What is the author's assessment of their behavior. "It's never too late to learn the unknown." Who is the narrator in the story

Mikhail Yurjevich Lermontov.
"Hero of our time"

Before studying the novel “A Hero of Our Time,” you should repeat with your students the facts of Lermontov’s biography related to the era of the 30s of the 19th century, the history of his two exiles to the Caucasus, and clarify how the facts of the writer’s life influenced the creation of the image of Pechorin. The study of the novel will be based on the following arguments:

The main period of Lermontov's creativity is associated with the era of the 30s of the 19th century - the time of reaction and social stagnation after the defeat of the Decembrist uprising. Lermontov gives an emotional characterization of this era in the poem “Duma”. Therefore, the “hero of our time” is the hero of the 30s.

The confrontation between Pechorin and the social environment is revealed not in the plot of the novel, but in the form of a “projection” onto the hero’s inner world, although the events of the novel are based on a real-historical context. Therefore, “A Hero of Our Time” is considered the first socio-psychological novel in Russian literature.

Contradiction is the main character trait of Pechorin, in whose image the extraordinary personality, standing above the society around him, the strength and talent of his thinking and energetic nature, realized in active introspection, the courage and honesty of his character are combined with unbelief, skepticism and individualism, leading to contempt and hostility towards people. The hero is dissatisfied with modern morality and does not believe in friendship and love. But at the same time, he strives to decide his own destiny and be responsible for his behavior.

The main features of Pechorin’s image are helped to reveal the novel’s system of images, each of which in its own way highlights different facets of the hero’s character.

The composition of the novel is specific and complex, combining the features of romanticism and realism: the discrepancy between plot and plot, the introduction of various sources of information about Pechorin, the presence of several narrators, the special role of landscape and subject details.

In a weak class, you can analyze the novel chapter by chapter, following the author.

1st lesson. Pages from Lermontov’s biography and their connection with the plot of the novel “A Hero of Our Time.”

Reading and discussion of key episodes of the chapters “Bela” and “Maksim Maksimych”. lesson. 2nd

Mysteries of Pechorin’s character in the chapter “Taman”. lesson. 3rd

"Princess Mary" Pechorin in the system of images of the chapter. lesson. The philosophical nature of the chapter “Fatalist”.

5th lesson. The composition of the novel as the key to understanding the image of Pechorin. The contradictory character of the hero.

6th lesson. Belinsky about the novel. Preparing for an essay.

In a strong class, the study of the novel should be subordinated to problem analysis, when the novel has been read by schoolchildren in advance and an initial impression of it has already been formed.

1st lesson. The following analysis method can be proposed:

Features of Lermontov’s biography that influenced the features of Pechorin’s image. Mysteries and contradictions of the character of the hero in the chapters “Bela” and “Maksim Maksimych”. Composition, change of narrators, portrait, landscape and their role in revealing the image of Pechorin. 23 th lessons.

"Princess Mary" Pechorin in the system of images of the chapter. lesson.“Pechorin’s Journal” (“Taman”, “Princess Mary”, “Fatalist”).

5th lesson. His role is in revealing the character of the main character.

6th lesson. Analysis of key episodes.

Friendship in the life of Pechorin. Pechorin in the system of images of the novel. Social and psychological parallels of the image of Pechorin with Maxim Maksimych, Grushnitsky, Werner, Vulich.

Love in the life of Pechorin. Female images in the novel and their role in revealing the image of Pechorin. Literary criticism about the image of Pechorin. Preparing for an essay.

We offer a methodology for teaching lessons on the novel according to the second option.

During the lessons, the teacher does not have to use all the tasks we offer. He can differentiate them and select from them those that correspond to the level of literary development of his students, and also offer some of the tasks for independent homework.

LESSON 29.
“Are all the youth there really like that?”
Mysteries of the image of Pechorin in the chapters “Bela” and “Maksim Maksimych”
In the first lesson, you should recall with your students the features of the era in which Lermontov lived, characterize his attitude towards the Caucasus, analyze the key episodes of the chapters “Bela” and “Maksim Maksimych”, and draw conclusions about the mysteries of Pechorin’s character.
Why didn’t Pechorin consider himself to blame in the story with Bela?
How does the inconsistency of Pechorin’s character manifest itself after Bela’s death? What artistic details highlight this?
Read Pechorin’s monologue from the words “Maksim Maksimych,” he answered, “I have an unhappy character” to the words “Are all the youth there really like that?” Compare Pechorin's reasoning about his past with the life story of Onegin. Compare the text of Pechorin’s monologue with Lermontov’s poem “Duma”.
What role do landscape sketches play in the chapter?
How does the character of Maxim Maksimych appear in the chapter? Trace the details of his psychological portrait.

Questions and tasks for discussing the chapter “Maksim Maksimych”

Find in the text details that characterize the psychological state of Maxim Maksimych, waiting for Pechorin.
Read the description of Pechorin's appearance. Prove that this is a psychological portrait. Why do we see the second portrait of Pechorin through the eyes of the author?
Read the episode of Pechorin’s meeting with Maxim Maksimych from the words “I turned to the square and saw Maksim Maksimych running as fast as he could” to the words “his eyes were constantly filling with tears.” By what means does the author depict the psychological state of Pechorin and Maxim Maksimych? Try to comment on the subtext of their dialogue.
Why didn’t Pechorin strive to see Maxim Maksimych? What is the author's assessment of their behavior?
What impression does Pechorin make on the reader?

What traits of his character seem negative to you? What details of the text of chapters 1 and 2 emphasize its positive qualities?

Lesson summary. Pechorin is shown in the chapters “Bela” and “Maksim Maksimych” as a contradictory personality, a person who does not know how to sympathize, who is accustomed to fulfilling only his own desires. Mental callousness, indifference, and inability to value friendship and love make this image unattractive.

However, such an assessment of the image would be shallow and unambiguous if one did not notice touches of sadness and notes of hopelessness in his image. In order to understand the image of Pechorin, you need to understand his soul, his inner world, the motives of his behavior and actions. Pechorin's Journal will help you solve this riddle.

Questions and tasks for discussion of the chapter “Taman”

What is the artistic meaning in the fact that in the chapter “Taman” the hero himself is the narrator?
What surprised Pechorin in the heroes of the chapter “Taman”?
Read the dialogue between the blind man and the undine girl at night on the seashore from the words “So about an hour passed” to the words “I could hardly wait for the morning.” How does Pechorin’s character manifest itself in this episode? Why did he need to “get the key” to the smugglers’ riddle?
Read the portrait of an undine girl.
What assessments does Pechorin give her and how does this characterize him?
Analyze the episode of Pechorin’s fight with the girl in the boat. Assess Pechorin's behavior in this scene.

Why does Pechorin call smugglers “honest”?

Why is he sad at the end of their story?
What does this reveal about his character?
What position of Pechorin in relation to the people around him does the author emphasize?
Questions and tasks for discussing the chapter “Princess Mary”
Why did Pechorin seek Mary's love? How to understand his statement: “What is happiness?
Intense pride"? Is Pechorin consistent in observing this life position?
What are Pechorin's views on friendship? How does this manifest itself in his relationships with people around him? How is Pechorin characterized by his relationship with Werner and Grushnitsky?
Why did Pechorin single out Vera out of all the women?

