Description of Turgenev's novels. The artistic skill of Turgenev as a prose writer in the assessment of modern literary critics. Krasovsky V. E Artistic principles of Turgenev the novelist. Novel "Fathers and Sons"

A cycle of lessons based on the novel by I.S. Turgenev "Fathers and Sons".

Grade 10

Lesson 1: lecture “Life and work of I.S. Turgenev. Russia 50s. The idea of ​​the novel, the historical situation in the country and how it is reflected in the novel.

Lesson 3: "The dispute between Bazarov and Pavel Petrovich Kirsanov, the ideological differences of the heroes."

Lesson 4: "Bazarov and Odintsova"

Lesson 5: “Bazarov and parents. The ideological crisis of Bazarov.

Lesson 8: Disputes around the novel.

Note : all lessons are built on the principle of "following the author." Those. students answer all questions using quotations from the text, analyzing facial expressions, dialogues, details, things of the characters and their role in revealing the author's intention. Lessons suggest detailed work with the text, and the task of the teacher is to ensure that absolutely all students are involved in the work one way or another. It may seem that the lessons are somewhat monotonous, mostly in the form of a conversation, but "Fathers and Sons" is the only work of relatively small volume that allows such painstaking work on text analysis. As practitioners show (“passed” this material 5 times), it is this novel that the guys learn best, know and many even love. In addition, students get a taste, begin to break away from the text more and more, express their assumptions and thoughts about the characters, actively join the conversation, passionately prove their point of view, based on the material of the text (the heart just rejoices when this happens), there are whole disputes on the issues of concern to the author and the reader. I believe that spending time on such reading and studying the novel is fully justified.

The technology of problem-based learning was used (problem situation, problem question, prompting and leading dialogue, heuristic conversation, problem presentation and research method).

Lesson 1 - lecture “Life and work of I.S. Turgenev.

Russia 50s. The idea of ​​the novel, the historical situation in the country and how it is reflected in the novel.

Target: to acquaint students with the life and work of I.S. Turgenev, with the historical situation in Russia in the 50s;

Emphasize the features of Turgenev's novels

Tell about the historical situation in Russia and how it was reflected in the novel.

Equipment : portrait of Turgenev.

Note : if time permits, divide this material into two lessons. If this is not possible, then shorten part of the lecture and dwell in more detail on the features of Turgenev's novels and on the time of writing and action of the novel "Fathers and Sons"

During the classes.

Teacher's word.

Ivan Sergeevich Turgenev came from a noble environment.

The family in which he was born and raised could serve as a most expressive example of how serfdom disfigures the characters of the masters themselves. His mother. Varvara Petrovna, came from a wealthy provincial landowner family, the Lutovinovs. Fate, as if on purpose, made sure that this woman, from childhood until her marriage, experienced all the vicissitudes and all insults that could only be invented in an atmosphere of landlord omnipotence and irresponsibility.

For the mother, her daughter from her first marriage turned out to be a hindrance, and her stepfather mocked her stepdaughter, apparently, simply because there was no one to intercede for her. After all, the girl had to run away from home. She found shelter with her uncle, Ivan Ivanovich Lutovinov. But even there, the same abuse awaited her. It ended with the old despot driving his niece away, and she had to seek refuge with strangers. But soon her uncle died overnight, and she turned out to be the heiress of his entire large fortune, which included the same Spassky, which is now known throughout the world.

In the late autumn of 1815, a young, extraordinarily handsome cavalry guard Sergei Nikolaevich Turgenev came to Spasskoye. He made a strong impression on Varvara Petrovna, and she immediately took action. As a contemporary close and sympathetic to her recalls, she, through her acquaintances, ordered to convey to Sergei Nikolayevich, “so that he boldly proceeds with a formal proposal, because he will not receive a refusal.” A characteristic feature of morals: why, it seems, "Sergei Nikolaevich should become timid? He belonged to an old noble family, leading its genealogy from the time of Vasily the Dark; participated in the Patriotic War and for the courage shown in the Battle of Borodino, was awarded the St. George Cross, and now served in one of the privileged guards regiments. But Varvara Petrovna knew well what she was doing: she was not known as a beauty and was many years older than Sergei Nikolayevich, but on the other hand she was a rich bride, and he was a “beggar”: his father, with a large family - serf souls had everything something around 140.

Relations in this family were determined quite strictly. There were no illusions, Sergei Nikolayevich did not even try to encroach on the prerogatives of Varvara Petrovna as the sovereign and autocratic mistress of the entire family fortune. The atmosphere of alienation and barely restrained mutual irritation reigned in the house. The couple agreed, perhaps, only in one thing - in an effort to give their children the best education. They spared neither money nor their own efforts. They closely followed their diligence, entered into all the details of their daily activities, and so on. Already in early childhood, the future writer spoke and wrote well in French, German and English;

Particular attention in the Turgenev family was paid to mastering their native language: judging by his letters, the twelve-year-old Ivan Turgenev, quite freely and naturally for his age, was able to express genuine cordiality, advanced observation skills beyond his years, and his innate humor.

But when it came to his childhood, Turgenev most often recalled what serfdom and the customs of their family had a particularly sharp effect on. Varvara Petrovna considered corporal punishment to be a universal measure of suggestion; it is clear that it was intended primarily for serfs, but she also applied it to children. They were flogged for everything: for an unlearned lesson, for a joke not understood by adults, or for an innocent, trifling prank, they were flogged on suspicion and almost just in case.

In 1827, the Turgenev family moved to Moscow in order to continue the education of their children. In those years, wealthy nobles preferred to educate their children not in state institutions. educational institutions, but in private. So did the Turgenevs: shortly after arriving in Moscow, Ivan was assigned first to the boarding school of the Armenian Institute, and a few months later to the Weidenhammer boarding school. However, less than two years had passed before he was taken from there, and in the future no attempts were made to place Turgenev in any boarding school or gymnasium. He continued and completed his preparation for entering the university under the guidance of home teachers.

One of the strongest impressions of early youth (1833) - falling in love with Princess E. L. Shakhovskaya, who at that time was having an affair with Turgenev's father - was reflected in the story "First Love" (1860).

Turgenev studied at Moscow University for only one year; in 1834, together with his father and older brother, who entered the St. Petersburg Artillery School, he moved to St. Petersburg and became a student at the university there, from which he graduated two years later. Later, however, he spoke about Moscow University almost more often than about St. Petersburg University, always giving preference to the former over the latter.

Petersburg University from its very foundation was under the direct vigilant supervision of the government, which, of course, affected all spheres of university life. Pupils of Moscow University especially valued the traditions of the freedom-loving student community.

Turgenev then wrote a lot and looked at his literary work, apparently, quite seriously. Convincing confirmation of both is his letter to Professor A. V. Nikitenko dated March 26, 1837: in general, I don’t like her whole plan now so much that if I didn’t rely on your indulgence, and most importantly, if I didn’t think that by the first step you can at least foresee the future, I would never have decided to send it to you. ..

Turgenev did not like to recall his student literary experiences; He pushed back the very beginning of his writing by almost ten years - already in the forties. Obviously, therefore, most of what he wrote in his university years did not reach us. From the point of view of a mature, demanding artist, Turgenev was right: the surviving examples of his writings do not rise above the level of literary apprenticeship. But for the historian of literature and for anyone who wants to understand how the first sprouts of Turgenev's talent made their way, they are of inestimable significance.

Along with literary pursuits, Turgenev devoted much time to the study of philosophy. The interest in philosophy was so serious that Turgenev intended to devote himself to professorship, namely in the department of philosophy. The desire to improve mainly in this area of ​​​​knowledge led Turgenev to the University of Berlin.

In this, already the third, university, Turgenev spent about two years with long breaks. He diligently studied Hegel there under the guidance of his orthodox students and at the same time closely followed the speeches of the left Hegelians, agreeing with them in many respects; but, apparently, the most significant moment of his then philosophical studies was his acquaintance with the works of L. Feuerbach; Turgenev would later say that of all the philosophers in Germany, "Feuerbach is the only person, the only character and the only talent" Turgenev then studied not only philosophy, but also literature - German, French, English, Italian - and art in almost all its fields. And everything that he knew, he knew thoroughly, not from third hands. It can be said about him that he was an erudite in the most precise and high sense of the word. But books were not the only source of knowledge; as a student he traveled extensively in Europe; museums, workshops of artists, theaters - he saw a lot, and his unparalleled vast memory retained a lot. However, he didn't look like a tourist who was only concerned about not missing out on a sightseeing spot. From a young age, he showed a tendency to peer lovingly into folk life wherever fate brought him to her. Traveling in those years through the countries of Western Europe, he observed, compared and decided ...

In February 1843, Turgenev made a personal acquaintance with Belinsky. Belinsky was seven years older than Turgenev, but neither of them noticed this difference. In his attitude towards young writers, Belinsky least of all resembled a condescending master, a sage who speaks truths known only to him. He belonged to those truly wise people who are ready to learn from anyone who has useful information. The new acquaintance in this sense was of particular interest to him.

Turgenev was not one of those writers to whom wide recognition comes soon

In the years 1838-1842 he wrote little and only lyrics. But none of the few poems he published attracted the attention of either readers or criticism. Perhaps for this reason, he paid more and more attention to the poem (with the advantage of an epic beginning in it) and drama. On this path, his first success awaited him: in April 1843, his poem Parasha was published, and at the beginning of May of this year, the next issue of Fatherland Notes appeared, in which a large unconditionally laudatory review of Belinsky was printed.

Here is how this review defines the main properties of Turgenev's talent: of our time, carrying in its chest all the sorrows and questions of it” These lines are like a prophecy in hindsight, it seems that such conclusions could only be made by a person who had thoroughly studied all of Turgenev’s subsequent work.

In “Literary and Everyday Memoirs,” Turgenev admitted that when he read this article, from the ardent praise of the critic “felt more embarrassment than joy.” , "Fathers and Sons", probably could no longer think about his early poem without a condescending smile. However, the embarrassment he speaks of is quite likely: - Even in the early 1840s, Turgenev did not stop doubting his artistic vocation, and the teacher's article not only encouraged the young writer, but also obliged him, gave him a criterion of requirements for himself and a measure of responsibility to his own talent, to literature, to society.

Turgenev wrote a short heated article on Gogol's death, which the chairman of the St. Petersburg censorship committee banned on the grounds that Gogol was a "lackey writer." Then Turgenev sent the article to Moscow, and there it was published through the efforts of his friends - Botkin and Feoktistov. An investigation was immediately ordered; the data obtained during the perusal of Turgenev's letters, and the results of the observations of informants were urgently processed, and Dubelt submitted to the head of the Third Department, Orlov, a draft of the "most subject" report demanding the strictest supervision of the writer. The king did not like this "indulgence". He decided to put him under arrest for a month and send him to live in his homeland under supervision. Even for those times, the punishment was too cruel; the assumption suggested itself that the note about Gogol was not the only fault of the writer. This is how Turgenev himself understood it.

After being released from arrest, Turgenev should have gone without delay and delay to the place of his exile - to his ancestral village of Spasskoe-Lutovinovo. This seclusion lasted for a year and a half. In the first months he was not even carried away by hunting; creative work almost stopped. His letters of that time are filled with complaints of loneliness, persistent requests to visit him, and words of the most sincere and warm gratitude to those who even for a short time came to visit him in Spasskoye. As a writer, he always felt an acute need to communicate with his fellow craftsmen, with people who love and know art. Now meetings and conversations with people whose literary opinions he valued were especially necessary for him.

significant event in Turgenev's life there was his meeting with the singer Pauline Viardot (Viardot-Garcia), love for which will largely determine the external course of his life. In May 1845 Turgenev retired. From the beginning of 1847 to June 1850 he lives abroad (in Germany, France; Turgenev is a witness french revolution 1848): takes care of the sick Belinsky during his travels; closely communicates with P. V. Annenkov, A. I. Herzen, gets acquainted with J. Sand, P. Merimet, A. de Musset, F. Chopin, C. Gounod; writes the novels "Petushkov" (1848), "The Diary of a Superfluous Man" (1850), the comedy "The Bachelor" (1849), "Where it is thin, there it breaks", "Provincial Woman" (both 1851), the psychological drama "A Month in the Country" (1855). The main work of this period is "The Hunter's Notes", a cycle of lyrical essays and stories that began with the story "Khor and Kalinich" (1847; the subtitle "From the Hunter's Notes" was coined by I. I. Panaev for publication in the Mix section of the Sovremennik magazine »); a separate two-volume edition of the cycle was published in 1852, later the stories "The End of Chertop-hanov" (1872), "Living Powers", "Knocks" (1874) were added.

Until July 1856, Turgenev lives in Russia: in the winter, mainly in St. Petersburg, in the summer in Spassky. His immediate environment is the editorial office of Sovremennik; acquaintances with I. A. Goncharov, L. N. Tolstoy and A. N. Ostrovsky took place; Turgenev takes part in the publication of "Poems" by F. I. Tyutchev (1854) and supplies him with a preface.

