conclusion. Bazarov's love-passion bifurcates his soul, showing that this rude, cynical nihilist can be a romantic. At first glance, Bazarov’s love is similar to Pavel Petrovich’s love, it also did not take place, but love did not “trample” Bazarov, after an explanation he plunges headlong into work. Critics P. G. Pustovoit and A. G. Tseitlin believe that love “brings down” Bazarov from his pedestal. If you agree with this point of view, then Bazarov and Pavel Petrovich are similar. The test of love shows that Bazarov is capable of truly, passionately, deeply loving.
Group 5. Arkady and Katya.
1. Follow through the text how Arkady relates to Anna Sergeevna Odintsova (Chapter XIV). Why does the novel show Arkady's love for Anna Sergeevna?
2. Prove with text that Arkady changes (“returns” to his true self) under the influence of Katya (chapters XXV, XXVI).
3. What is the ideological and compositional role of Katya’s image?
Conclusion. Earthly love Arkady and Katya, a fulfilled love without storms and shocks, which will naturally turn into marriage, resembles the love of Nikolai Petrovich and Fenechka. Thus, in relation to love, father and son are similar.
Lesson summary. Four love stories help to better understand the character of the characters and the author’s attitude towards them. In addition, they also reveal the problem of “fathers” and “children,” bringing Arkady closer to his father, and Bazarov to Pavel Petrovich. The author shows the stern nihilist Bazarov as a man who knows how to love. Here the hero (type) and the person are fighting. And man wins, stepping over limited nihilism, since nihilism is a creation of the mind, and one can only love with the heart. 6. “To die the way Bazarov died is the same as accomplishing a great feat.” Analysis of the episode “The Death of Bazarov.” The last pages of the novel, dedicated to the death of the main character, are the most important.
According to D.I. Pisarev: “The whole interest, the whole point of the novel lies in the death of Bazarov... The description of Bazarov’s death is the best place in Turgenev's novel; I even doubt that in all the works of our artist there would be anything more remarkable.”
Turgenev recalls: “I was walking one day and thinking about death. Following this, a picture of a dying man appeared in front of me. It was Bazarov. The scene affected me strong impression, and then the rest began to develop characters and the action itself."
When starting to analyze the image of Bazarov in the final scene, one should understand three questions:
1. Why does Turgenev end Bazarov’s life this way? (“A figure... doomed to destruction.” Here it is appropriate to recall Turgenev’s views on nature and the relationship between man and nature, as well as his attitude to the revolution, to revolutionary destruction and violence.)
2. How does the writer show the hero at the moment of death? (“When I wrote the final lines of “Fathers and Sons,” I was forced to tilt my head so that tears would not fall on the manuscript,” the author wrote. In the last scenes, Turgenev loves Bazarov and shows him worthy of admiration.)
3. How does Turgenev lead his hero to death?
The work in the lesson takes place mainly on the material of Chapter XXVII, but with reference to the previous chapters.
Questions and tasks for conversation
1. Why does Turgenev lead the hero to death? How does this reflect the writer's views?
2. How does Bazarov’s loneliness grow in the clash with the surrounding heroes? Why can’t there be understanding with the “fathers”? Why does Arkady “leave”? Why is love with Odintsova impossible?
3. What is Bazarov’s relationship with the people, the strength that the hero feels, for whom he is ready to sacrifice himself? Compare the relations of the servants in Maryino and the relations of the men on Bazarov’s estate. Describe the episode “Conversation with the Men”, noting the “playing along” of the men to the master. What do we first notice in Bazarov’s character after talking with the men?
4. Observing Bazarov’s behavior, observe how the feeling of loneliness manifests itself in him.
5. What is the cause of death of the hero and her symbolic meaning? How does Bazarov behave? Why does he hide his condition from his parents? How do you feel about death and how do you deal with illness?
6. Why does the hero refuse confession, knowing that he will die anyway? Why, at the same time, remaining true to his convictions, does he ask to call Odintsova? Why, before his death, does Bazarov speak so beautifully as he never spoke, that is, betrays his principles?
7. What is the symbolic meaning of Bazarov’s death? What does the description of the cemetery with Bazarov’s grave symbolize?
8. Why does Turgenev, on the last page of the novel, call nature “indifferent” and life “endless”?
Lesson summary. In the face of death in Bazarov, everything external and superficial disappeared and the most important thing remained: an integral, convinced nature, capable of wonderful feeling, to a poetic perception of the world. However, the death of the hero reflected Turgenev’s disbelief in the young revolutionary generation. Among the writer's friends there were many revolutionary democrats. It is no coincidence that the novel is dedicated to V. Belinsky. But being a liberal by conviction, Turgenev did not welcome a violent solution to the problems of the time. Therefore, no matter how strong Bazarov is, he is still doomed to death. 7. “Who is dearer to you: fathers or children?” Controversy in criticism surrounding the novel "Fathers and Sons". Preparing for your home essay. Turgenev's ambivalent attitude towards the main character of the novel brought reproaches from his contemporaries to the writer. They also scolded Bazarov.
The final lesson can be conducted in the form of a debate.