Find an explanation for this in the diary entries for May 16 and 23.

Note the features of sincerity and pretense in Pechorin’s confession to Mary (from the words “Yes, this has been my fate since childhood” to the words “This will not upset me at all”).
Why does Lermontov introduce into the narrative the idea that Pechorin felt Vulich’s imminent death? Is Vulich looking for death? Is Pechorin looking for death? Why?
How does Pechorina characterize his desire to try his luck? What traits of his personality are revealed in the scene of the capture of a drunken Cossack?
Which character does the title of the chapter refer to? What artistic meaning is revealed in this?
Prove that the chapter “Fatalist” is a philosophical work.

Lesson summary. Pechorin appears in the “Journal” as a man who feels deeply and suffers.

His soul is “spoiled by the light,” and his whole life is a reckoning for his own actions. Pechorin's personality is complex and contradictory. Without wanting it, he becomes the culprit of the misfortunes of others. The author's skill in creating a psychological portrait of Pechorin is manifested in the depiction of his inner life, his introspection, and the plot and compositional features of the novel.

LESSON 32.

“In friendship one is the slave of another.” Friendship in the life of Pechorin. Pechorin in the system of male images of the novel

The focus of the lesson is to reveal the need for images of minor characters to understand Pechorin’s personality.
Lesson work can be subordinated to a group teaching method and the class can be divided into four groups to analyze key episodes.
1st group.

Pechorin and Maxim Maksimych

Re-read Pechorin’s monologue from the chapter “Bela” with the words “I have an unhappy character.”
Why did Pechorin’s confession surprise Maxim Maksimych?
What in the monologue makes the reader suffer and sympathize?

Re-read the scene of Pechorin’s meeting with Maxim Maksimych from the chapter “Maksim Maksimych”.

How does it convey the excitement of Maxim Maksimych and the indifference of Pechorin?
How do Pechorin and Maxim Maksimych relate to each other in the first two chapters? How does the image of Maxim Maksimych set off the image of Pechorin?
What is the role of the image of Werner in understanding the character of Pechorin?

4th group.

Pechorin and Vulich
Reread the scene of the bet between Pechorin and Vulich. Why did Pechorin decide that Vulich did not value his life? Does Pechorin value his life? What meaning is revealed when comparing these images?
How can you evaluate Pechorin’s behavior in the scene of the capture of a drunken Cossack? Why does Vulich still die, but Pechorin remains alive? What is the artistic meaning of such an author's position?

What is the role of the novel's ring composition? Why does it start and end at Fortress N?

The conclusions of the lesson can be presented in the form of a supporting diagram.

The male characters of the novel are Pechorin's doubles and antipodes, but all of them are undoubtedly lower in intelligence, their souls are less deep, their character is weaker, they lack the ability for introspection. LESSON 33.

“I have never become a slave to the woman I love.” Love in Pechorin's life. Female images of the novel and their role in revealing Pechorin’s character

Lermontov takes his hero through the test of love, since this is the highest human value. Each female image highlights a certain facet in Pechorin’s character and performs its own compositional function.

Educational research in the classroom is also organized in groups, and in the process of analyzing key episodes, the essential features of Pechorin’s image in his relationships with women are revealed.

1st group.
Pechorin and Bela
Re-read the compliment song to Pechorin, sung by Bela at her sister’s wedding. How does it indicate Bela’s attitude towards Pechorin? What is unique about her feelings? Why does she initially reject Pechorin’s love?

In what ways did Pechorin achieve Bela’s love?

Why did he lose interest in Bela? Did he really love her?
What is the role of the image of Bela in understanding the character of Pechorin?
2nd group. Pechorin and the undine girl

How does Pechorin talk about the appearance of the undine girl and how does this characterize him?

Reread the scene of Pechorin's fight with the girl in the boat. In what ways was the undine girl superior to Pechorin and in what ways was she inferior to him?
What is the compositional role of her image?
3rd group.

Pechorin and Mary

Analyze the scene of the meeting between Pechorin and Vera in the entry dated May 16 and Vera’s monologue in the entry dated May 23. How can you characterize their feelings for each other?
Re-read Vera's letter to Pechorin, which he received after the duel, and the episode of the pursuit of Vera.
How do we see Pechorin in Vera’s assessment?

in the author's assessment? in self-esteem?

How does the image of Vera help to understand the character of Pechorin?

The female images in Lermontov's novel are undoubtedly higher, purer than Pechorin. They are more integral, sincere natures, able to love and feel deeply. The general results of the lesson can be presented in the form of a supporting diagram made up of quotes.

LESSON 34.

“Pechorin’s soul is not rocky soil” Literary criticism about the image of Pechorin

At the final lesson, students will become familiar with the main provisions of Belinsky’s article on the novel “A Hero of Our Time” and an assessment of the image of Pechorin in modern Lermontov studies, compare the points of view of critics, identify the meaning-forming role of the plot in its discrepancy with the plot of the novel, and formulate the main personality traits of Pechorin.
The main personality traits of Pechorin. Ideological and compositional features of the novel that contribute to understanding the image of Pechorin:
Pechorin analyzes every event of his life and subjects himself to self-analysis of the motives of his behavior.
An analytical mindset is both its strength and its weakness, leading to mental trauma. The author nowhere judges Pechorin, does not pass judgment on him, Pechorin judges himself.
Pechorin's life is a series of incidents, each of which reveals a new facet of his soul, the talent and depth of his personality, but his character has already been formed and does not change, does not develop (“Am I really not the same?” chapter “Maksim Maksimych”, scene farewells). The main principle of Pechorin’s life is freedom, turning into individualism.

LESSONS 3536. Cool essay based on the novel by M. Yu. Lermontov “Hero of Our Time”

1 V. G. Belinsky.

1.What is the essence of the incident in the store? Was there a reason to be offended? What do the saleswoman Rosa, the department manager, and the customers look like? Which of them addresses others on a personal level?

This work is about an ordinary everyday incident, which each of us can be a witness or participant in at any moment: in transport, in a store, in any institution. We are talking about... rudeness, ordinary rudeness. Sashka Ermolaev comes to the store, where the saleswoman, who has revealed herself, accuses him of causing a “scandal” to the entire store yesterday. The weirdo is outraged by this, he tries to prove that the saleswoman was mistaken, but finds no excuse, but is faced with sycophants and offended goes home.

We think this is a sufficient reason to be offended. The saleswoman Rosa looks like a boor and a rude person, the head of the department does not want to understand the essence of the situation, the buyers are fawning. It is Rose who “pokes” the man. Perhaps she knows that she is wrong, but she does not intend to retreat, because she is a pathetic, boorish person.

2. Why did Sashka want to talk to the man in the raincoat? What is the goal, what are Sashka’s intentions? Do you share his position? Why? Follow the development of Sashka’s thoughts. Is it only an offended sense of self-esteem that speaks to him? What else?