Mutual cooling off with a distant Viardot leads to a brief, but almost ending in marriage romance with a distant relative O. A. Turgeneva. The novels "Calm" (1854), "Yakov Pasynkov" (1855), "Correspondence", "Faust" (both 1856) are published. The novel "Rudin" (1856) opens a series of Turgenev's novels, compact in volume, unfolding around the hero-ideologist, accurately fixing the current socio-political issues in a journalistic way and, ultimately, putting "modernity" in the face of the unchanging and mysterious forces of love, art, nature.

2. Features of Turgenev's novels .

(task for the guys: summarize the main features of Turgenev's novels)

The philosophical and romantic school through which Turgenev passed in his youth largely determined character traits the writer's artistic worldview: the apex principle of the composition of his novels, which capture life in the highest moments, in the maximum tension of its inherent forces; the special role of the love theme in his work; the cult of art as a universal form of social consciousness; the constant presence of philosophical themes, which largely organizes the dialectics of the transient and the eternal in the artistic world of his stories and novels; the desire to embrace life in its entirety, giving rise to the pathos of maximum artistic objectivity. More sharply than any other of his contemporaries, Turgenev felt the tragedy of being, the short duration and fragility of a person’s stay on this earth, the inexorability and irreversibility of the rapid run of historical time. . But precisely because of this, Turgenev possessed an amazing gift of disinterested, nothing relative and transient, unlimited artistic contemplation.Extraordinarily sensitive to everything topical and momentary, able to grasp life in its beautiful moments , Turgenev possessed at the same time the rarest feeling of freedom from all temporary , final, personal and egoistic, from everything subjectively biased, clouding the visual acuity, the breadth of the view, the fullness of the artistic perception. His love for life, its whims and accidents, its fleeting beauty was reverent and selfless, completely free from any admixture of a proud author's "I", which made it possible for Turgenev to see farther and sharper than many of his contemporaries.

“Our time,” he said, “requires to catch modernity in its transient images; You can't be too late." And he was not late.All his works not only hit the present moment public life Russia, but at the same time they were ahead of him . Turgenev was especially receptive to what stands "on the eve", what is still in the air.

A keen artistic flair allows him, through obscure, still vague strokes of the present, toto catch the future and recreate it ahead of time, in unexpected concreteness, in living fullness. This gift was a heavy cross for Turgenev the writer. which he carried all his life. His farsightedness could not help but irritate his contemporaries, who did not want to live, knowing their fate in advance. And stones often flew at Turgenev. But such is the fate of any artist, endowed with the gift of foresight and foreboding, a prophet in his own country. And when the struggle subsided, there was a lull, the same persecutors often went to Turgenev with a confession. Running aheadTurgenev determined the paths and prospects for the development of Russian literature in the 2nd half. XIX century. In the "Notes of a Hunter" and "The Nest of Nobles" the epic "War and Peace" by L. N. Tolstoy, "the thought of the people" is already anticipated; the spiritual quests of Andrei Bolkonsky and Pierre Bezukhov were outlined by a dotted line in the fate of Lavretsky; in "Fathers and Sons" Dostoevsky's thought, the characters of his future heroes from Raskolnikov to Ivan Karamazov were anticipated.

Unlike epic writersTurgenev preferred to depict life not in a daily and extended course, but in sharp, culminating situations. . This brought a dramatic note to the novels and stories of the writer: they are distinguished by a swift plot, a bright, fiery climax and a sharp, unexpected decline with a tragic, as a rule, ending. They capture a short period of historical time, and therefore the exact chronology plays an essential role in them.Turgenev's hero's life is extremely limited in space and time: if the characters of Onegin and Pechorin "reflected the century", then in Rudin, Lavretsky, Insarov, Bazarov - the spiritual aspirations of the decade. The life of heroes is like a brightly flashing and quickly fading spark in the ocean of time. History measures them a tense, but too short fate.Turgenev's novels are included in the rigid rhythms of the annual natural cycle: the action in them starts in the spring, culminates in the hot days of summer, and ends under the whistle of the autumn wind or "in the cloudless silence of January frosts." Turgenev shows his heroes in happy moments of maximum development and flowering of their vitality, but it is here that their inherent contradictions are revealed with catastrophic force. Therefore, these moments turn out to be tragic: Rudin dies on the Parisian barricades, on a heroic rise, Insarov’s life suddenly ends, and then Bazarov and Nezhdanov.

Howevertragic endings in Turgenev's novels are not the result of the writer's disappointment in the meaning of life, in the course of history. Quite the opposite: theytestify to such a love for life, which comes to belief in immortality, to a daring desire that human individuality did not fade away, so that the beauty of the phenomenon, having reached fullness, turned into beauty eternally abiding in the world. In his novels, through topical events, behind the backs of the heroes of time, the breath of eternity is always felt.The fates of the heroes of his novels testify to the eternal search, the eternal challenge that a daring human personality throws to the blind and indifferent laws of imperfect nature. . Suddenly, Insarov falls ill in the novel "On the Eve", not having time to carry out the great work of liberating Bulgaria. The Russian girl Elena, who loves him, cannot come to terms with the fact that this is the end, that this disease is incurable. "Oh my God! - thought Elena, - why death, why separation, illness and tears? Or why this beauty, this sweet feeling of hope, why the soothing awareness of a lasting refuge, unchanging protection, immortal patronage? Unlike Tolstoy and Dostoyevsky, Turgenev does not give a direct answer to this question: he only reveals the secret, bowing his knees before the beauty that embraces the world: should have fallen silent before this clear sky, under these holy, innocent rays!

With Turgenev, the poetic image of the companion of the Russian hero, the "Turgenev girl" - Natalia Lasunskaya, Liza Kalitina, Elena Stakhova, Marianna, entered life not only in literature, but also in life. The writer chooses a flourishing period in female destiny when the maiden soul wakes up in anticipation of the chosen one, all its dormant possibilities will wake up to a temporary triumph. In these moments, the feminine being is beautiful in that it transcends its mortal nature. Such an overabundance of vital forces is radiated, which cannot receive an earthly incarnation, but remains a tempting promise of something infinite, higher and more perfect than the material world, a pledge of eternity. “Man on earth is a transitional being, in a state of general genetic growth,” Dostoevsky states.Turgenev is silent, but by intense attention to the extraordinary flights of the human soul, he confirms the truth of this thought.

Together with the image of the "Turgenev girl", the image of "Turgenev's love" is included in the writer's works. As a rule, this is the first love, spiritualized and chastely pure. It decisively destroys the routine of everyday existence. All Turgenev's heroes are tested by love - a kind of test of viability not only in intimate and personal, but also in their public capabilities and beliefs. IN loving person strong and weak sides to the fullness of his human being.

The loving hero is beautiful, spiritually elated, but the higher he flies on the wings of love, the closer Turgenev's tragic denouement and - fall.Love is invariably tragic, because any person is defenseless before its elemental power. Wayward, fatal, uncontrollable, love whimsically disposes of human destiny. It is not given to anyone to predict when, like a whirlwind, she will fly in and pick up a person on her mighty wings and when she will fold these wings.Love is tragic also because the ideal dream that inspires the soul of a person in love is not feasible within the earthly, natural circle. More than any of his contemporaries, Turgenev discovered the ideal meaning of love, learned in his youth, and practically tested by the writer in his personal fate - in platonic love from 1843 until the end of his days to the famous French singer Pauline Viardot. Love is a vivid confirmation of the rich and yet unrealized possibilities of a person on the path of spiritual perfection.The light of love for Turgenev was never limited to the desire for physical possession. He was for him guiding star to the triumph of beauty and immortality. That is why Turgenev looks so sensitively at the spiritual essence of first love, pure, fiery-chaste, promising a person triumph over death, merging the temporal with the eternal in a higher synthesis, impossible in married life and family love.

Having served abroad in July 1856, Turgenev finds himself in a painful whirlpool of ambiguous relations with Viardot and his daughter, who was brought up in Paris. After the difficult Parisian winter of 1856-57 (the gloomy Journey to Polissya was completed), he went to England, then to Germany, where he wrote Asya, one of the most poetic stories, and spent autumn and winter in Italy. By the summer of 1858 he was in Spasskoye; in the future, the year of Turgenev will often be divided into "European, winter" and "Russian, summer" seasons.

After "The Eve" and the article by N. A. Dobrolyubov devoted to the novel "When will the real day come?" (1860) there is a break between Turgenev and the radicalized Sovremennik (in particular, with N. A. Nekrasov; their mutual hostility persisted to the end).

The conflict with the “young generation” was aggravated by the novel “Fathers and Sons” (pamphlet article by M. A. Antonovich “Asmodeus of Our Time” in Sovremennik, 1862; the so-called split in the nihilists is largely motivated by a positive assessment of the novel in the article by D. And Pisarev "Bazarov", 1862). In the summer of 1861 there was a quarrel with Leo Tolstoy, which almost turned into a duel.

In 1863 there is a new rapprochement between Turgenev and Pauline Viardot; until 1871 they live in Baden, then (at the end of the Franco-Prussian war) in Paris. Turgenev closely converges with G. Flaubert and through him with E. and J. Goncourt, A. Daudet, E. Zola, G. de Maupassant; he assumes the function of an intermediary between Russian and Western literatures. His all-European fame is growing: in 1878, at the international literary congress in Paris, the writer was elected vice president; in 1879 he is an honorary doctorate from Oxford University. Turgenev maintains contacts with Russian revolutionaries (P. L. Lavrov, G. A. Lopatin) and provides material support to emigrants. In 1880, Turgenev took part in the celebrations in honor of the opening of a monument to Pushkin in Moscow. In 1879-81, the old writer experienced a stormy passion for the actress M. G. Savina, which colored his last visits to his homeland.

The last years of Turgenev's life were illuminated by the joyful realization that Russia highly values ​​his literary merits. The writer's visits to his homeland in 1879 and 1880 turned into noisy celebrations of his talent. But from Jan. 1882 began testing. A painful illness chained Turgenev to bed. On May 30, 1882, Turgenev wrote to the poet Ya. P. Polonsky, who was leaving for his hospitable Spasskoye: “When you are in Spasskoye, bow to my house, garden, my young oak, bow to my homeland, which I will probably never see again.” A few days before the fatal outcome, Turgenev bequeathed to bury himself at the Volkovo cemetery in St. Petersburg. His last words are "farewell, my darlings, my whitish ones."

Death was preceded by more than a year and a half of a painful illness (cancer of the spinal cord). The funeral in St. Petersburg turned into a mass demonstration.

“The literary activity of Turgenev, - wrote Saltykov-Shchedrin in an obituary article about Turgenev, - was of leading importance for our society, along with the activities of Nekrasov, Belinsky and Dobrolyubov. And no matter how remarkable his artistic talent is in itself, the secret of that deep sympathy and cordial attachments that he managed to awaken to himself in all thinking Russian people lies not in him, but in the fact that the life images he reproduced were full of deep teachings.

Turgenev was a highly developed, convinced man who never left the soil of universal ideals. He carried these ideals into Russian life with that conscious constancy that constitutes his main and inestimable service to Russian society. In this sense, he is a direct successor to Pushkin and does not know other rivals in Russian literature.

Sources used:

2nd part of the lesson:

Turgenev's novel "Fathers and Sons" was published in 1862. He immediately attracted the attention of broad public circles in Russia and since then continues to arouse the undoubted interest of readers by the acuteness of the questions posed.

Turgenev succeeded in raising deep political, philosophical and aesthetic problems in this work, capturing real life conflicts, revealing the essence of the ideological struggle between the main forces in Russia in the late 50s and early 60s of the 19th century.

Lunacharsky A.V. in the article “Literature of the 60s” he wrote about the novel as “one of the central phenomena in all Russian life” of that time: “in none of Turgenev’s previous novels is there an open, direct clash of opposing points of view on all the most basic, acutely topical issues of social life, philosophy, science, politics, social outlook in the broadest sense of the word did not play such an important role that determines the entire development of the action as in "Fathers and Sons".

At that time, the most burning issue was the question of the abolition of serfdom. During the preparation of the 1961 reform, the opposing positions of the liberal nobles and the revolutionary democrats of the raznochintsy clearly emerged. The revolutionary democrats Chernyshevsky and Dobrolyubov clearly saw the feudal nature of the impending reform. Using Aesopian language, they wrote about the revolutionary situation in Russia and called on the Russian people to take "decisive action". Liberals, on the contrary, pinned great hopes on the reform, considered it effective and almost the only means of solving the problem. Turgenev looked at the reform in a similar way.

According to his convictions, Turgenev was a supporter of the gradual transformation of Russia. But everyday life observations convinced him that the Democrats are a great force that has shown itself in many areas of public activity. And as an artist, he felt the need to create the image of a new hero, able to replace the passive noble intellectuals. Such a new hero - a man of democratic convictions - the writer put in the center of the novel "Fathers and Sons".

Work on the novel lasted from August 1860 to August 1861. The novel was published after many corrections caused by the circumstances of the time, only the following year in the February issue of Russkiy Vestnik.

Note that the action begins on May 20, 1859. Why do you think Turgenev reports such an exact date?