Group 1 represents the view of the writer himself, who was able to correctly sense the emerging new type of hero, but did not take his side. The group analyzes the statements of Turgenev himself and draws a conclusion about his attitude towards Bazarov:
- “Did I want to scold Bazarov or praise him? I don’t know this myself, because I don’t know whether I love him or hate him!”
- “My whole story is directed against the nobility as an advanced class.”
- “The word “nihilist” I released was used then by many who were only waiting for an opportunity, a pretext to stop the movement that had taken over Russian society... When I returned to St. Petersburg, on the very day of the famous fires of the Apraksinsky courtyard, the word “nihilist” had already been picked up thousands of voices, and the first exclamation that came out of the mouth of the first acquaintance I met on Nevsky was: “Look what your nihilists are doing!” They are burning Petersburg!’”
- “...I had no right to give our reactionary bastard the opportunity to grab onto a nickname - a name; the writer in me had to make this sacrifice for the citizen.”
- “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction because it still stands on the threshold of the future - I dreamed of some strange pendant to Pugachev."
Conclusion. Turgenev shows Bazarov in a contradictory way, but he does not seek to debunk him or destroy him.
Group 2 considers the position of M. N. Katkov, editor of the magazine “Russian Messenger” (articles “Turgenev’s novel and his critics”, “About our nihilism (regarding Turgenev’s novel)”).
- “How ashamed Turgenev was to lower the flag in front of the radical and salute him as before an honored warrior” (from the story of P. V. Annenkov about Katkov’s reaction).
- “If Bazarov is not elevated to apotheosis, then one cannot help but admit that he somehow accidentally ended up on a very high pedestal. It really overwhelms everything around it. Everything in front of him is either rags or weak and green. Is this the kind of impression you should have wanted?” (from Katkov’s letter to Turgenev).
Conclusion. Katkov denies nihilism, considering it a disease that needs to be fought, but notes that Turgenev puts Bazarov above everyone else.
Group 3 studies the views of F. M. Dostoevsky on Turgenev’s novel. (Letter from Dostoevsky, 1862.) According to Dostoevsky, Bazarov is a “theorist” who is at odds with life, a victim of his dry and abstract theory. This is a hero close to Raskolnikov. Without considering Bazarov's theory, Dostoevsky believes that any abstract, rational theory brings suffering to a person. Theory breaks down in reality. Dostoevsky does not talk about the reasons that give rise to these theories. Tenth-graders can also get acquainted with fragments of K. I. Tyunkin’s monograph “Bazarov through the eyes of Dostoevsky (1971).
Group 4 highlights the position of M.A. Antonovich (articles “Asmodeus of our time”, “Mistakes”, “False realists”). This is a very harsh position that denies the social significance and artistic value of the novel. The critic writes that in the novel “there is not a single living person or living soul, but all are just abstract ideas and different directions, personified and named proper names" The author is not inclined to to the younger generation, “he gives complete preference to fathers and always tries to elevate them at the expense of the children.” Bazarov, according to Antonovich, is “a glutton, a chatterbox, a cynic, a drunkard, a braggart, a pathetic caricature of youth, and the whole novel is slander against the younger generation.” Antonovich’s position was supported by Iskra and some employees of Russian Word.
Group 5 talks about the view of the novel by the poet and employee of the Russian Word D. D. Minaev, analyzes his poem “Fathers or Sons? Parallel...", emphasizes the irony of Minaev in the confrontation between "fathers" and "children".
Group 6 examines the novel in the assessment of D.I. Pisarev (articles “Bazarov”, “An Unresolved Question”, “A Walk through the Gardens of Russian Literature”, “Let's See!”, “New Type”), who gives the most detailed analysis of the novel. He writes: “Turgenev does not like merciless denial, and yet the personality of the merciless denier emerges as a strong personality and inspires involuntary respect in every reader. Turgenev is prone to idealism, and yet none of the idealists depicted in his novel can compare with Bazarov either in strength of mind or strength of character.”
Pisarev explains the positive meaning of the main character, emphasizes the vital importance of Bazarov; analyzes his connections with other heroes, determines their attitude to the camps of “fathers” and “sons”; proves that nihilism got its start precisely on Russian soil. The debate about the novel continues because the author followed the words of Botkin: “Don’t be afraid to open your soul and stand face to face with the reader.”
To prepare essays, we can recommend that students get acquainted with the assessments of critics, both contemporary to Turgenev (N. N. Strakhov, A. I. Herzen) and literary scholars of the 20th century (S. M. Petrov, V. M. Markovich, A. I. Batyuto, G. A. Byaly, M. Eremin, P. G. Pustovoit, Y. Mann).
Summary of lessons. Turgenev once said: “Only the present is powerful. expressed by characters or talents, becomes an undying past.” The ongoing controversy surrounding the novel is the best proof of these words. The controversy is caused by the fact that Bazarov was viewed as a kind of typical figure, as a scheme, divorced from life, and not as a person with his own problems and experiences. They tried to make him fit the time and scolded him if he did not fit into the frames allotted to him.
D.Z. write an essay