Sashka Ermolaev is an amazing person. He was insulted, accused “by the whole store” of something he had not done, but he stubbornly argued that he was not guilty of anything, tried to find out why some people were fawning, and explain to them that there was no need to do that. He didn’t think about any revenge, but on the contrary, thinking about why people behave meanly and flatter someone, he suggested: “It’s in vain that he didn’t figure it out and started to intervene... I’ll actually talk. Maybe he’s lonely.” But after all the humiliation, Sashka is concerned about what is happening in the life of a complete stranger who has unfairly accused him. This characterizes the hero of the story as a trusting, good-natured, generous, honest person, incapable of sycophancy, fair, persistent, seeking and striving for the truth.

3.What is Sashka’s nature, what kind of person is he? What is behind such an Aurish remark: “... Lately I’ve been able to live well, peacefully, I even forgot when I drank... And also because I was holding my daughter’s little hand in my hand...” ? Behind the words of the wife: “Who are you starting a fight with again?.. Again you don’t have a face...”?

Sashka Ermolaev is a vulnerable, sensitive, emotional person. He is very worried about mistakes, he even worries too much, he is constantly “shaking”, “something is boiling in his chest”, he can cry: “Tears welled up in Sashka’s eyes.” And sometimes “tears come” from love, from love for his own daughter, from love for the most precious thing he has.

Sashka is a conscientious, fair person. He fights for the truth, he fights the abnormal.

Perhaps he once drank, fought for his principles, fought, but he gave up for the sake of his family and now his life has improved, he loves his family, he is a kind, sensitive person.

4.Why is the image of a child introduced into the story? What aspects of Sashka’s nature are revealed by his attitude towards his daughter? What role does the girl’s remarks that her aunts and uncles “fuck off” play in the text?

Sashka’s little daughter gives her characterization to all these people in the store: “what a lousy aunt...”, “what lousy uncles.” And it is no coincidence that the writer turns to a child’s vision of the situation. As you know, the truth speaks through the mouth of a baby. Sashka, whose side is the baby on, is sincere, simple, real, open and receptive, vulnerable. The story is dominated by psychological time. The hero’s resentment here is felt to be equivalent to a childish, but serious resentment, which also emerges as a separate image in the story. The dynamics of the hero’s psychological sensations are acutely felt, the feeling of resentment becomes stronger and is equated to physiological pain, that is, this resentment is so palpable!: “resentment pushed into the chest as if with a fist" - this metaphor brings the Resentment to life, the writer uses the technique of anthropomorphization. “His jaw was cramped from resentment,” “his face was burning,” “His jaw was cramped again, his lips were shaking,” “and he was shaking all morning, he was shaking, shook again”, “he was shaking again”, “as much as a tear welled up” - resentment grows in the hero’s soul, and at the end of the story we observe catharsis, the culmination of this resentment. The hero’s speech corresponds to his state at that moment, it is emotional, abrupt, not always clear: “he stands... and starts, for no reason, no reason... for what?” The ellipses, repetitions “I wasn’t in the store yesterday, I wasn’t” indicate Sashka’s strong confusion. Childish naivety, sensitivity, some kind of... then sincere faith, the desire to prove to yourself and others that you are right.

Sashka Ermolaev. The author calls his weirdo hero Sashka (“Sashka Ermolaev was offended...”, “On Saturday morning Sashka...”, “Sashka, dear...”), and not Alexander Ermolaev. With this, Vasily Shukshin defines a crank as a simple person; thanks to the use of such a name, a certain kinship arises, a closeness between the reader and the character. In this story there is no description, neither the appearance of the eccentric, nor his life. Shukshin tells the reader only about one incident that happened to the main character, because the main thing for Vasily Makarovich is to identify the reason why his hero was misunderstood in society, to show his peculiarity.

6. What artistic details of the story reveal the moral atmosphere of society: habitual rudeness, disrespect for the human person, suspicion, bitterness, desire to stigmatize?

The image of a “wall of people”. Appearing as a final one at the end of the episode in the store, it is reinforced by the image of a hammer that appears several times in the last episodes, with which Sashka is going to “break through” to Igor. The hammer here turns out to be the only weapon capable of breaking this human wall. Such echoes allow us to talk about the image of a human wall as the leitmotif of the story under consideration.

7. What is the meaning of the introductory part of the story about grievances, prudence, theatrical swords, and despair? Did you sense the author's irony in it? Doesn't it reveal the writer's attitude towards the type of behavior depicted in Sashka's story? What is it like?

The author voices the position of people who prefer not to fight manifestations of rudeness towards themselves and other people. Many people prefer to silently swallow insults so as not to get involved in this useless business. There is obvious irony in the author's words. The author shows Sashka - a little man - a weirdo, who is trying to find out the reason for his insult, trying to protect his dignity, but he cannot break through the “wall”. The author loves and respects people who have not yet sunk morally, who resist human rudeness and rudeness, and do not limply hide and swallow grievances.

An important thought runs through the entire narrative: you don’t have to fight an insult, you don’t have to fight; you can wisely step aside, not sort things out, not be indignant, not get worked up. Prudence,” Shukshin sneers, “is not a thing from a knight’s chest.” The author seems to invite the reader to dialogue on an everyday topic (everyone has had at least one similar case in their life), but at the same time touches on issues that go beyond the ordinary: about internal culture, conscience, decency.

In this story, Shukshin puts the hero in a situation from which there is almost no way out without compromising his human dignity, and does not give any recipes for what to do. Maybe that’s why his stories are still perceived freshly, with interest; they force you to try on the described situations, weigh, sympathize, and reflect.

*** Additional questions ***

In Vasily Makarovich Shukshin's story "The Resentment" we are talking about an ordinary everyday incident, which each of us can be a witness or participant in at any moment: in transport, in a store, in any institution. This, unfortunately, has become an everyday reality. We are talking about rudeness. Sashka Ermolaev is contrasted with others.

Sashka has a great need for justice and a great faith in it. That's why he's waiting for the man in the cloak. And this character is a narrow-minded, aggressive, cowardly, suspicious person. For him, Sashka is “a damn gateway.” He “stared unkindly at Sashka” and insulted him. There is no visible person in it. This is probably why the author calls it “the cloak” in this episode: “the cloak stopped,” “the cloak rustled.” Why is he like this? Now Sashka is no longer worried about his own resentment, but about a larger question: “What is going on with people?” Apparently, that’s why he didn’t tell his wife anything. He thought about the man in the cloak. What made him like this? Why doesn’t he understand such simple things: you can’t be a coward, you can’t be a toady? I can’t believe that Sashka will be able to explain this to the “cloak” - Chukalov. This episode shows the hero's personality in a new way. His generosity, his willingness to forgive the offender, his ability to root for other people, for all of humanity, inspires respect.

Sashka fails to punish the offender and prove that he is right. The author sympathizes with his hero, but is also proud of him. So Sashka saw his wife running towards him - and the resentment and anger were obscured by anxiety: what happened? Isn't it the case with the children? And the eternal woman’s prayer: “Think about us. Don't you feel sorry for us? – stops Sashka.