At this time, there was an ideological gap between the social classes, and in relation to the peasant question, two points of view emerged: revolutionary and reformist. Dobrolyubov, in his April article “Literary trifles of the past year” and in the article “What is Oblomovism?”, Which was published in the May book of Sovremennik, opposed the people of the old generation, the noble camp, the young active generation, the type of real people, and resolutely rejected noble culture . St. Petersburg students come to Maryino, knowing these articles of the “ruler of the thoughts of youth.” At the same time, the satirical magazine Whistle was published, which set as its goal exposure. In June 1859, Sovremennik disagreed with Herzen, and in the novel there is a dispute between Bazarov and Pavel Petrovich Kirsanov about "what is more useful in our time." Thus, taking the end of May 1859 as the time of action, Turgenev oriented the reader to the fact that the novel shows the time of struggle and the final break in social tendencies.

Let's see how the social and historical situation is depicted in the novel.

Let's turn to the text.

Here is a servant: a young, cheeky fellow, with dull eyes, a turquoise earring in his ear, colorful hair- everything exposed the man of the newest, improved time.

Moreover, this servant also looked “condescendingly” at the master, “answered” him, and the master even seems to curry favor with the servant.

Can you imagine such a relationship, say, in the days of Troekurov or Nekrasov's bars?

How does the bartender behave?

“sat down” on a bench, “I’ll bend my legs under me”

This is no longer the gentleman who felt like a master everywhere, who did not sit, but sat, did not walk, but marched, did not ask, and did not even order, but demanded in an indisputable tone. Everything has changed. From the first chapters it can be seen how Nikolai Petrovich differs even from his parents: direct, strong-willed, rude natures.

Pay attention to the inn. Draw it with short strokes of quotes.

Dilapidated steps, dirty cat…. Nikolai Petrovich does not notice any of this. For him, this is normal Russian reality.

And how is the Kirsanov estate itself drawn by the author?

Up to half of the roofs were swept away, which means that there was not enough food for the cattle in the winter and the peasants fed the cattle with straw from the roofs, the cemetery was devastated, the entire forest was sold, but the money is needed, the empty threshing floor.

The men are wearing coats wide open, unbridled horses.

Such is the village on the eve of the reform of 1861.

And it is not for nothing that Arkady says: it is impossible to remain like this, transformations are necessary, but how to fulfill them, how to start?

He posed a burning question, to which Turgenev answered with his novel.

Homework in groups: read chapters 1-9 of the novel. Find the portrait characteristics of the heroes, determine what is the style of communication of Bazarov, Arkady and the older Kirsanovs, what are the manner of expressing themselves and dressing.

Lesson 2: "Introduction to the heroes of the novel"

Target: - bring the hero closer to the reader, make it alive;

To teach children to see the details and their role in revealing the author's intention;

Come to an understanding of the question: why did Pavel Petrovich dislike Bazarov so much;

Demonstrate and explain some of the features of Turgenev the artist: laconicism, secret psychology.

During the classes

Org.moment

Heuristic conversation with elements of research and leading dialogue.

You read the chapters of the novel at home, repeated the material of the last lecture, tell me what character the author wanted to portray in his novel?

Turgenev felt the need to create the image of a new hero, able to replace the passive noble intellectuals. Such a new hero - a man of democratic convictions - the writer put in the center of the novel "Fathers and Sons".

Turgenev said that Bazarov was "his favorite brainchild." What does Bazarov look like? (group number 1 answers, but everyone else can include in the conversation)

Chapter 2: "man tall”, in a long robe with tassels, a red hand, a courageous voice. The face was enlivened with a calm smile and expressed self-confidence and intelligence, large bulges of a spacious skull - this testifies to the original mind. He will go in a tarantass, you can “do not stand on ceremony” with him, simple, “wonderful fellow”.

It can be seen that this is a new man, clearly not like a nobleman, he is the leader in the friendship of Arkady and Bazarov. His main subject is the natural sciences, "Yes, he knows everything."

At the first meeting with Nikolai Petrovich, Bazarov did not immediately give him a hand. Why?

Bazarov is very proud. In addition, before the greeting, Arkady introduced Bazarov very vividly, trying to brighten up the unsightly impression of the appearance of Bazarov. Arkady praises a friend so that his father treats him normally and Bazarov's pride is hurt by this. He does not give a hand right away, because. not going to fawn.

The device by which the author shows the action, but does not explain its meaning, is called SECRET PSYCHOLOGY. Turgenev said that "a poet must be a psychologist, but secret: he must know and feel the roots of phenomena, but represent only the phenomena themselves"

Assumption situation .

Perhaps Bazarov thought in vain that his pride was hurt, perhaps in the Kirsanovs' house they do not at all attach importance to class differences?

No, not in vain. This can be seen in the example of Fenechka: the poor girl does not at all feel like a mistress, although Nikolai Petrovich is very kind to her. She lives in an outbuilding, she says to everyone “you. Nikolai Petrovich also feels very awkward when talking about her to his son. Pavel Petrovich addresses Fenechka as a servant, and so on.

If Arkady had not described his friend in this way, his father would hardly have treated him so kindly.

And the reaction of lackey Prokofich to Bazarov's "clothes". (read excerpt)

Who is Pavel Petrovich? What does he look like?

What is the portrait of Pavel Petrovich?

(group number 2 answers)

Problematic situation.

With which of the heroes you know can Bazarov have a conflict? Why?

With Pavel Petrovich. Pavel Petrovich is the complete opposite of Bazarov both in appearance, and in the manner of speaking, and in the manner of holding himself.

He does not shake hands with Bazarov at the very first meeting, completely unaware of the person, judging him only by appearance. It's rude to say the least. He immediately tells Nikolai Petrovich, excited by the meeting with his son, that Arkady has become more cheeky, without thinking at all that by doing so he offended his brother in the best of feelings. As a result, we didn't talk much at dinner.

We see that Pavel Petrovich is not just hostile to Bazarov, but hostile, which he will immediately say later.

But how does Bazarov react to the defiant behavior of Pavel Petrovich?

“But your uncle is eccentric, nails, nails, at least send them to the exhibition.” "What kind of collars does he have, Arkady, isn't that funny?" “And your father is a nice fellow,” and other quotes

Bazarov has some kind of childishly offended state. He does not understand that a person can be angry and indignant from offended pride. Bazarov is not angry at all, but is a little ironic.

And Pavel Petrovich? Examine his behavior.

He cannot calm down (an episode with frogs, when even Arkady and Nikolai Petrovich are surprised by the behavior of Pavel Petrovich).

In chapter 6, the conversation of P.P. and B., in which Pavel Petrovich simply “looks on the rampage”, trying to challenge Bazarov to a dispute. And B. can not stand it, despite all his indifference: "a decent chemist is twenty times more useful than any poet." Bazarov is outraged and is not going to indulge the "lion's habits" of Pavel Petrovich.

Arkady tells Bazarov the life story of Pavel Petrovich. How does Bazarov react?

A man who put his whole life on the card of female love, and when this card was killed for him, became limp and sank to the point that he was not capable of anything, such a person is not a man. It's looseness, emptiness. It's all romanticism, rottenness, nonsense, art.

Why do you think Pavel Petrovich disliked Bazarov so much?

P.P. used to being the center of attention, a secular lion, a conqueror of hearts, and here Bazarov, indifferent, P.P. saw in this a disregard for his person, which utterly offended him. Therefore, P.P. and will not miss a single phrase, not a single deed.

Is there an image in the novel that is touching and sympathetic to Turgenev?

This is Fenechka. It is the attitude towards Fenechka that largely characterizes the heroes of the novel.

Ch. 8 - Pavel Petrovich and Fenechka. P.P. cold, prim, there is no natural manifestation of feelings, some kind of condescension and hidden, in spite of the will, contempt. However, he sadly stated that the child looked like Nikolai Petrovich, something was wrong here ...

Chapter 9 - Bazarov and Fenechka ... B. is somewhat unceremonious: pretty, her lips are not stupid, but we need to get to know each other. He is very polite and friendly, confidence does not leave him. He is interested in Fenechka's patronymic.

Dialogue is the main means of revealing characters .

Bazarov is short, concise, his phrases are to the point and capacious, aphorisms are said to the point. He does not seek to speak beautifully. However, his remarks are filled with meaning and wit, tact and knowledge of life. Bazarov often uses proverbs and sayings, these signs of a linguistic manner reveal a true democrat: “the people are grated”, “they lived in cities”, “there is an English washstand in my room, but the doors do not close, what can you do - progress”

What about Pavel Petrovich's speech?

There are many specific properties and expressions: “eftim”, “principles”, “Germans”, ornate turns, stiffness and pomp of speech.

Lesson Conclusions : one outwardly aristocrat, but inwardly feelings break out.

The other is outwardly unprepossessing, but internally tactful ..

And indeed, by the beginning of Chapter 10, everything is clear: everyone in the house got used to Bazarov and got used to it. and only P.P. he hated B. with all the strength of his soul; he considered him a plebeian, impudent, proud and cynic. He suspected that B. did not respect him, Pavel Kirsanov! Here is the answer to the question why Pavel Petrovich disliked Bazarov.

Lesson 3: “The dispute between Pavel Petrovich and Bazarov, the ideological differences of the heroes”

During the classes.

Updating what has been done.

What is the state of affairs in Maryino after several days of Bazarov's stay there?

Beginning of Chapter 10: Pavel Petrovich hated Bazarov, called him proud, impudent, cynic, plebeian. Prokofich did not like him, called him a "flayer" and a "rogue" and assured him that with his sideburns he was a real pig in the bush. Prokofich was in his own way an aristocrat no worse than Pavel Petrovich.

Pavel Petrovich was extremely annoyed, and Bazarov’s remark that Nikolai Petrovich was “a retired man, his song has been sung” aggravated the situation: “Well, I won’t give up so soon. We will still have a fight with this doctor, I foresee it.

In what state are Pavel Petrovich and Bazarov on the eve of the dispute?

Pavel Petrovich entered the drawing room already ready for battle, irritated and resolute, he was only waiting for an excuse.

Bazarov generally spoke little in the presence of the "old Kirsanovs", but that evening he felt out of sorts and silently drank cup after cup.

What pretext did P.P. to start a fight?

“Rubbish, aristocratic,” Bazarov remarked indifferently about one of the neighboring landowners. P.P. even the lips trembled ... The argument began.

Let's see on what points the characters strongly disagree.

We compile a table in the course of research.

Pavel Petrovich

Bazarov

On the attitude towards the aristocracy and its role in society.

"I respect real aristocrats"

"the aristocracy gave freedom to England"

“we have heard this song many times” (the petty bourgeoisie and the peasantry were the driving force behind the English revolution of 1649)

"What do you want to prove by this?" (the events of a foreign country 200 years ago cannot explain a particular case of Russian life)

Without self-respect, without respect for oneself - what to develop in an aristocrat - there is no solid foundation for a public building.

You respect yourself and sit back, what is the use of this forbienpublic? You would not respect yourself and would do the same.

(whether it was convincing for P.P. - yes, he turned pale)

Aristocracy, liberalism, progress, principle - just think, how many foreign and useless words! Russian people don't care about them

About the Russian people and attitude towards them

"I do not understand! You insult the Russian people, how can you not recognize the principles, the rules. The logic of history requires...

Why are you acting...

All? How? Not only art, but also ... it's scary to say ...

.

“Where are we to such abstractions. You don't need logic to put a piece of bread in your mouth when you're hungry. (People need specific solutions to specific issues)

We act by virtue of what we recognize as useful (for the people, society). At the present time, it is most useful to deny - we deny.

All

What is scary to say? Autocracy, serfdom, religion - what P.P. considers unshakable

Nikolai Petrovich intervenes: you are destroying everything, but you must also build.

P.P.: no, no. The Russian people are not what you imagine them to be. He sacredly honors traditions, he is patriarchal, he cannot live without faith.

(remember chapter 3: how P.P. talks to men while sniffing a handkerchief)

No, you are not Russian after everything you just said.

And you talk and despise at the same time

It's none of our business anymore... Do we need to clear the place first?

You're right about that, but that doesn't prove anything. The people believe that when the thunder rumbles, it is Elijah the prophet in a chariot driving around the sky. What? I agree with him!

I am Russian myself. My grandfather plowed the land. Ask any of your own peasants, in which of us - in you or in me - he would rather recognize a compatriot. You don't even know how to talk to him.

Well, if he deserves contempt ... And who told you that it is not caused by the very people's spirit, in whose name you advocate so much!

about nihilism

about nihilism

What are you doing

So what are you? Are you acting?

Unhappy! Even if you thought that in Russia you support your vulgar maxim!

We do not preach anything ... (Bazarov's speech)

Bazarov felt annoyed why he was so crucified in front of this gentleman. P.P. unable and unwilling to understand B.

In response, silence, P.P. shuddered. Why? Silent means consent. P.P. I realized that people like Bazarov were already acting.

Arkady: We break because we are strong.

Bazarov: if crushed, the road is there ...

4. about art, family and state

P.P. talking about Rafael

P.P. there are no other words but "dumbass"

Community

family

B: Rafael is not worth a damn...

Recall chapter 6: a decent chemist is twenty times more useful than any poet

Bazarov offers P.P. to find something in modern society that would not cause complete and merciless denial.

But B. denies these concepts too.

How can one characterize the dispute between the PP and Bazarov? What is the meaning of this episode in the novel?

This is not just a dispute between individuals, it is a clash of different generations and different political views.