And Vera’s words: “Did you want it again? Are you itching again?” - evidence that Sashka has not come to terms with injustice, but has only temporarily given up his position, that again and again he will rebel against lies and slander... Sashka’s moral strength, not weakness, is manifested in the fact that he will not spare himself, but his wife and children he will regret it, stop at the last line... And he will despise himself: “Eh-h... We are shakers, shakers!”

We live among angry, aggressive, rude people. And rudeness, unfortunately, becomes the norm of behavior and communication. If they answered you calmly and kindly, then you perceive this not as the norm, but as a rare and pleasant exception.

And in this world of evil it is becoming more and more difficult to live for each of us and all of us together. Involuntarily, you ask the same question as Vasily Makarovich Shukshin: “People, what is happening to us?”

Yes, what is happening to us? Where are we going? In this fast pace of life, you probably need to find a moment and remember the truth: “You have to be a human being.” Being human...

Preview:

Mikhail Yurjevich Lermontov.
"Hero of our time"

The main features of Pechorin’s image are helped to reveal the novel’s system of images, each of which in its own way highlights different facets of the hero’s character.

In a weak class, you can analyze the novel chapter by chapter, following the author.

1st lesson. Pages from Lermontov’s biography and their connection with the plot of the novel “A Hero of Our Time.” Reading and discussion of key episodes of the chapters “Bela” and “Maksim Maksimych”.

2nd lesson. Mysteries of Pechorin’s character in the chapter “Taman”.

3rd lesson. "Princess Mary" Pechorin in the system of images of the chapter.

4th lesson. The philosophical nature of the chapter “Fatalist”.

Lesson 5 The composition of the novel as the key to understanding the image of Pechorin. The contradictory character of the hero.

6th lesson. Belinsky about the novel. Preparing for an essay.

1st lesson. Features of Lermontov’s biography that influenced the features of Pechorin’s image. Mysteries and contradictions of the character of the hero in the chapters “Bela” and “Maksim Maksimych”. Composition, change of narrators, portrait, landscape and their role in revealing the image of Pechorin.

Lessons 2-3. “Pechorin’s Journal” (“Taman”, “Princess Mary”, “Fatalist”). His role is in revealing the character of the main character. Analysis of key episodes.

4th lesson. Friendship in the life of Pechorin. Pechorin in the system of images of the novel. Social and psychological parallels of the image of Pechorin with Maxim Maksimych, Grushnitsky, Werner, Vulich.

Lesson 5 Love in the life of Pechorin. Female images in the novel and their role in revealing the image of Pechorin.

6th lesson. Literary criticism about the image of Pechorin. Preparing for an essay.

We offer a methodology for teaching lessons on the novel according to the second option. During the lessons, the teacher does not have to use all the tasks we offer. He can differentiate them and select from them those that correspond to the level of literary development of his students, and also offer some of the tasks for independent homework.

LESSON. “Are all the youth there really like that?” Mysteries of the image of Pechorin in the chapters “Bela” and “Maksim Maksimych”

In the first lesson, you should recall with your students the features of the era in which Lermontov lived, characterize his attitude towards the Caucasus, analyze the key episodes of the chapters “Bela” and “Maksim Maksimych”, and draw conclusions about the mysteries of Pechorin’s character.

Questions and tasks for discussing the chapter “Bela”

How many narrators are there in the story? What is the artistic significance of changing narrators?
How can the inconsistency of his character be discerned in the first portrait of Pechorin, given by Maxim Maksimych?
Why is Bela’s story, which happened in the past, constantly interrupted by evaluative remarks from Maxim Maksimych and the author, taking place in the present?
Analyze the dialogue between Maxim Maksimych and Bela from the words “Where is Pechorin?” to the words “fell on the bed and covered her face with her hands.” What artistic means does the author use to reveal the psychological state of the characters? How is Pechorin indirectly characterized in the subtext of the dialogue?
Why didn’t Pechorin consider himself to blame in the story with Bela?
How does the inconsistency of Pechorin’s character manifest itself after Bela’s death? What artistic details highlight this?
Read Pechorin’s monologue from the words “Maksim Maksimych,” he answered, “I have an unhappy character” to the words “Are all the youth there really like that?” Compare Pechorin's reasoning about his past with the life story of Onegin. Compare the text of Pechorin’s monologue with Lermontov’s poem “Duma”.
What role do landscape sketches play in the chapter?
How does the character of Maxim Maksimych appear in the chapter? Trace the details of his psychological portrait.

Questions and tasks for discussing the chapter “Maksim Maksimych”

Find in the text details that characterize the psychological state of Maxim Maksimych, waiting for Pechorin.
Read the description of Pechorin's appearance. Prove that this is a psychological portrait. Why do we see the second portrait of Pechorin through the eyes of the author?
Read the episode of Pechorin’s meeting with Maxim Maksimych from the words “I turned to the square and saw Maksim Maksimych running as fast as he could” to the words “his eyes were constantly filling with tears.” By what means does the author depict the psychological state of Pechorin and Maxim Maksimych? Try to comment on the subtext of their dialogue.
Why didn’t Pechorin strive to see Maxim Maksimych? What is the author's assessment of their behavior?
What impression does Pechorin make on the reader? What traits of his character seem negative to you? What details of the text of chapters 1-2 emphasize its positive qualities?

Lesson summary. Pechorin is shown in the chapters “Bela” and “Maksim Maksimych” as a contradictory personality, a person who does not know how to sympathize, who is accustomed to fulfilling only his own desires. Mental callousness, indifference, and inability to value friendship and love make this image unattractive. However, such an assessment of the image would be shallow and unambiguous if one did not notice touches of sadness and notes of hopelessness in his image. In order to understand the image of Pechorin, you need to understand his soul, his inner world, the motives of his behavior and actions. Pechorin's Journal will help you solve this riddle.

LESSONS. “Why did I live?” “Pechorin’s Journal” as a means of self-disclosure of his character

During the lessons you can watch how the author reveals the soul of his hero through his introspection. To do this, the lesson will focus on the interpretation of key episodes from chapters from Pechorin's Journal, explaining the mysteries of his character.

Questions and tasks for discussion of the chapter “Taman”

What is the artistic meaning in the fact that in the chapter “Taman” the hero himself is the narrator?
What surprised Pechorin in the heroes of the chapter “Taman”? Read the dialogue between the blind man and the undine girl at night on the seashore from the words “So about an hour passed” to the words “I could hardly wait for the morning.” How does Pechorin’s character manifest itself in this episode? Why did he need to “get the key” to the smugglers’ riddle?
Read the portrait of an undine girl. What assessments does Pechorin give her and how does this characterize him?
Analyze the episode of Pechorin’s fight with the girl in the boat. Assess Pechorin's behavior in this scene.
Why does Pechorin call smugglers “honest”? Why is he sad at the end of their story? What does this reveal about his character?
What position of Pechorin in relation to the people around him does the author emphasize?

Questions and tasks for discussing the chapter “Princess Mary”

Why did Pechorin seek Mary's love? How to understand his statement: “What is happiness? Intense pride"? Is Pechorin consistent in observing this life position?
What are Pechorin's views on friendship? How does this manifest itself in his relationships with people around him? How is Pechorin characterized by his relationship with Werner and Grushnitsky?
Why did Pechorin single out Vera out of all the women? Find an explanation for this in the diary entries for May 16 and 23.
Note the features of sincerity and pretense in Pechorin’s confession to Mary (from the words “Yes, this has been my fate since childhood” to the words “This will not upset me at all”).
Read the episode of Pechorin and Mary crossing a mountain river (entry dated June 12). How does Mary’s explanation with Pechorin reveal the intelligence and originality of her character?
Read the post from June 14th. How does Pechorin explain the changes in himself and how does this characterize him?
Read Pechorin's internal monologue before the duel (entry dated June 16). Is Pechorin sincere in this confession or is he being disingenuous even to himself?
Why is the story about the duel given by the author in the memoirs of Pechorin (a month and a half later in fortress N)? What is Pechorin's behavior during the duel? What positive and negative does the author emphasize in his image? Is it possible to sympathize with the hero or is he worthy of condemnation? How is Lermontov's skill demonstrated in depicting the life and psychology of people in this episode?

Questions and tasks for discussing the chapter “Fatalist”

What is Vulich’s attitude towards predetermination in fate? at Pechorin? from the author? Which of them has it ambiguous and why?
Why does Lermontov introduce into the narrative the idea that Pechorin felt Vulich’s imminent death? Is Vulich looking for death? Is Pechorin looking for death? Why?
How does Pechorina characterize his desire to try his luck? What traits of his personality are revealed in the scene of the capture of a drunken Cossack?
Which character does the title of the chapter refer to? What artistic meaning is revealed in this?
Prove that the chapter “Fatalist” is a philosophical work.

Lesson summary. Pechorin appears in the “Journal” as a man who feels deeply and suffers. His soul is “spoiled by the light,” and his whole life is a retribution for his own actions. Pechorin's personality is complex and contradictory. Without wanting it, he becomes the culprit of the misfortunes of others. The author's skill in creating a psychological portrait of Pechorin is manifested in the depiction of his inner life, his introspection, and the plot and compositional features of the novel.

LESSON. “In friendship one is the slave of another.” Friendship in the life of Pechorin. Pechorin in the system of male images of the novel

The focus of the lesson is to reveal the need for images of minor characters to understand Pechorin’s personality. Lesson work can be subordinated to a group teaching method and the class can be divided into four groups to analyze key episodes.

1st group. Pechorin and Maxim Maksimych

Re-read Pechorin’s monologue from the chapter “Bela” with the words “I have an unhappy character.” Why did Pechorin’s confession surprise Maxim Maksimych? What in the monologue makes the reader suffer and sympathize?
Re-read the scene of Pechorin’s meeting with Maxim Maksimych from the chapter “Maksim Maksimych”. How does it convey the excitement of Maxim Maksimych and the indifference of Pechorin?
How do Pechorin and Maxim Maksimych relate to each other in the first two chapters? How does the image of Maxim Maksimych set off the image of Pechorin?

2nd group. Pechorin and Grushnitsky

Re-read the entry in Pechorin’s journal dated June 5th. What caused the conflict between Pechorin and Grushnitsky? Why was Grushnitsky’s character unpleasant to Pechorin and why didn’t those around him notice?
Assess the behavior of Pechorin and Grushnitsky during the duel. What can be said about the nobility and baseness of their characters?
What is the compositional role of Grushnitsky’s image?

3rd group. Pechorin and Werner

Re-read the dialogue between Pechorin and Werner in the entry dated May 13. What is common in their intellectual development and attitude to life?
Re-read Werner's note to Pechorin after the duel and the description of their last meeting. In what ways was Pechorin morally superior to Werner?
What is the role of the image of Werner in understanding the character of Pechorin?

4th group. Pechorin and Vulich

Reread the scene of the bet between Pechorin and Vulich. Why did Pechorin decide that Vulich did not value his life? Does Pechorin value his life? What meaning is revealed when comparing these images?
How can you evaluate Pechorin’s behavior in the scene of the capture of a drunken Cossack? Why does Vulich still die, while Pechorin remains alive? What is the artistic meaning of such an author's position?
What is the role of the novel's ring composition? Why does it start and end at Fortress N?

The male characters of the novel are Pechorin’s doubles and antipodes, but all of them are undoubtedly lower in intelligence, their souls are less deep, their character is weaker, they lack the ability for introspection.

LESSON “I have never become a slave to the woman I love.” Love in the life of Pechorin. Female images of the novel and their role in revealing Pechorin’s character

1st group. Pechorin and Bela

Re-read the compliment song to Pechorin, sung by Bela at her sister’s wedding. How does it indicate Bela’s attitude towards Pechorin? What is unique about her feelings? Why does she initially reject Pechorin's love?
In what ways did Pechorin achieve Bela’s love? Why did he lose interest in Bela? Did he really love her?
What is the role of the image of Bela in understanding the character of Pechorin?

2nd group. Pechorin and the undine girl

How does Pechorin talk about the appearance of the undine girl and how does this characterize him?
Reread the scene of Pechorin's fight with the girl in the boat. In what ways was the undine girl superior to Pechorin and in what ways was she inferior to him?
What is the compositional role of her image?

3rd group. Pechorin and Mary

Re-read the scene of Pechorin and Mary crossing the mountain river. What is Mary's moral superiority over Pechorin? Re-read the entry in the Journal dated June 3. How does Pechorin explain his relationship with Mary?
Analyze the scene of Pechorin and Mary’s explanation at the end of the chapter. How does Pechorin’s character manifest itself in this scene? Why did he still decide to duel over Mary?
What is the compositional meaning of Mary's image?

4th group. Pechorin and Vera

Analyze the scene of the meeting between Pechorin and Vera in the entry dated May 16 and Vera’s monologue in the entry dated May 23. How can you characterize their feelings for each other?
Re-read Vera's letter to Pechorin, which he received after the duel, and the episode of the pursuit of Vera. How do we see Pechorin in Vera’s assessment? in the author's assessment? in self-esteem?
How does the image of Vera help to understand the character of Pechorin?

The female images in Lermontov's novel are undoubtedly higher, purer than Pechorin. They are more integral, sincere natures, able to love and feel deeply.

The general results of the lesson can be presented in the form of a supporting diagram made up of quotes.

LESSON 34. “Pechorin’s soul is not rocky soil...”Literary criticism about the image of Pechorin

At the final lesson, students will become familiar with the main provisions of Belinsky’s article on the novel “A Hero of Our Time” and an assessment of the image of Pechorin in modern Lermontov studies, compare the points of view of critics, identify the meaning-forming role of the plot in its discrepancy with the plot of the novel, and formulate the main personality traits of Pechorin.