At the end of Chapter 10, Nikolai Petrovich draws a peculiar conclusion: we belong to different generations. The pill is bitter - but it must be swallowed. Here comes our turn.

Turgenev speaks of the psychological gap between two generations, the conflict of “fathers and children” is manifested, and the echo of this phenomenon is 11 ch.

Lesson 4: "Bazarov and Odintsova"

Target: analyze Bazarov's behavior in a new role and environment for him;

Problematic question, who is right : Turgenev, who said that Odintsova is also little in love with Arkady, as well as with Bazarov; or Pisarev, who claimed that she had the germ of a feeling, but she did not allow it to develop.

During the classes .

Teacher's word.

We already know a lot about Bazarov, his views and thoughts. Turgenev leads his hero through the steps of relationships with different people, men and women, with a friend; soon we saw Bazarov in his relationship with his parents, and today he faces the main test that a person is subjected to - love.

What was Bazarov like before meeting Odintsova?

A man of a sober, deep mind, confident in his abilities and in the work to which he devoted himself, devoid of pessimism, proud, purposeful and possessing the ability to influence other people and suppress his knowledge, will and logic.

But as soon as Bazarov's relationship with Odintsova begins to develop, Turgenev hints in separate strokes at the changes that the hero is subject to.

What attracts Bazarov to Odintsova?

Bazarov covers up his growing feeling with careless remarks and feigned swagger: “what a figure”, “she doesn’t look like other women”, “this lady - oh-oh ..”, “in a still pool”, “only her shoulders are what I haven't seen it for a long time." “Only freaks think freely among women”, “let's see what category of mammals this person belongs to”.

How do we see Anna Sergeevna through the eyes of Arkady?

A woman of high stature, she struck Arkady with the dignity of her posture, her eyes looked “calmly and intelligently”. Some caress and soft power emanated from her face. Arkady felt like a student in her presence; she spoke "at ease" to both her partner and the dignitary. She said “little, but the knowledge of life was reflected in her words.” This young woman had already changed her mind and experienced a lot.

We see a magnificent woman who would certainly be interested in any man, even Bazarov. What is happening. But Odintsova did not remain indifferent to Arkady's story about his friend. She became "curious" to see a man who had the courage not to believe in anything. The invitation has been received, our heroes are at Odintsova.

What is happening with Bazarov?

B. seemed to be “embarrassed”, he became annoyed: “Here you go! Baba was scared! And he spoke fluently. B., contrary to his usual habit, talked quite a lot and was clearly trying to keep his interlocutor busy, which again surprised Arkady. Bazarov even has a desire to "run away."

But as a strong man who knows how to control himself, he tries to hide his feelings under the mask of irony: “Look how she froze herself! Duchess, sovereign. She would only wear a train at the back and a crown on her head. “She spoiled herself: shouldn’t we put on tailcoats?”

All this makes me want to run away, but .. the hostess appeared and ... "how meek I have become"

After the first date, both Bazarov and Odintsova think, try to understand themselves and their feelings.

What does Bazarov think and do?

Bazarov sees that his sympathy for Odintsova is growing. But on the impulse of Arkady: “What a wonderful woman ...”, Bazarov tries to moderate his ardor and divert attention to Katya: “Yes ... a woman with a brain. Well, she saw the views ... But the miracle is not she, but her sister ... And she is a grated kalach. However, he himself prefers the “grated kalach”.

And Turgenev, as a subtle psychologist, ends this curious scene with the words: “Arkady did not answer Bazarov. And each of them went to bed with special thoughts in his head.

And what about the beautiful Anna Sergeevna?

A.S. that evening I thought about the guests. She liked B. for his lack of coquetry and for the very harshness of his judgments. She saw something new in him that she had never met, and she was CURIOUS. “This doctor is a strange man! She ran through two pages of a stupid novel, dropped the book - and fell asleep, all clean and cold, in clean and fragrant linen.

Follow what happens to Bazarov over several chapters.

Bazarov is excited. At the end of chapter 16, he can no longer maintain his usual restraint and composure. He is immersed in his thoughts, absentmindedly talking to Arkady, and about A.S. stopped talking altogether, stopped scolding her aristocracy. He seems to be avoiding A.S. An unprecedented anxiety began to appear in Bazarov: he was easily irritated, spoke reluctantly, looked angrily and could not sit still, as if something was tempting him ...

Bazarov begins to operate with the concept of "beauty": "Why do you, with your mind, with your beauty, live in the countryside?"

He wandered through the forest, scolding both her and himself, now imagining her hands, which "wrap around his neck", her "proud lips", now he drives away all these dreams from himself with indignation and at the same time stomped his foot or gnashed his teeth and threatened yourself with a fist.

What is the cause of all these changes?

Turgenev speaks unambiguously about Bazarov’s romantic feeling for Odintsova: “The real reason for this novelty was the feeling inspired by Odintsova - a feeling that tormented and infuriated him and which he would immediately reject with contemptuous laughter and cynical abuse, if anyone had even remotely hinted him to the possibility of that.” Why? Yes, because he considered love "rubbish", "unforgivable nonsense", and knightly manners something like ugliness or illness.

Turgenev led his hero to the main test - the test of love

Could Bazarov count on reciprocity?

Rumors about her, the freedom and independence of her thoughts, her disposition towards him - everything spoke in his favor, but he soon realized that with her "you would not get any sense", and he had no strength to turn away from her to "his amazement". Bazarov felt that his theory: “you like a woman ... try to get some sense, but you can’t - well, don’t, turn away - the earth hasn’t converged like a wedge,” is collapsing.

What drives Anna Sergeevna, simple curiosity or sincere feeling?

Chapter 16: A.S. was a rather strange creature. Her mind was inquisitive and indifferent at the same time: her doubts never subsided to forgetfulness and never grew to alarm. If she weren’t rich and independent, she might have rushed into battle, would have known passion ... But she had an easy life, although she was bored

“Like all women who failed to fall in love, she wanted something without knowing what. Actually, she did not want anything, although it seemed to her that she wanted everything. “She seemed to want to test him and test herself”

It was curiosity, a thirst for something, the need for worship and something else that pushed Odintsova. She, with purely feminine coquetry, calls Bazarov for an explanation.

Let's follow the conversation between Bazarov and Odintsova in chapter 17.

Pay attention to the phrases: “or do you think that they will not regret you here?”. “Think what you want, but I’ll be bored when you leave,” Odintsova provokes Bazarov, she flirts and teases B. for nothing to do, and he understands this very well.

Here is the explanation scene.

In fact, provoked by Odintsova, Bazarov speaks with all frankness and harshness about his feelings: “I love you, stupidly, madly ... That's what you have achieved”

But the pampered aristocrat, accustomed to being guided in life by reason, and not by feeling, is frightened by a sincere impulse of Bazarov's passion, “strong and heavy”, “similar to malice”, Odintsova became “scary”. She hurries to stop the hero: “You didn’t understand me,” she whispered with hasty fright.

Could Anna Sergeevna go with Bazarov to his tart, bobyl life.

No. This is evident from their conversations.

Do you think it's easy to give yourself completely to anything?

It is not easy if you start thinking, and waiting, and attaching value to yourself; and without thinking it is very easy to surrender.

How can you not appreciate yourself? If I have no value, who needs my devotion?

Would you be able to give up?

I don't know, I don't want to brag.

What are you preparing yourself for?

I am a future county doctor

Why are you saying this? You don't believe it yourself. You - with your vanity - are a county doctor!

She could not become the wife of a county doctor, this is not for her. She is not able to destroy her arranged, rich, calm life. "Calm is still the best thing in the world."

Odintsova "having reached a certain line, she forced herself to look beyond it - and she saw not even an abyss, but emptiness ... or disgrace."What kind of emptiness or ugliness did Turgenev mean?

Life without a clear image. A.S. planned everything, provided for her life, having successfully married. She is not ready to be the wife of a district doctor, and B. would hardly have achieved more if he had remained with his views. She was frightened by this man, he had too strong, destructive passion. She was afraid to “burn out” in it without a trace, she was afraid to dissolve, to give herself and her life. She could not sacrifice and yield to him, and he could not and did not want to yield to her. But the calmness of Odintsova was not shaken, but for Bazarov all this was a huge event that turned his mind and life upside down. He passed the test of love.

Homework: chapters 19-21. Prepare material on the questions: what are Bazarov's parents and how do they treat their son.

Bazarov's attitude to parents

What does B. say about the goal facing him and about his future activities.

Lesson 5: “Bazarov and parents. The ideological crisis of Bazarov.

Target:show Bazarov's attitude towards parents; find out why Bazarov could not stay in home; trace changes in behavior, way of thinking and in relation to Bazarov towards Arkady.

During the classes.

Updating what has been done.

We left Bazarov on the way home. He and Arkady left Odintsova's house not in the best mood.

What was the mood of Bazarov?

He is annoyed by Odintsova's refusal, he is angry with himself for allowing some pampered woman to unsettle him. Two abysses opened before him: one was the riddle of his own soul, which turned out to be deeper, more complex than he expected; the other is the mystery of the world that surrounds him. Bazarov is not yet able to figure out all this, which infuriates and annoys him: “In my opinion, it’s better to beat stones on the pavement than to let a woman take possession of at least the tip of a finger. It's all nonsense." “A man has no time to deal with such trifles; a man must be fierce, says the Spanish proverb. – ch.19

Bazarov and Arkady go to Bazarov's parents.

Problematic situation.

How can Bazarov treat his parents? How will he meet his parents, what will he do, say?

Guys answers.

Let's see how the novel answers these questions.

How does Bazarov talk about his parents to Arkady?

“One thing is boring - my mother is so compassionate: if she doesn’t grow a belly and don’t eat 10 times a day, she is killed.” MOTHER "WITHOUT CLICK". Description of the life of Arina Vlasyevna, chapter 20. Well, the father is nothing, he himself was everywhere; both in a sieve and in a sieve. The attitude is a little dismissive, rude. "amusing old man" and the kindest. “The same eccentric as yours, only in a different way. Another talks a lot"

How does the father and mother meet the son?

He is worried, "the chubuk was jumping like that." Mother gasped, staggered, sobs. The father wants to seem almost indifferent, but he does not succeed well; the mother does not hide her joy. They are overjoyed at the appearance of their only son.

It is evident that the parents love their son: Arina Vlasyevna did not notice anyone and regaled Enyushenka alone. Vasily Ivanovich is trying to get wine for his son, he is invigorating, trying not to show tears of joy. Dr. details

What does Vasily Ivanovich do?

He tries, if possible, “not to overgrow, not to lag behind the century”; he put the peasants on rent and gave them land, he grows a garden: there are fruits and berries ...

Vasily Ivanovich tries to find out more about his son from Arkady (Ch. 21).

“Your son is one of the most wonderful people I have ever met. I am sure that your son will have a great future, that he will glorify your name.”

“He is a selfless, honest man. He will achieve fame in the medical field, but in this respect he will be one of the first scientists.

How does Vasily Ivanovich listen to him?

Eyes V.I. suddenly parted, his cheeks flushed faintly, an enthusiastic smile parted his wide lips and never left them. From the fullness of feelings V.I. even kissed Arkady on the shoulder.

But how does B. treat his parents, does he love them?

Support your answer with quotes.

What happens to Bazarov in his own home? Has he calmed down, healed?

Unfortunately no. True love cannot be cured with medicines, all the words and thoughts of Bazarov are colored by bitter feelings. This gives rise to talk about the ideological turning point of B., but this is not in the novel. B.'s views remain the same, but are painted in pessimistic tones.

Prove it with quotes.

“My parents are busy and don’t worry about their own insignificance, it doesn’t stink them, and I only feel bored and angry”

“Man is a strange creature. When you look from the side and from afar at the deaf life that the “fathers” lead here, it seems: what is better? Eat, drink, and know that you are doing the right thing. But no: longing will overcome. I want to mess with people, at least scold them, but mess with them.

“A real person should not think about what they think of him; a real person is one about whom there is nothing to think about, but whom one must listen to or hate. ”

"Strange! I don't hate anyone, says Arkady.

“And I have so many. You are a gentle soul, a weakling, where can you hate! You are timid, you have little hope for yourself. Bazarov, on the other hand, relies only on himself. “When I meet a person who would not give in to me, then I will change my mind about myself”

Bazarov "hates" the last "muzhik", for whom he, free and independent, "must climb out of his skin", and no one will even say thanks.

But why should? What makes Bazarov worry about the peasant?

Nothing but a sense of duty, a demand that the "new people" were able to feel in themselves. Nothing but an inner attraction, which sometimes weighs on him.

Already in the conversation about "hatred" it is clear that Bazarov opposes himself to Arkady. Bazarov goes into an open quarrel and seriously wanted to even fight with Arkady. What else sharply contrasts Bazarov with Arkady?

B. calls P.P. "idiot"; with particular pleasure he utters one of the most rude circulations against Pushkin and pours out his bile on humanity: "Whatever slander you put on a person, he, in fact, deserves twenty times worse than that."

After such an outbreak, it is quite clear to Bazarov that living under his parental roof did not help him. He decides to leave.

Does B. worry that the news of his departure will simply “kill” his parents?