The main personality traits of Pechorin. Ideological and compositional features of the novel that contribute to understanding the image of Pechorin:

Pechorin analyzes every event of his life and subjects himself to self-analysis of the motives of his behavior. An analytical mindset is both its strength and its weakness, leading to mental trauma. The author nowhere judges Pechorin, does not pass judgment on him, Pechorin judges himself.
Pechorin’s life is a series of incidents, each of which reveals a new facet of his soul, the talent and depth of his personality, but his character has already been formed and does not change, does not develop (“Am I really not the same?” - chapter “Maksim Maksimych”, scene farewells). The main principle of Pechorin’s life is freedom, turning into individualism.
The novel is similar in plot and compositional features to a romantic poem, and the main character is depicted in accordance with the principles of creating heroes of romantic poems (lack of information about the past, depiction of it at moments of highest tension, static image of the hero, the inner life of the hero is deep and cannot be revealed until end).
Pechorin's character does not change, but the change of narrators creates the appearance of Pechorin's personality from different points of view. The ring composition of the novel is symbolic. It shows the futility of the protagonist’s quest (compare with the ring composition of the poem “Mtsyri”).
“A Hero of Our Time” is a social, philosophical and psychological novel that reveals the vices of the lost generation of the 30s of the 19th century.

LESSONS 35-36. Cool essay based on the novel by M. Yu. Lermontov “Hero of Our Time”

Preview:

Pechorin
Character traits	Resolving the situation	Situation
			Maxim Maksimych
			Bela
			Grushnitsky
			Princess Mary
			Werner
			Faith
			Vulich

Preview:

Option 2.

First name and patronymic Pechorin:

a) year; b) month; c) week.

a) 25; b) 21; c) 18.

Grushnitsky's life goal:

a) Faith; b) Mary; c) Bela.

a) 32; b) 18; at 6.

What was the name of Vulich's killer?

Pechorin's title.

Smuggler's name:

a) Ivan; b) Yanko; c) Dmitro.

Grushnitsky's age.

Crazy cold observations

And hearts of sorrowful notes.

a) shot himself with a revolver; b) disarmed the distraught Cossack; c) jumped into the sea.

Werner's nationality:

a) German; b) Russian; c) Englishman.

Test for knowledge of the novel by M. Yu. Lermontov “A Hero of Our Time”

Option 2.

First name and patronymic Pechorin:

a) Grigory Alexandrovich; b) Sergey Ivanovich; c) Alexander Grigorievich.

How many days after the bet between Maxim Maksimych and Pechorin did Bela fall in love with Pechorin?

a) year; b) month; c) week.

How did Pechorin react to Bela's death?

a) cried; b) got angry; c) burst out laughing.

How old is the smuggler girl?

a) 25; b) 21; c) 18.

At the beginning of the story “Princess Mary” Grushnitsky - ...

a) cadet; b) ensign; c) lieutenant.

Grushnitsky's life goal:

a) become the hero of a novel; b) show heroism in battle; c) rise to the rank of general.

The name of a woman whose memory will remain with Pechorin for the rest of his life, according to his own statement.

a) Faith; b) Mary; c) Bela.

Who suggested playing a joke on Pechorin during the duel?

a) Grushnitsky; b) dragoon captain; c) Werner.

At how many steps did Pechorin and Grushnitsky shoot?

a) 32; b) 18; at 6.

What was the name of Vulich's killer?

a) Efimych; b) Ivanovich; c) Grigoryich.

Pechorin's title.

a) lieutenant; b) ensign; c) captain.

Smuggler's name:

a) Ivan; b) Yanko; c) Dmitro.

Grushnitsky's age.

a) 25 years old; b) 18 years old; c) 21 years old.

Which poet does Pechorin quote:

Crazy cold observations

And hearts of sorrowful notes.

a) A.S. Griboyedov; b) A.S. Pushkin; c) M.Yu. Lermontov.

What book did Pechorin read before the duel?

a) N.M. Karamzin “Poor Liza”; b) W. Scott “Scottish Puritans”; c) W. Scott “Ivanhoe”.

From whom did Pechorin receive notes after the duel?

a) from Vera; b) from Werner; c) from Mary.

The only passion of Lieutenant Vulich...

a) women; b) game; c) tobacco.

How did Pechorin check his destiny?

Taman is...

a) A.S. Griboyedov; b) A.S. Pushkin; c) M.Yu. Lermontov.

Bela's nationality.

How old is Pechorin?

a) 18; b) 25; c) 40.

How did Bela die?

How did Vulich die?

Who is Werner?

a) horse; b) checker; c) saddle.

Test for knowledge of the novel by M. Yu. Lermontov “A Hero of Our Time”

Option 1.

The title of Maxim Maksimych.

a) Staff captain; b) lieutenant; c) private.

How old was Azamat?

a) 15; b) 20; at 10 o'clock.

How did Kazbich take revenge for Karagyoz?

a) Killed Bela; b) killed Azamat; c) killed Bela's father.

Taman is...

a) small town; b) village; c) region.

Which poet does Pechorin quote?

But mixing these two crafts

There are a lot of hunters - I'm not one of them.

a) A.S. Griboyedov; b) A.S. Pushkin; c) M.Yu. Lermontov.

Who does Pechorin compare himself to?

a) with a sailor who grew up on the deck of a robber brig; b) with a bird soaring above; c) with the hero of the novel.

Why did Pechorin bet with Vulich?

a) there is destiny; b) there is no fate; c) no one knows if there is a destiny.

The reason for the duel between Pechorin and Grushnitsky.

a) Grushnitsky slandered Mary; b) Pechorin’s date with Vera; c) Grushnitsky found out that Mary loves Pechorin.

Bela's nationality.

a) Circassian; b) Georgian; c) Ossetian.

How old is Pechorin?

a) 18; b) 25; c) 40.

How did Bela die?

a) Kazbich shot; b) Pechorin shot; c) Kazbich stabbed to death with a dagger.

The action in the story “Princess Mary” takes place...

a) in Pyatigorsk; b) in Tiflis; c) in Kislovodsk.

What dances did Pechorin dance with Mary?

a) waltz; b) mazurka; c) square dance; d) cotillion.

How did Vulich die?

a) shot himself; b) hacked to death by a drunken Cossack; c) in a duel.

Who is Werner?

a) Vera’s husband; b) friend of Pechorin; c) friend of Grushnitsky.

What did Pechorin do with the carpet that the Princess bought in advance?

a) hung it in the office; b) covered the horse with it; c) gave it to Vera.

Where was Pechorin going when he last met Maxim Maksimych?

a) to the Caucasus; b) to Persia; c) to Turkey.

What did Azamat ask Kazbich in exchange for his sister?

a) horse; b) checker; c) saddle.

19. Who, according to the traveling officer, “introduced the fashion of being bored”?

a) English; b) Germans; c) Italians.

“PECULIARITIES OF A TEACHER’S WORK IN DIFFERENT TYPES OF LITERATURE LESSONS, OPTION FOR DISTRIBUTION OF CLASSROOM HOURS ACCORDING TO THE TOPICS OF THE 10TH GRADE CURRICULUM...”

-- [ Page 2 ] --

2. How can the inconsistency of his character be discerned in the first portrait of Pechorin, given by Maxim Maksimych?

3. Why is Bela’s story, which happened in the past, constantly interrupted by evaluative remarks from Maxim Maksimych and the author, taking place in the present?

4. Analyze the dialogue between Maxim Maksimych and Bela from the words “Where is Pechorin?” to the words “fell on the bed and covered her face with runes.” What artistic means does the author use to reveal the psychological state of the characters? How is Pechorin indirectly characterized in the subtext of the dialogue?