It is not easy for him to say this, but it is necessary to do it: “Nothing! He'll live until the wedding." However, a whole day passed before B. notified his father of his departure.

Inspiring dialogue.

Why does B. need to leave anyway? And is it really necessary?

Here, as a rule, girls fiercely accuse B., calling him a callous, bad son, etc.

But B. cannot be in the bosom of love and care. He has no one to be angry with, no one and nothing to blame, he has nothing to do. He cannot forget his love. Mind fights feelings, thoughts fight words.

Chapter 21, full of drama, complex psychological situations, internal struggle and introspection, ends with a quiet picture of general despondency in the “suddenly shrunken and decrepit house”, where abandoned old people remain. The author tells about this in a somewhat old-fashioned spirit of sentimentalism, tenderness, emphasizing his pity for lonely old people.

From chapter 22, the cycle of “Bazarov’s travels” is completely repeated in the novel: chs 22-24 - Maryino, 25-26 - Nikolskoye, 27-28 - the village of Bazarov. Why do you think the author uses this compositional technique? Does this have anything to do with the “external” conflict between fathers and children and the “internal” conflict between the feeling and duty of Bazarov himself?

Lesson 6: “The second cycle of the hero's wanderings and his role in revealing the concept of the novel. The outcome of the relationship between Bazarov and Kirsanov "

Target:

Problematic issues : for what purpose does the author use the compositional technique of repetition, the cyclical nature of the hero's wanderings? Does this have anything to do with the “external” conflict between fathers and children and the “internal” conflict between the feeling and duty of Bazarov himself?

During the classes.

Declaring the purpose of the lesson.

Can you answer problematic questions right away?

The guys answer.

Let's check if your assumptions are correct.

Heuristic conversation of a leading character.

Chapter 22 . Are Arkady and Bazarov visiting Odintsova? What is the purpose of this episode?

The appointment is psychological. What “had taken root” in Bazarov did not come out of him, the arguments of reason help little, and no matter how angry the hero is at his pain, he cannot defeat it. He understands that he decided "on stupidity", but he does not have the strength to refuse. This meeting only poisoned the soul of B. On the way to Maryino, he hardly opened his mouth and "everyone looked to the side, away from the road, with some kind of fierce tension."

Has anything changed in Maryino with the arrival of friends? How does Arkady behave?

Nikolai Petrovich is trying to engage in economic activities. He fights with his farm. Arkady considered it his duty, if not to help his father, then at least to show that he was ready to help him.Arkady missed under the same roof with Bazarov . All his thoughts were occupied by Katya, he often disappears in Nikolskoe.

What is Bazarov busy with?

B retired completely: the fever of work came upon him. He did not argue with Pavel Petrovich, but the latter was coldly polite to him, sometimes present at his experiments. But B. willingly talked with Fenechka, who would play an important role in the development of events.

How does Fenechka feel about B?

She not only trusts B., but also behaves with him somewhat “smartly” and more freely. She unconsciously feels in B the absence of everything noble, for her he is an excellent doctor and a simple person.

Who should be extremely annoyed by this state of affairs?

Of course, Pavel Petrovich. He began to follow Fenechka, everything ended in a DUEL, as in a cheap novel.

Let's follow the duel scene in detail.

High-sounding turns of speech P.P. as an integral part of the ritual that accompanies the challenge.

P.P. he takes a CANE with him, although he usually went without a cane. For what? In order to offend by action in case of refusal?

Words 6 "I'm not ... a seminary rat" - a hint at the spiritual origin of Bazarov, and made rather rudely. It was no coincidence that he hesitated before saying this.

Eyes sparkle.

HOW does Bazarov behave?

He is so amazed that he does not even notice P.P.'s hints, but when he saw the enraged enemy, he felt insulted. He is ready to fight in any form, but unlike P.P. remains cool-headed, although his words contain a restrained threat of "It's not entirely safe."

Pay attention to the conversation about the conditions of the duel - this is a kind of psychological duel, emphasizing Turgenev's talent as a master of "secret psychology".

Bazarov is ironic, P.P. nothing can oppose it. For B., the duel is a comedy, he emphasizes this at every step: “we hate each other at this distance”, “a little bit like a French novel goes astray”. But the biggest mockery is that B. takes N.P.'s valet as a second: "he is a man who stands at the height of modern education, and will fulfill his role with everything necessary in such cases COMILFO"

Remember everything we know about Peter, Nikolai Petrovich's valet.

Ch.1 "young cheeky fellow ..."

"pomaded multi-colored hair." "man of the improved generation."

Chapter 10 addicted to the use of foreign words, which distorts speech. Peter, with his courteous look and clean frock coat, occupies the same place in the lackey world as P.P. among the people of his circle.

Therefore, P.P. so painfully reacted to the choice of Bazarov. But nothing can be done.

What does Bazarov think about the upcoming duel?

“How beautiful and how stupid! Bad! Firstly, it will be necessary to turn your forehead and in any case leave; and then Arkady ... and this ladybug Nikolai Petrovich" (Ch22)

Turgenev wrote: “... a duel with P.P. it was introduced to demonstrate the emptiness of elegant noble chivalry, exhibited almost exaggeratedly comically ”prove the validity of this statement. On the material of the duel scene. (ch.24)

THE WHOLE SITUATION TURNS INTO A FARCE. P.P., who did not shake hands with Bazarov when they met, bows to Peter, solely for the sake of form.

B measures the steps, because his "legs are longer", Bazarov's caustic mockery constantly violates the solemnity of P.P.

Here is the shot. P.P. wounded. Bazarov's mocking attitude is replaced by a natural desire to help. And P.P. suddenly realized how ridiculous and ridiculous it all was, he felt embarrassed and ashamed of his behavior: “He was ashamed of his arrogance, his failure ..” One of the basic foundations of noble ethics is collapsing, and after it the rest of life principles.

What is rather unexpected is P.P. after duel?

He offers his brother to legitimize relations with Fenechka, which amazes N.P. he is gradually losing ground: "I'm starting to think that B. was right in reproaching me for aristocracy ... And indeed, what a caste in the nineteenth century."

What remains with P.P.?

Nothing. Emptiness. "Yes, he was dead."

Bazarov leaves, knowing that he will not be able to return here. He goes to Nikolskoye to visit Odintsova and Arkady. Why does he need it?

He feels the inevitability of a break: “I wanted to take another look at what I parted with” Chapter 26.

"I feel like our paths are beginning to diverge, I'm just saying that we're fed up with each other."

How Bazarov and Odintsova met. What do they say, what do they feel?

Ch.26

“Still, she was embarrassed with Bazarov, although she told him and assured herself that everything was forgotten. Exchanging with him the simplest speeches, even joking with him, she felt a slight constraint of fear.

Chapter 27

Odintsova and Bazarov say goodbye.

Bazarov also says goodbye to Arkady. Why do you think the paths of Bazarov and Arkady diverged? Is it possible to assert that Arkady also belongs to the "fathers"?

To fight, you need anger and audacity, and in Arcadia there is only youth and enthusiasm. Odintsova said well: Bazarov is "a stranger to me, ... and you are a stranger to him .... he is predatory, and we are tame." Arkady essentially agrees with both Odintsova and Bazarov. "Until now, I did not understand myself, I asked myself tasks that I could not solve." This self-recognition also coincides with the characterization of Bazarov.

Why couldn't Arkady become a consistent "nihilist", why, in spite of all his desire, can't he become "strong, energetic"?

He is not accustomed to overcome the difficulties in the struggle against which character is developed. Bazarov's ideas were not deeply understood and accepted by Arkady, so he easily abandons them.

Bazarov returns to his parents.

4.Summarize. Once again, we answer the questions posed.

Lesson 7: “To die the way Bazarov died is the same as doing a great feat”

Target:understand, in the tragedy of Bazarov's position, why he must definitely die.problem question : Does Russia need Bazarov.

During the classes.

Can Bazarov be called a tragic hero? Why?

What is the tragedy of his position?

If there are no clear answers, a dialogue leading to a solution to the problematic issue should be held.

Bazarov is again in his parents' house, where he languishes even more than the first time before, he was angry at his pain and hoped for healing. Now he decided to plunge into work, but this remedy did not help, just as it did not help in Maryino either. There he was in a state of "fierce tension", here "the fever of work jumped off him and was replaced by dreary boredom and deaf anxiety." This is another stage, the last one, in the struggle of the "negative" direction with those forces that cannot be denied.

In the life of every person, Turgenev saw something tragic: either his own, or "imposed by history, the development of the people." In the life of Bazarov, both were combined. Personal tragedy in his fate. As for the tragedy of the public, this is evident at every meeting of Bazarov with the peasants, with the people.

Chapter 27 Bazarov is talking to the peasants. Analyze.

Bazarov teases, and after listening to the phrase “the stricter the master exacts, the dearer the peasant”, said “reassuringly, with a patriarchal good-natured melodiousness”, shrugged his shoulders contemptuously, not even suspecting that in the eyes of the peasant he was a gentleman and therefore “something like pea jester."

Why did Bazarov end the conversation with the peasant so abruptly. What did he dislike so much?

Man: “... but against ours, that is, the world knows, the master's will; therefore you are our fathers. And the stricter the master exacts, the sweeter the peasant. Bazarov takes these words at face value. And reverence for the master and servile obedience to the will of the master are most hated by Bazarov, which is why he hastened to turn away.

But the man was smarter. Taught by centuries of experience in bondage and understanding how to talk to the master so that he is satisfied, the peasant is cunning and pretends to be submissive: “After all, the master only understands.”

Here the whole tragedy of the situation is revealed. Turgenev emphasizes this tragedy: “Alas! Bazarov, who shrugged his shoulders contemptuously and knew how to talk to peasants (as he boasted in an argument with Pavel Petrovich), this self-confident Bazarov did not even suspect that in their eyes he was still something like a pea jester. In the eyes of the peasants, Bazarov is a gentleman.

What happens: the aristocrats do not recognize Bazarov as their own, and he does not consider himself such; and the men still take him for a gentleman. What to do, how to be?

Turgenev shows Bazarov's isolation from others. A conversation with a peasant, as it were, socially motivates the death of Bazarov, proves the doom of the hero. At the same time, Turgenev shows B.'s closeness to the people, the unity of their views (remember how he was treated in Maryino)

Pisarev said: "To die the way Bazarov died is the same as accomplishing a feat." What made the critics rate the last scene so highly? »

B. loves life, feels great strength in himself, he is bitter that he managed to do so little: “... strength, strength ... everything is still here, but you have to die”

Bazarov is very white, he is delirious, but he is trying with all his might to subdue his mind: “I don’t want to rave, what nonsense!”

“And I also thought: I’ll break off a lot of things, I won’t die, where! There is a task, because I am a giant!” and now the whole task of the giant is how to die with dignity.

Here is Bazarov’s innermost thought: recognizing himself as necessary to Russia, capable of many things, it doesn’t matter that he hesitates, whether Russia needs him, it is important that he wants to be needed by her.

In these difficult days and hours, everything that was deeply hidden in him, but at times broke out, is revealed in Bazarov, his “romanticism” is revealed. How is it shown?

He is excited by the meeting with Odintsova. He speaks to her frankly and sincerely. He loves and is completely seized by this feeling: "young, fresh, pure", "blow on the dying lamp and let it go out."

He worries about his parents: "what, my father."

Bazarov is dying, but dying beautifully and proudly. Turgenev wrote: "... I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to death - because it still stands on the eve of the future."

Does Russia need Bazarov, do you think? And what did Turgenev think?

And as the critics think, we will follow in the next lesson.

Questions are divided into groups.

Lesson 8: Disputes around the novel.

Lesson-seminar on:

1. What are the fundamental features of the Bazarov type and what causes them (according to the article by D. Pisarev)

2. What, according to Pisarev, controls the actions of Bazarov and how the critic explains the honesty of the hero.

What, from Pisarev's point of view, is Turgenev's attitude to the Bazarov type in general and to the hero's death in particular?

What answer does Pisarev give to the question "What to do?" And what do you think of his answer?

What do the articles by M. Antonovich and N. Strakhov say about Bazarov and nihilism?

What was going on in Turgenev's life at the time when the essays and stories of the Hunter's Notes were being written one after another? How did he live abroad for three and a half years? “Only at your feet can I breathe” - in this line from Turgenev’s letter to Pauline Viardot, a brilliant singer, with whom fate brought him on November 1, 1843 in St. Petersburg during a tour of the Italian Opera and left beside her forever, the answer to the questions posed is concluded . In 1847, Turgenev left Russia also because he could no longer imagine himself without this woman (“Where you will be, there I will be”). He lived his whole life in this delightful and inexplicable dependence.

While in Europe, Turgenev learned about the death of V. Belinsky. Here he became close to A. Herzen. Both had a hard time with the events of the June days in France in 1848, when the revolutionary workers' movement was crushed.

Upon returning home, Turgenev has a final break with his mother. Soon Varvara Petrovna will die, without yielding to her sons in anything, but without blaming them either.

And in 1852 Gogol died in Moscow, about whom Turgenev would write a posthumous article. It will not be printed in the capital because of the prohibition of censorship. And then it will appear in a Moscow newspaper, as a result of which Turgenev will be arrested. However, the true reasons for the arrest, of course, were different, among them friendship with Bakunin, Herzen, the events of 1848 that the writer saw, the anti-serfdom “Notes of a Hunter”.

Having released Turgenev a month later from arrest, the authorities will exile him to Spasskoye without the right to leave the borders of the Oryol province. Here he will write "Mumu" and "Inn". Here, too, the literary "physiognomy" of Turgenev the prose writer, Turgenev the novelist will finally manifest itself.

With "Rudin", conceived during the period of forced stay in Spassky and completed there in 1855, the history of Turgenev's novel begins.

The atmosphere of Turgenev's novel. "Rudin" was immediately perceived as a public, social novel, although Turgenev retained in it the traditional family and everyday beginning. And yet, according to the writer, the reflection of the “state of modern society” was decisive in the novel.

For Turgenev, the sharpening of attention to the "current moment" was highly characteristic. For this reason, his novels began to be called the artistic chronicle of modern social life.

The atmosphere of a “critical”, “transitional” time, as the author himself defined it, entered Turgenev’s novels - a time of ideological disagreements, disputes about the people, about the fate of the nobility, its historical role in the life of Russian society, about the development of the country. It was a time of uncertain prospects and shaky hopes.

Turgenev, on the other hand, belonged to the type of artists who think hopefully, explain how one can live, predict the development of bright social types and the movement towards highly human relations. It is no coincidence that the hero of the goal appears in Turgenev's novel, striving for the affirmation of the highest meaning of earthly human existence.

Heroes of Turgenev's novel. time in the novel. The center of Turgenev's novels becomes a person belonging to the number of Russian people of the cultural layer - educated, enlightened nobles. Therefore, Turgenev's novel is also called personal. And since it was an artistic "portrait of the era", the hero of the novel, as part of this portrait, also embodied the most characteristics of his time and class. Such a hero is Dmitry Rudin, who can be regarded as a type of "superfluous people".

In the writer's work, the problem of the "extra person" will occupy a fairly large place ("The Diary of an Extra Person", "Correspondence", "Calm", "Two Friends", "Hamlet of the Shchigrovsky District"). No matter how harshly Turgenev wrote about the nature of the "superfluous person", the main pathos of the novel was to glorify Rudin's inextinguishable enthusiasm and perseverance in achieving the goal, unchanging loyalty to oneself. In this respect, Turgenev's "hero of the goal" is not only a specific historical type, but also embodies eternal literary types. Isn't it possible to guess Don Quixote in Rudin, the eternal wanderer, carrying through his whole life, like a candle, faith in the ideal? Is it in Rudin, tormented by the thought of his own insolvency (“... was I really not good for anything ...”), about forced inaction (“Words, all words! There were no deeds!”), Surviving the tragedy of alienation and loneliness , is not visible Hamlet - the first reflective hero in world literature?

The presence in the Turgenev type of the hero of two meaningful levels - concrete historical and timeless - determines, respectively, the presence in his novels of two temporal dimensions - historical and eternal, existential.

In the field of historical time are the immediate events and characters of the novel in their past and present. Time, associated with the universal norms and values ​​of human life (goodness, truth, death, nature, love, art, beauty ...), brings the content to the existential level and allows us to judge Turgenev's novel as moral and philosophical.

1 Reflection - the tendency to analyze one's experiences.

The study of the writer's biography makes it possible to reveal the richness of the writer's artistic world, to enter his creative laboratory.

In the classroom, it is necessary to create a special emotional and moral atmosphere that evokes empathy and contemplation with the author and literary characters. Therefore, it is important to consider not only the logic of the presentation of the material, but also the very forms of emotional impact on students.

The first lessons are devoted to the biography of Ivan Sergeevich Turgenev and an overview of his work, the task was given to read stories from the collection "Notes of a Hunter", the novels "Rudin", "Fathers and Sons".

Before reading and discussing the works, at the beginning of the study of the section, you can conduct a lesson-composition. The task is to penetrate into the world of man and writer, to understand the relationship with contemporaries and genre originality creativity of Turgenev.

In order to imagine the atmosphere of communication between Turgenev's contemporaries, one must find not only interesting stories, memories of the writer, but also to present them in a “lightweight” form for oral retelling. Many details of the narrative, individual expressions have to be changed, so direct quotations are not always given in the script.

Memories of contemporaries in a stage performance allow students to delve deeper into the essence of assessments and reflections on the life and work of the writer. Here the “live” speech of contemporaries sounds and their direct image is created.

Preparing for the lesson:

• together with the students, a lesson script is drawn up, roles are distributed;
• the task is given to present the atmosphere of the meeting and conversation of contemporaries about Turgenev, to create an interesting story about him, to read lyrical poems and poems in prose;
• small groups of students work together with the teacher on the production;
• portraits of I.S. Turgenev, next to a table with books and literature about him, a stage area is allocated, where readers, reciters talk about Turgenev and fragments from the novels “Rudin”, “Fathers and Sons” are staged;
• selected musical pieces accompanying the production itself.

Composition Lesson Scenario

Teacher. Today we will try to penetrate the world of Turgenev - a man and a writer, to reveal his joys and sorrows, to get acquainted with the memories of Turgenev. Let's listen to what his contemporaries say: P.A. Kropotkin, Guy de Maupassant, P.V. Annenkov, A. Fet.

One of Turgenev's favorite pieces of music sounds - Glinka's Waltz-Fantasy.

Reader 1(P.A. Kropotkin). Turgenev's appearance is well known. He was very handsome: tall, strongly built, with soft gray curls. His eyes shone with intelligence and were not without a humorous spark, and his manners were distinguished by that simplicity and lack of affectation that are characteristic of the best Russian writers.

Reader 2(Guy de Maupassant). I saw Ivan Turgenev for the first time at Gustave Flaubert's. The door opened. The giant entered. A giant with a silver head, as they would say in a fairy tale. He had long gray hair, thick gray eyebrows and a large gray beard that gleamed with silver, and in this sparkling snowy whiteness, a kind, calm face with slightly large features. Turgenev was tall, broad-shouldered, built thick, but not obese, a real colossus with the movements of a child, timid and cautious.

Reader 1(P.A. Kropotkin). Turgenev's conversation was especially remarkable. He spoke, as he wrote, in images. Wishing to develop an idea, he explained it with some scene, conveyed in such a art form as if it were taken from his story.

Reader 2(Guy de Maupassant). Turgenev's voice sounded very soft and a little sluggish... He spoke wonderfully, imparting artistic value and peculiar entertainment to the most insignificant fact, but he was loved not so much for his lofty mind, but for some kind of touching naivety and the ability to be surprised at everything.

Reader 3(P.V. Annenkov). After 1850, Turgenev's drawing room became a gathering place for people from all classes of society. Here met the heroes of secular salons, attracted by his reputation as a fashionable writer, literary figures preparing themselves to be leaders of public opinion, famous artists and actresses, who were under the irresistible effect of his beautiful figure and high understanding of art ...

No one noticed the melancholy tone in Turgenev's life, and meanwhile he was an unhappy man in his own eyes: he lacked the woman's love and affection, which he had been looking for from an early age. The call and search for the ideal woman helped him create that Olympus, which he populated with noble female creatures, great in their simplicity and in their aspirations. Turgenev himself suffered that he could not defeat the female soul and control it: he could only torture her.

Remarkably, the real best qualities hearts were found in him with the greatest strength in the village. Whenever Turgenev broke away from Petersburg, he calmed down. There was no one to shine in front of then, there was no one for whom to invent scenes and think about staging them. The village played in his life the very role that his frequent absences abroad later played - it determined exactly what he should think and do.

Reader 4(A. Fet). In those days, there was an abundance of marsh game, and if Turgenev and I went to his Topki estate, then the main goal was to hunt, and not to sort out economic affairs. On the next day of our arrival, Turgenev, having a presentiment that the peasants would come to him, was tormented by the impending need to go out to them on the porch.

I watched this scene from the window. Beautiful and, apparently, wealthy peasants surrounded the porch on which Turgenev stood. Some man asked for more land. Before Ivan Sergeevich had time to promise land, everyone had similar needs, and the matter ended with the distribution of all the lord's land. Uncle Turgenev later said: “Are you, gentlemen, writers, all of you so stupid? You went to Topki and distributed all the land to the peasants, and now the same Ivan writes to me: “Uncle, how can I sell Topki?” What is there to sell when all the land has remained distributed to the peasants?

Teacher. Communication with the peasants was not in vain for Turgenev. He reflected his observations in the essay “Khor and Kalinich”, published in the journal Sovremennik. When the issue of the magazine reached the reader, everyone started talking about the author's talent. The success prompted Turgenev to work on essays further. Soon the book was translated into French. There were a lot of enthusiastic responses to it.

Reader 5(J. Sand). What a masterful painting!.. This new world into which you allowed us to penetrate: not a single historical monument can reveal Russia better than these images, which you have studied so well, and this way of life, which you have seen so well.

Teacher. Many believe that the life of writers associated with literary work flows calmly, serenely. This does not apply to Turgenev, who had a difficult relationship with his "brothers in the pen." He didn't get along with I.A. Goncharov, severed relations with N.A. Nekrasov. But one of the facts seems to be the most surprising in the life of I.S. Turgenev and L.N. Tolstoy. Between the two great writers there was a quarrel that separated them for a long seventeen years.

Student 1. The quarrel occurred because of Turgenev's daughter, Polina. Born from a “slave”, the girl immediately turned out to be out of place. She was separated from her mother early. She knew little of her father. Although he spared nothing for her, taught, educated, hired governesses - this was considered a "duty". All worries about her are not warmed by anything. In fact, she is of no use to him.

Little Pauline became jealous of her father for Pauline Viardot. It annoyed him. Turgenev said about his daughter that she does not like music, poetry, nature, or dogs. In general, there is little in common between him and Polina.

Student 2. In the spring of 1861, Tolstoy was visiting Turgenev. They decided to go to Fet. An argument broke out between Turgenev and Tolstoy in the dining room. It all started with the fact that Fet's wife asked Turgenev about his daughter. He began to praise her new governess, who took care of the girl and made her take the linen of the poor to the house, repair it and give it to the darned.

Tolstoy ironically asked:

And do you think it's good?

Of course, this brings the philanthropist closer to an urgent need, ”Turgenev replied.

In Tolstoy, a heavy stubbornness woke up associated with disrespect for the interlocutor.

And I think that a dressed-up girl, holding dirty rags on her knees, plays an insincere, theatrical scene.

Student 1. His tone was unbearable. Whether or not Turgenev loved his daughter is his business. Tolstoy laughed at poor Polina, and even at his father. This Turgenev could not bear.

After the exclamation:

I ask you not to talk about it!

And Tolstoy's answer:

Why should I not say what I am convinced of!

Turgenev shouted in complete rage:

So I will silence you with an insult!

He grabbed his head with his hands and quickly left the room, but a second later he returned and apologized to the hostess.

Student 2. Two of the best Russian writers quarreled for seventeen years, exchanged insulting letters, things almost came to a duel ... Because of what? Polina stepped between them. Turgenev outwardly turned out to be wrong, but his inner position is much better - he boiled up, said unnecessary things and apologized. Tolstoy did not evoke sympathy. He offered Turgenev a duel "on guns" so that it would certainly end as it should. But Turgenev agreed to a duel only on European terms. Then Tolstoy wrote him a rude letter, and noted in his diary: "He is a perfect scoundrel, but I think that in time I will not be able to stand it and forgive him."

Teacher. Here is a strange story that happened. Both writers were very worried, regretted what had happened ...

Turgenev tried his hand at different genres. He wrote the plays "The Freeloader", "Breakfast at the Leader", "A Month in the Village".

The young actress Savina put "A Month in the Country" in her benefit performance. The play was a huge success. “Savina triumphed. She opened the play. She brought Turgenev to the public: a glimpse of his glory fell on her too.

Reader 6(M.G. Savina). The play was played - and it made a splash. Soon the writer arrived in Russia and was greeted enthusiastically. I was invited to Ivan Sergeev.

I was so excited that I almost decided not to go. I remember that something warm, sweet, and familiar wafted from the whole heroic figure of Turgenev. He was such a handsome, elegant "grandfather" that I immediately got used to it and started talking to him like an ordinary mortal.

I was in my twenty-fifth year, I heard so often about my "prettyness" that I myself was convinced of it, but to hear the word "clever" from Turgenev! - it was happiness. I didn't say anything about his writings! This thought completely poisoned the whole impression. An hour later, a friend of Turgenev's came and said that Turgenev especially liked that I had not mentioned his compositions. "It's so banal and so boring."

Beethoven's piano sonata sounds.

Teacher. Turgenev's poetic work is little known. Meanwhile, the writer began his literary activity precisely with lyrical works. The author himself spoke very reservedly about his poems, believing that he did not have the gift of a poet. But the poems did not leave indifferent his contemporaries. Even Fet once said that he "admired the poems ... Turgenev." Delight in front of nature, a subtle understanding of its essence, a sense of its mystery - all this can be found in the poem "Autumn".

Reader 7. The poem "Autumn".