5. Why didn’t Pechorin consider himself to blame in the story with Bela?

6. How does the inconsistency of Pechorin’s character manifest itself after Bela’s death? What artistic details highlight this?

7. Read Pechorin’s monologue from the words “Maksim Maksimych,” he answered, “I have an unhappy character” to the words “Are all the youth there really like that?” Compare Pechorin's reasoning about his past with the life story of Onegin. Compare the text of Pechorin’s monologue with Lermontov’s poem “Duma”.

8. What role do landscape sketches play in the chapter?

9. How does the character of Maxim Maksimych appear in the chapter? Trace the details of his psychological portrait.

Questions and tasks for discussing the chapter “Maksim Maksimych”

1. Find in the text details that characterize the psychological state of Maxim Maksimych, waiting for Pechorin.

2. Read the description of Pechorin’s appearance. Prove that this is a psychological portrait. Why do we see the second portrait of Pechorin through the eyes of the author?

3. Read the episode of Pechorin’s meeting with Maxim Maksimych from the words “I turned to the square and saw Maksim Maksimych running as fast as he could” to the words “his eyes were constantly filling with tears.” By what means does the author depict the psychological state of Pechorin and Maxim Maksimych?

Try to comment on the subtext of their dialogue.

4. Why didn’t Pechorin strive to see Maxim Maksimych? What is the author's assessment of their behavior?

5. What impression does Pechorin make on the reader? What traits of his character seem negative to you? What details of the text of chapters 1-2 emphasize its positive qualities?

Lesson summary. Pechorin is shown in the chapters “Bela” and “Maksim Maksimych”

a contradictory personality, a person who does not know how to sympathize, who is accustomed to fulfilling only his own desires. Mental callousness, indifference, and inability to value friendship and love make this image unattractive. However, such an assessment of the image would be shallow and unambiguous if one did not notice touches of sadness and notes of hopelessness in his image. In order to understand the image of Pechorin, you need to understand his soul, his inner world, the motives of his behavior and actions. Pechorin's Journal will help you solve this riddle.

LESSONS 30-31. “Why did I live?” “Pechorin’s Journal” as a means of self-disclosure of his character. In the lessons you can observe how the author reveals the soul of his hero through his introspection. To do this, the lesson will focus on the interpretation of key episodes from chapters from Pechorin's Journal, explaining the mysteries of his character.

Questions and tasks for discussion of the chapter “Taman”

1. What is the artistic meaning in the fact that in the chapter “Taman” the hero himself is the narrator?

2. What surprised Pechorin in the heroes of the chapter “Taman”? Read the dialogue between the blind man and the undine girl at night on the seashore from the words “So about an hour passed” to the words “I could hardly wait for the morning.” How does Pechorin’s character manifest itself in this episode? Why did he need to “get the key” to the smugglers’ riddle?

3. Read the portrait of an undine girl. What assessments does Pechorin give her and how does this characterize him?

4. Analyze the episode of Pechorin’s fight with the girl in the boat. Assess Pechorin's behavior in this scene.

5. Why does Pechorin call smugglers “honest”? Why is he sad at the end of their story? What does this reveal about his character?

6. What position of Pechorin in relation to the people around him does the author emphasize?

Questions and tasks for discussing the chapter “Princess Mary”

1. Why did Pechorin seek Mary’s love? How to understand his statement: “What is happiness? Intense pride"? Is Pechorin consistent in observing this life position?

2. What are Pechorin’s views on friendship? How does this manifest itself in his relationships with people around him?

How is Pechorin characterized by his relationship with Werner and Grushnitsky?

3. Why did Pechorin single out Vera out of all the women? Find an explanation for this in the diary entries for May 16 and 23.

4. Note the features of sincerity and pretense in Pechorin’s confession to Mary (from the words “Yes, this has been my fate since childhood” to the words “This will not upset me at all”).

5. Read the episode of Pechorin and Mary crossing a mountain river (entry dated June 12). How does Mary’s explanation with Pechorin reveal the intelligence and originality of her character?

6. Read the entry dated June 14. How does Pechorin explain the changes in himself and how does this characterize him?

7. Read Pechorin’s internal monologue before the duel (entry dated June 16). Is Pechorin sincere in this confession or is he being disingenuous even to himself?

What is Pechorin's behavior during the duel? What positive and negative does the author emphasize in his image? Is it possible to sympathize with the hero or is he worthy of condemnation? How is Lermontov's skill demonstrated in depicting the life and psychology of people in this episode?

Questions and tasks for discussing the chapter “Fatalist”

1. What is Vulich’s attitude towards predetermination in fate? at Pechorin? from the author? Which of them has it ambiguous and why?

2. Why does Lermontov introduce into the narrative the idea that Pechorin felt Vulich’s imminent death?

Is Vulich looking for death? Is Pechorin looking for death? Why?

3. How does Pechorin characterize his desire to try his luck? What traits of his personality are revealed in the scene of the capture of a drunken Cossack?

4. Which character does the title of the chapter refer to? What artistic meaning is revealed in this?

5. Prove that the chapter “Fatalist” is a philosophical work.

Lesson summary. Pechorin appears in the “Journal” as a man who feels deeply and suffers. His soul is “spoiled by the light”, and his whole life is a retribution for his own actions. Pechorin's personality is complex and contradictory. Without wanting it, he becomes the culprit of the misfortunes of others. The author's skill in creating a psychological portrait of Pechorin is manifested in the depiction of his inner life, his introspection, and the plot-compositional features of the novel.

LESSON 32. “In friendship, one is the slave of another.”

Friendship in the life of Pechorin.

Pechorin in the system of male images of the novel The lesson is centered on revealing the need for images of minor characters to understand Pechorin’s personality. Lesson work can be subordinated to a group teaching method and the class can be divided into four groups to analyze key episodes.

1st group. Pechorin and Maxim Maksimych

1. Re-read Pechorin’s monologue from the chapter “Bela” from the words “I have an unhappy character.” Why did Pechorin’s confession surprise Maxim Maksimych? What in the monologue makes the reader suffer and sympathize?

2. Re-read the scene of Pechorin’s meeting with Maxim Maksimych from the chapter “Maksim Maksimych”. How does it convey the excitement of Maxim Maksimych and the indifference of Pechorin?

3. How do Pechorin and Maxim Maksimych relate to each other in the first two chapters? How does the image of Maxim Maksimych set off the image of Pechorin?

2nd group. Pechorin and Grushnitsky

1. Re-read the entry in Pechorin’s journal dated June 5. What caused the conflict between Pechorin and Grushnitsky? Why was Grushnitsky’s character unpleasant to Pechorin and why didn’t those around him notice?

2. Assess the behavior of Pechorin and Grushnitsky during the duel. What can be said about the nobility and baseness of their characters?

3. What is the compositional role of Grushnitsky’s image?

3rd group. Pechorin and Werner

1. Re-read the dialogue between Pechorin and Werner in the entry dated May 13. What is common in their intellectual development and attitude to life?

2. Re-read Werner’s note to Pechorin after the duel and the description of their last meeting. In what ways was Pechorin morally superior to Werner?