How sad look I love autumn.
On a foggy, quiet day I walk
I often go to the forest and sit there -
I look at the white sky
Yes, on the tops of dark pines.
I love, biting a sour leaf,
With a lazy smile,
Dream to do whimsical
Yes, listen to woodpeckers thin whistle.
The grass is all wilted... cold,
A calm brilliance is poured over her ...
And sadness is quiet and free
I surrender with all my soul...
What can't I remember? Which
My dreams won't visit me?
And the pines bend as if alive,
And they make such a thoughtful noise...
And like a flock of huge birds,
Suddenly the wind will blow
And in the boughs tangled and dark
He hums impatiently.

Teacher. In the summer of 1855, in Spasskoye, Turgenev finished Rudin, which, according to Boris Zaitsev, was "a debut and brilliant thing in a sense." Turgenev put a lot of his own into the main character - Rudin. The novel, as expected, was read by friends, advised, praised, "pointed to shortcomings." Now you will see a small scene from this novel: the explanation of Natalia Lasunskaya and Rudin.

Mozart's fantasy sonata sounds.

Teacher. The accumulated observations and thoughts, experienced joys and sufferings, the writer expressed in his declining years in a cycle of poems in prose. In Russian literature, they remained unsurpassed examples of poetic miniatures.

With the help of Pauline Viardot, Turgenev's poems were translated into European languages. The writer did not expect that readers would perceive them with interest and sympathy. Some of the works were set to music.

The title of the poem in prose is “We will still fight!” evokes a joyful, cheerful feeling. You immediately imagine the kind smile of a person to whom all living things are dear, you feel a playful caress in his words about a sparrow: “Conqueror - and it’s full!”.

Reader 8. Poem in prose "We will still fight!".

What an insignificant little thing can sometimes rebuild the whole person!
Full of thought, I once walked along the high road.
Heavy forebodings constricted my chest; despondency took possession of me.
I raised my head... In front of me, between two rows of tall poplars, the road went like an arrow into the distance.
And through it, across this very road, ten paces from me, all gilded by the bright summer sun, a whole family of sparrows jumped in single file, jumped briskly, amusingly, arrogantly!
Especially one of them kicked him sideways, sideways, bulging his goiter and defiantly chirping, as if the devil were not his brother! Conqueror - and complete!
Meanwhile, a hawk was circling high in the sky, which, perhaps, was destined to devour this very conqueror.
I looked, laughed, shook myself - and sad thoughts immediately flew away: I felt courage, prowess, a desire for life.
And let my hawk circle over me...
- We're still fighting, damn it!

Teacher. An unusual phenomenon is represented by poems in prose in terms of genre. Lyricism, brevity, emotionality of the narration bring them closer to lyric poetry. However, unlike lyrics, feelings are expressed in a prosaic form. In the poem "Enemy and Friend" moral and ethical problems are solved - hostile and friendly relations between people, responsibility for the life of another person.

Reader 9. Poem in prose "Enemy and friend".

Condemned to eternal imprisonment, the prisoner escaped from prison and started running headlong... A chase was rushing at his heels.
He ran with all his might... The pursuers began to fall behind.
But here in front of him is a river with steep banks, a narrow - but deep river ... But he cannot swim!
A thin, rotten board is thrown from one bank to the other. The fugitive had already put his foot on it ... But it so happened that right there near the river were standing: his best friend and his most cruel enemy.
The enemy said nothing and only crossed his arms; but a friend shouted at the top of his lungs:
- Have mercy! What are you doing? Remember, fool! Can't you see that the board is completely rotten? She will break under your weight - and you will inevitably perish!
- But there is no other crossing ... but do you hear the chase? the unfortunate man moaned desperately and stepped onto the plank.
- I won't let you!.. No, I won't let you die! - the zealous friend cried out and snatched a board from under the feet of the fugitive. He instantly thumped into stormy waves - and drowned.
The enemy laughed smugly - and walked away; and a friend sat down on the bank - and began to cry bitterly about his poor ... poor friend!
However, he did not think to blame himself for his death ... not for a moment.
- Didn't listen to me! Didn't listen! he whispered dejectedly.
- But anyway! he finally said. - After all, he had to languish in a terrible prison all his life! At least he doesn't suffer now! Now it's easier for him! Know that such a fate fell to him!
- Still, it's a pity, according to humanity!
And the kind soul continued to weep inconsolably for her unfortunate friend.

Teacher. In the work of Turgenev, the novel "Fathers and Sons" occupies a special place. This novel has caused a lot of different opinions and statements. The word "nihilist" was immediately picked up by thousands of voices. The author of the work experienced painful impressions. He noticed "coldness, reaching indignation" in many close people, received congratulations from enemies. It is difficult to imagine what was going on in the soul of the author. But he explained to readers in the article "Regarding "Fathers and Sons", noting that "a rather curious collection of letters and other documents has been compiled." Watch the scene of Bazarov's declaration of love from the novel Fathers and Sons.

Sounds "Melody" Dvorak.

Teacher. All his life, Turgenev strove for happiness, caught love and did not catch up. As we know, love for Pauline Viardot did not bring him happiness.

Reader 10. The last summer in Bougival was terrible for both Turgenev and Pauline Viardot, who looked after him. And at the hour of his death, when he hardly recognized anyone, he said to the same Polina:

Here is the queen of queens!

So he praised Pauline Viardot, the only woman he loved all his life.

Turgenev died on August 22, 1833. There were no traces of suffering left on his face, but besides the beauty that appeared in him in a new way, the expression of what was lacking during his life was surprising: will, strength ...

Some time passed, and Pauline Viardot wrote in one of her letters to Ludwig Pitsch that the person who made up the whole world for her had passed away. A void has formed around, and no one will ever be able to fill it: “Only now I understand what this person meant to me.”

F. Chopin's nocturne sounds.

Literature

1. Zaitsev B.K. Life of Turgenev / Distant. - M., 1991.

2. Pustovoit P.G. Roman I.S. Turgenev "Fathers and Sons": Commentary: Book. for the teacher. - M., 1991.

3. Russian literature: 10 cells. Reader ist.-lit. materials (compiled by I.E. Kaplan, M.G. Pinaev). - M., 1993.

4. Turgenev I.S. Literary and everyday memories. - M., 1987.

5. Shestakova L.L. The poetic heritage of I.S. Turgenev. Triptych "Variations" / Russian language at school. - 1993. - No. 2.

KALININGRAD STATE UNIVERSITY Romany by I.S. Turgenev. Modern problems of study Textbook Kaliningrad 1999 3 Novels by IS Turgenev. Modern problems of study: Textbook. Kaliningrad. un-t. - Kaliningrad, 1999. - p. Compiled by: L.N. Issova, Ph.D. Associate Professor Published by decision of the Editorial and Publishing Council of Kaliningrad State University © Kaliningrad State University, 1999 4 Introduction I.S. Turgenev holds an outstanding place in the development of Russian literature of the 19th century. At one time, N.A. Dobrolyubov wrote that in contemporary realistic literature there is a “school” of fiction writers, “which, perhaps, by its main representative, we can call “Turgenev’s”1. And as one of the main figures in the literature of that time, Turgenev “tried” himself literally in almost all the main genres, becoming the creator of completely new ones. However, novels occupy a special place in his work. It was in them that the writer most fully presented a vivid picture of the complex, intense social and spiritual life of Russia. Each Turgenev novel that appeared in print immediately found itself in the center of attention of critics. Interest in them does not dry out even today. In recent decades, much has been done in the study of Turgenev's novels. This was largely facilitated by the publication of the complete works of the writer in 28 volumes, carried out in 1960-1968, and after him a 30-volume collected works. New materials about the novels have been published, versions of the texts have been printed, research has been carried out on various problems related in one way or another to the genre of Turgenev's novel. During this period, the 2-volume “History of the Russian Novel”2, monographs by S.M. Petrov, P.G. Pustovoit, G.A. Byalogo, G.B. Shatalov and other literary critics. Among the special works, perhaps, one should single out fundamental research A.I. Batyu-to3, a serious book by G.B. Kurlyandskaya “The Artistic Method of Turgenev the Novelist”4, a small but very interesting work by V.M. Markovich “The Man in Turgenev’s Novels”5 and a number of articles. However, the search continues. At the end of the 80s, a draft autograph of the novel "Fathers and Sons" was discovered in England, about the fate of which we knew nothing for 130 years. New Turgenev documents are published in Germany, USA, Canada, New Zealand. In addition to Turgenev’s interuniversity collections regularly published in Kursk and a number of materials published in the Russian Literature journal (for example, a series of articles by A.I. novelistic creativity. At the same time, the research of the last decade is characterized by the desire to take a fresh look at the writer's work, to present it in relation to modernity. It is no coincidence that one of the last 5 collections devoted to the writer's work is called: “I.S. Turgenev in the modern world.”6 The release of such a publication is natural. The fact is that Turgenev was not only a chronicler of his time, as he himself once noted in the preface to his novels. He was an amazingly sensitive artist, able to write not only about the topical and eternal problems of human existence, but also had the ability to look into the future, to become, to a certain extent, a pioneer. In connection with this idea, I would like to note the publication of the book by Yu.V. Lebedev7. The genre specificity of such publications can be defined as a fictionalized biography. However, the book of the well-known Turgenevologist goes far beyond the indicated genre. With good reason, we can say that the named work is a significant monographic study, carried out at the modern scientific level, carrying to a certain extent a new reading of Turgenev's novels. Substantial monographs about a writer are not that common. That is why it is especially necessary to note the book of the famous Turgenevologist, A.I. Batyuto8. The title of the monograph (“Creativity of I.S. Turgenev and the critical and aesthetic thought of his time”) does not directly indicate the writer’s novelistic work, however, as in his other works, it is in the focus of the researcher’s attention, but already under a different angle of view. Considering the specifics of the aesthetic positions of Belinsky, Chernyshevsky, Dobrolyubov, Annenkov and correlating them with the literary and aesthetic views of Turgenev, A. I. Batyuto creates a new ambiguous concept of the writer's artistic method. At the same time, the book contains many different and very interesting observations in the artistic specificity of I.S. Turgenev’s novels. In the above works, various issues of novelistic creativity (we will talk about this in more detail below) of Turgenev are considered. However, the debatability of a number of problems or their underdevelopment force researchers to turn to them again and again. The references given in the notes to the chapters can be considered as a list of recommendations. Notes: 1. Dobrolyubov N.A. Sobr. cit.: In 9 volumes. T.2. M.-L., 1962. S. 243, 256. 2. History of the Russian novel. T.1. M.-L.: AN SSSR, 1962. 6 3. A.I. Turgenev the novelist. L.: Nauka, 1972. 4. Kurlyandskaya G.B. The artistic method of Turgenev the novelist. Tula, 1972. 5. Markovich V.M. Man in Turgenev's novels. L.: Publishing House of the Leningrad University, 1975. 6. I.S. Turgenev in the modern world. M.: Nauka, 1987. 7. Lebedev Yu. Turgenev. M.: Young Guard, 1990. 8. Batyuto A.I. Creativity I.S. Turgenev and the critical and aesthetic thought of his time. Leningrad: Nauka, 1990. CHAPTER I The problem of the genre of Turgenev's novel. Socio-political meaning of I.S. Turgenev's novels § 1. I.S. Turgenev's novels as a cycle . turn to wider epic canvases. At the same time, it should be borne in mind that by the mid-1950s, Russian literature had already had some experience in the field of the novel genre, which was analyzed by Belinsky, who called the novel an epic of his time. Turgenev, relying on the experience of his predecessors, is looking for his own path in the field of the novel. And he succeeds. It is no coincidence that our literary science singles out the Turgenev type of this genre in the history of the Russian novel1, and the American writer Henry James calls Turgenev “the novelist of the novelists”, noting that “his artistic influence is exceptionally valuable and established inviolable”2. However, the general high assessments of the genre of Turgenev's novel do not remove a number of particular problems associated with it. Among such urgent problems, first of all, it is necessary to name the following: the problem of the relationship between the novel and the story in the work of I.S. Turgenev; typological essence and genre variety of Turgenev's novel; his poetics and other issues. 7 How are these problems solved today in our Turgen studies? The most interesting work addressing the issue of genre is A.I. Batyuto’s book “Turgenev the Novelist”, in which the author devotes a separate chapter3 to this issue, which, in our opinion, is indisputable in its main conclusions. The researcher rightly believes that it is necessary long ago to abandon the double terminology regarding Turgenev's works, because they, without any doubt, refer not to the story, but to the novel. This is first. And secondly, Turgenev's novel should be defined as an ideological novel. In this regard, another problem arises: the cyclization of Turgenev's novels. The question of this genre regularity of I.S. Turgenev’s prose in general in various aspects arose in literary criticism. However, the novels of I.S. Turgenev were not considered in this regard, although we still find some thoughts on this subject in studies on the writer's work. We think that such a statement of the problem is justified. As L.I. Matyushenko notes, “the trend towards synthesis in the depiction of various layers and spheres of Russian life” “intensifies in realistic literature” in the 50s and 60s as one of the important manifestations of its aesthetic content”4. This trend is also experienced by Turgenev, who turned to the genre of the novel in the early 1950s. The writer's first experience in this genre was his work on Two Generations. At the same time, Turgenev wrote an article about Evgeniya Tur's novel The Niece, which most fully expressed the writer's ideas about this genre. Naturally, the work on the first novel had to proceed in accordance with these ideas. In the article, Turgenev says that novels of the “Sandian” and “Dickensian” types are acceptable in Russia, although “we still hear separate sounds in Russian life, to which poetry responds with the same quick echoes”5. And in the letters of 1852, he reports that the elements of the novel “have long wandered” in it (P., II, 71), that it is time to abandon the old manner of writing, and doubts: “Am I capable of something more, calm ! Will simple, clear lines be given to me ... ”(P., II, 77). A little later, in a letter to K.S. The writer already informs Aksakov: “... he wrote the first three chapters of a long (our italics - L.I.) novel” (P., II, 99). In March 1853, part of the idea of ​​the novel "Two Generations" was realized. Turgenev, in a letter to 8 I.F. Minitsky, is somewhat skeptical about the “Notes of a Hunter”, because “he has already gone ahead” and hopes that he will do “something more impressive” (P., II, 135). And this is "more impressive" - ​​a novel that, according to the writer, was supposed to consist of three parts. Thus, we see that Turgenev intended to embody the prevailing idea of ​​the novel as a great work with a broad epic narrative in Two Generations. But, as you know, this plan was not fully realized. Meanwhile, the novels created by the artist are notable for their small volume and concentrated form of narration. The scientific literature notes the inconsistency of Turgenev's theoretical ideas about the genre of the novel and his artistic practice. So, S.A. Malakhov writes: “If we follow I.S. Turgenev’s epistolary legacy of his messages about the work on his novels, it is easy to find a contradiction between the writer’s traditional view of the novel as a multi-volume epic and the concentrated form of his of his own novels, which causes the author constant doubts: are they not really stories?”6 We meet a similar thought in G.V. creativity"7. Are the theoretical judgments of the writer and his literary practice so contradictory in this respect? It seems to us that two aspirations that are equivalent for the writer: on the one hand, towards a broad epic, and on the other hand, the need to reproduce exactly the burning reality of his day, often not yet settled, enter into a certain dialectical unity, which is expressed in that Turgenev creates a small, but very mobile novel (this has been noted more than once in Turgenev studies), and at the same time combines them into a cycle, sequentially, from novel to novel, drawing a single epic picture of Russian life 1840-1870- x years. We are also convinced of our correctness by the fact that the objective processes of the development of literature during this period corresponded as well as possible to the subjective aspirations of the writer. According to N.I. Prutskov, the second half of the 19th century was distinguished by “an extraordinary dynamism of the historical flow”, therefore “there was a need for a new type of novel about modernity, in the feverish trembling of which “normal law and leadership” were still almost not caught. thread"8. At the same time, the researcher notes another trend in the literary process of the era we are considering. He points to the cyclization technique, which captures not only small epic genres, but also large ones, i.e. the novel At the same time, N.I. Prutskov rightly asserts that “this trend is not a formal device, but a structural principle that allows one to survey the panorama of life”9. In the literature about Turgenev, the opinion has already been established that “the first four novels of the writer are typologically homogeneous, and the last two occupy a special place”10. Our point of view boils down to the following. All Turgenev's novels form a cyclic unity among themselves, in which, however, three groups should be distinguished: I. Rudin and The Noble Nest; II. "On the Eve" and "Fathers and Sons"; III. "Smoke" and "New". In theoretical literature, when it comes to a cycle, as a rule, they talk about the genre, thematic or ideological unity of a number of works, consciously united by the author. Let us turn to the actual writer's characterization of novelistic creativity. It was most fully expressed in the preface to the publication of his novels in 1880. This year, all of Turgenev's novels were published together for the first time. “At the moment of working on the “preface”, Turgenev realized that as a novelist he had already completed his work” (S., XII, 579). The article begins by pointing out that the novels in this edition are placed "in sequential order." In the draft autograph of the article, it was originally “in chronological order”. And although they were really placed here in chronological order, nevertheless Turgenev removes these words, replacing them with others: “in sequential order”, obviously, meaning not only the chronological sequence, but also another. What did Turgenev mean? The writer himself points to the unity and connection of his novels, to the “permanence” and “straightness of direction” of his novelistic work. “The author of Rudin, written in 1855, and the author of Novi, written in 1876, are one and the same person. During all this time, I tried, to the best of my strength and skill, conscientiously and impartially to portray and embody in appropriate types both what Shakespeare calls: the body and pressure of time, and that rapidly changing physiognomy of 10 Russian people of culture. layer, which mainly served as the subject of my observations” (S., XII, 303). These words of Turgenev confirm the idea that the artist, keenly feeling the movement of the historical process and fixing its individual stages in his novels, at the same time consciously strives for a holistic coverage of reality. The image of time, its pressure and the Russian person in relation to this time - this is the task, the solution of which was important for Turgenev in his work from novel to novel. In the first two novels, the writer addresses the problem of the “superfluous” person. In "Rudin" he explores a variety of this type, which was a thinking aristocratic intelligentsia of the 40s, when the word was "deed". At the same time, the artist recreates the spiritual atmosphere characteristic of that time. In the second novel, Turgenev continues to worry about the fate of the noble intelligentsia, which, in the person of Lavretsky, is aware of the aimlessness and worthlessness of their existence. Realizing the aimlessness and worthlessness of the noble intellectual, the artist understands that this is already, although not far, but still the past of Russia, and therefore tries to identify a new hero of the time. And such a new hero of the writer's novels is first the Bulgarian Insarov, enticing the Russian girl Elena Stakhova to the path of struggle for freedom and justice, and then the raznochinets Bazarov. And if Turgenev's first two novels recreated the atmosphere of the 30s and 40s, with their heated debates about man, about the influence of serfdom on him, then in the next two he already talks about new people, about people of the 60s, t .e. about those who live now in the present, nearby. And it is no coincidence that his fourth novel is called “Fathers and Sons”. The fact is that the fiercest ideological struggle between liberals and democrats that unfolded in the 1960s was the most important point in the social life of this time. But in the novels of the second group, in addition to one of the topical questions about two generations, of course, other important problems of the socio-political situation in Russia also found their expression. “The theme of Russia runs through all Turgenev's novels in different variations”11, writes L.I. Matyushenko. However, it begins to sound really loud in the last two novels of the writer, which we refer to the third group. “Which way will post-reform Russia go in its development?” - that's what worries the great Russian writer now. 11 In letters to Herzen at the end of 1867 (dated 30.XI/13.XII/, 13/25.XII) Turgenev shares his thoughts on this matter. I would also like to note that in the last novel “Nov”, by the way, the largest in terms of volume, according to critics, the “choral beginning”12 prevails. In the same respect, the main idea of ​​the article by N.F. Budanova may be of interest. The researcher believes that Turgenev, who is familiar with the Vperyod! - an organ of revolutionary populism, was in solidarity with some of the ideas of this publication, namely: "with the rejection of the policy of the Russian autocracy and the need to protest against it"13. In this regard, the symbolic image of “Nameless Rus'” was born, which appears at the end of the novel. Reflecting "on the fate of his Motherland" in these last two novels, in "Smoke" Turgenev falls into "despair at the sight of what is being done at home", but already in "Novi" he sees the sprouts of the future and therefore believes that his people are the people "great". Thus, we can say that three groups are clearly distinguished in the cycle of Turgenev’s novels: in the first (“Rudin” and “Noble Nest” (the problem of the “extra” person is solved, which for the literature of the second half of the 50s was, although still very close, but still already in the past); the second ("On the Eve" and "Fathers and Sons") - was addressed to the present Russia - "new people", and finally, in the third ("Smoke" and "Nov") - this is already a reflection on the ways of Russia's development, and therefore, although not yet clear, but already some aspirations for the future. But in all six novels, one tendency is to present, in the words of Turgenev himself, "the body and pressure of time". All this gives us reason to say that the writer in the "Preface to the novels" combines them consciously. In support of this position, we will give another argument. L. Dolotova notes that "... with the beginning of novel creativity in Turge - the Neva develops a system of exact correlation of the action with a certain historical time.”14 The question of dating events in Turgenev's novels has attracted the attention of researchers more than once. But the actual beginning of the events of all novels, except for Rudin, is dated by Turgenev himself. However, something else is important for us: in what correlation are the historical segments depicted in the novels from the point of view of chronology. To this end, we denote the beginning and end of events in the text. Based on the text of the novel "Rudin" and comments to it by M.O. Gabel and N.V. Izmailov, we limit the duration of the action as follows: beginning - 1843-1845 12

Ivan Sergeevich Turgenev considered himself a writer of the "transitional era". He entered the literary path when Pushkin and Lermontov were no longer there, became famous when Gogol fell silent, Dostoevsky was in hard labor, and Leo Tolstoy was still a novice writer and Turgenev took care of him.

His youth fell on the 40s of the XIX century - the time when a whole generation of Russian intelligentsia was formed, to which Turgenev considered himself. Literature did not pass by this generation and, following the images of Onegin and Pechorin, captured another type of Russian life - the "man of the 40s." Turgenev saw in himself and those around him the features of this type, both good and bad, and paid him tribute with his stories and novels.

These years were not a time of action, but of ideological disputes. It was then that two currents of Russian social thought took shape - Slavophilism and Westernism. The dispute between them was about which way Russia should develop. That is, both of them believed that the current state of the country and the people is ugly. But how to get out of this state?

The Slavophiles believed that all the troubles of Russia began with Peter I, who forcibly turned Russia onto the Western path of development. At the same time, he mutilated what constituted the strength of the Russian nation: the spiritual authority Orthodox Church, the communal nature of work and life, the peasant type of thinking.

Westerners, on the other hand, believed that the reforms of Peter I were caused by a general crisis Ancient Rus', its backwardness and all the current troubles come from the fact that the work of Peter was not brought to an end. They argued that there was no need to invent some kind of “special” Russian path when there was already a road of progress and civilization beaten by Western Europe, with its respect for the freedom and rights of the individual.

Despite their theoretical differences, the Westernizers and Slavophiles converged in their criticism of the existing order of things, and the history of Russia went beyond their disputes. Turgenev himself was well aware of the limitations of any "system of views." But he tried to see the truth of each side: the Westerners, the Slavophiles, and the new, radical generation. Turgenev considered himself a Westerner. However, it was the westerner Turgenev who discovered folk Russia for Russian literature, and Russian literature itself for Europe.

The world "fictional" Turgenev

At the end of his life, the writer created a cycle of works, which he called "Poems in Prose." These are small sketches of a lyrical, philosophical, everyday nature. In them, as in a drop of water, the universe of the writer is reflected. They clearly manifested the motives, style and author's concept of the world, i.e. the writer's idea of ​​what a person is and what is his place and purpose in society and on earth, what is truth, goodness and beauty in art and life.

“Only ... love holds and moves life”

Turgenev could not but know the lines of Nekrasov: "That heart cannot learn to love, which is tired of hating." This position was always alien to Turgenev, although he could respect people who saw hatred as an indispensable companion of love. Among them were many of his personal friends, like the same Nekrasov, people who for him personified the honesty and sincerity of youth in the fight against obsolete orders. But "to preach love with a hostile word of denial" was impossible for him. His ideal was Pushkin's attitude to life, in which love is the highest manifestation of the tragic beauty of the world.

"Noble Nests"

The favorite place of action in Turgenev's works is the "noble nests" with the atmosphere of sublime experiences reigning in them. At the same time, the “nest of nobles” is a model of Russian society, where the fate of a person and the fate of Russia are decided. The noble estate is the knot in which the life of the peasantry and the educated class, old and new are connected, the views of "fathers" and "children" collide here. Finally, the life of the estate is closely connected with the life of nature and obeys its rhythm: spring is a time of hope, summer is of trials, autumn is of gains and losses, and winter personifies death. Turgenev's novels also obey this rhythm. In spring, the action of the novel "Fathers and Sons" begins and ends in winter.

"Nest" is one of the key words in the artistic world of Turgenev. Speaking of "noble nests", we used the name of one of Turgenev's novels. "Nest" is a house. Homelessness is a disaster. Turgenev himself experienced this himself, bitterly saying that he lived "on the edge of someone else's nest", that is, he was forced to spend his life next to the family of the singer and actress Pauline Viardot, whose love was his happiness and drama. Turgenev's "nest" is a symbol of the family, where the connection between generations is not interrupted. The hero of "Fathers and Sons", having learned about the upcoming marriage of his friend, advises studying jackdaws, because the jackdaw is "the most respectable, family bird" ... "Parents' nest" is a place of birth and rest, it encloses life cycle, as it happened with Bazarov.

"Love... is stronger than death and the fear of death"

Unlike Tolstoy and Dostoevsky, Turgenev lacks the motive of resurrection. Death in Turgenev is absolute, it is the abolition of earthly existence, it is the irretrievable dissolution of the soul in nature. Therefore, the situation of the death of Turgenev's hero is in some sense more tragic than that of the great contemporary writers. Gogol dreamed of reviving Chichikov and Plyushkin to spiritual life. Spiritual death and resurrection is experienced by Rodion Raskolnikov. Death becomes an exit to another world for Tolstoy's heroes. Turgenev's physical death is forever. And only the memory of love keeps the irretrievably departed image of a person. Confirmation of this is the finale of the novel "Fathers and Sons".