3. What is the role of the image of Werner in understanding the character of Pechorin?

4th group. Pechorin and Vulich

1. Reread the scene of the bet between Pechorin and Vulich. Why did Pechorin decide that Vulich did not value his life? Does Pechorin value his life? What meaning is revealed when comparing these images?

2. How can you evaluate Pechorin’s behavior in the scene of the capture of a drunken Cossack? Why does Vulich still die, while Pechorin remains alive? What is the artistic meaning of such an author's position?

3. What is the role of the novel’s ring composition? Why does it start and end at Fortress N?

The conclusions of the lesson can be presented in the form of a supporting diagram.

LESSON 33. “I have never become a slave to the woman I love.”

Love in the life of Pechorin. Female images of the novel and their role in revealing the character of Pechorin Lermontov leads his hero through the test of love, since this is the highest human value. Each female image highlights a certain facet in Pechorin’s character and performs its own compositional function.

1st group. Pechorin and Bela

1. Re-read the compliment song to Pechorin, sung by Bela at her sister’s wedding. How does it indicate Bela’s attitude towards Pechorin? What is unique about her feelings? Why does she initially reject Pechorin's love?

2. In what ways did Pechorin achieve Bela’s love? Why did he lose interest in Bela? Did he really love her?

3. What is the role of the image of Bela in understanding the character of Pechorin?

– – –

1. How does Pechorin talk about the appearance of the undine girl and how does this characterize him?

2. Re-read the scene of Pechorin’s fight with the girl in the boat. In what ways was the undine girl superior to Pechorin and in what ways was she inferior to him?

3. What is the compositional role of her image?

– – –

1. Re-read the scene of Pechorin and Mary crossing a mountain river. What is Mary’s moral superiority over Pechorin? Re-read the entry in the Journal dated June 3. How does Pechorin explain his relationship with Mary?

2. Analyze the scene of Pechorin and Mary’s explanation at the end of the chapter. How does Pechorin’s character manifest itself in this scene? Why did he still decide to duel over Mary?

3. What is the compositional meaning of Mary’s image?

4th group. Pechorin and Vera

1. Analyze the scene of the meeting between Pechorin and Vera in the entry dated May 16 and Vera’s monologue in the entry dated May 23.

How can you characterize their feelings for each other?

2. Re-read Vera’s letter to Pechorin, which he received after the duel, and the episode of the pursuit of Vera. How do we see Pechorin in Vera’s assessment? in the author's assessment? in self-esteem?

3. How does the image of Vera help to understand the character of Pechorin?

The female images in Lermontov's novel are undoubtedly higher, purer than Pechorin. They are more integral, sincere natures, able to love and feel deeply.

The general results of the lesson can be presented in the form of a supporting diagram made up of quotes.

LESSON 34. “Pechorin’s soul is not rocky soil...”1 Literary criticism about the image of Pechorin In the final lesson, students will become familiar with the main provisions of Belinsky’s article on the novel “A Hero of Our Time” and an assessment of the image of Pechorin in modern Lermontov studies, compare the points of view of critics, and identify the meaning-forming role the plot in its discrepancy with the plot of the novel, will formulate the main personality traits of Pechorin.

The main personality traits of Pechorin.

Ideological and compositional features of the novel that contribute to understanding the image of Pechorin:

1. Pechorin analyzes every event of his life and subjects himself to self-analysis of the motives of his behavior. An analytical mindset is both his strength and his weakness, leading to mental trauma. The author nowhere judges Pechorin, does not pass judgment on him, Pechorin judges himself.

2. Pechorin’s life is a series of incidents, each of which reveals a new facet of his soul, the talent and depth of his personality, but his character has already been formed and does not change, does not develop (“Am I really not the same?” - chapter “Maksim Maksimych” , farewell scene). The main principle of Pechorin's life is freedom, turning into individualism.

3. The novel is similar in plot and compositional features to a romantic poem, and the main character is depicted in accordance with the principles of creating heroes of romantic poems (lack of information about the past, depiction of it at moments of highest tension, static image of the hero, the inner life of the hero is deep and cannot be fully opened).

4. Pechorin’s character does not change, but the change of narrators creates the appearance of Pechorin’s personality from different points of view. The ring composition of the novel is symbolic. It shows the futility of the protagonist’s quest (compare with the ring composition of the poem “Mtsyri”).

5. “A Hero of Our Time” is a social, philosophical and psychological novel that reveals the vices of the lost generation of the 30s of the 19th century.

LESSONS 35-36. Cool essay based on the novel by M. Yu. Lermontov “Hero of Our Time”

V. G. Belinsky.

Nikolai Vasilyevich Gogol LESSON 37. “I would like... to show at least one side of all of Rus'...” A word about Gogol. The concept of "Dead Souls"

In the first lesson, it is necessary to give a general idea of the writer’s personality, his creative path, focusing especially on Gogol’s choice of his life path and his future activities. At the same time, it is necessary to rely on previously studied and repeat with schoolchildren information about the collections “Evenings on a Farm near Dikanka”, “Mirgorod”, “Petersburg Tales”, and about the comedy “The Inspector General”.

Already from his earliest years, Gogol’s correspondence contains remarks about his future career: “I will become a famous person” - he is trying to enter the theater; “A wide range of actions awaits me” - service in the state Department of Appanages;

“I will even do something for the common good” - lecturing on general history at St. Petersburg University; “The purpose of a person is to serve, and all life is service” - “but as soon as I felt that in the field of a writer I could also serve in public service, I left everything: my previous positions, and St. Petersburg, and the society of people close to me, and Russia itself , then to discuss, far away and in solitude from everyone, how to do this, how to produce my creation in such a way that it would show that I was also a citizen of my land and wanted to serve it.”

At the second stage of the lesson there should be a story about the history of the creation of “Dead Souls”.

The chronology of work on the poem is clearly visible in Gogol’s correspondence:

1835, October - “I began to write “Dead Souls”... I want to show all of Rus' from one side in this novel.”

1836, November - “I redid everything I started again, thought over the entire plan and now I write it calmly, like a chronicle... What a huge, what an original plot! All Rus' will appear in it!”

1837, April - “I must continue the great work I began, which Pushkin took from me to write... and which has since become a sacred testament for me.”

1840, October - “The plot, which I had been lazily holding in my head lately, not daring even to tackle it, unfolded before me in such greatness that everything in me felt a sweet thrill.”

1842, May - ““Dead Souls” is a slightly pale threshold of that great poem that is being built in me and will finally solve the riddle of my existence.”

Determine how the writer's intentions changed. How did he feel about his work?

Thus, Gogol dedicates his great work to Russia, to the Motherland, and hence that affirming pathos, the ardent lyrical feeling that permeates the entire narrative: “Isn’t it so for you, Rus', that you are rushing along like a brisk, unstoppable troika?.. And, looking askance, they turn aside and other peoples and states make way for it.”

Let us pay attention to Gogol’s humorous remark in the 11th chapter of “Dead Souls”, where he does not want to quarrel with his hero, because “the two of them will still have to travel a long way and road, hand in hand; two large parts in front are not a trifle.”

“Two big parts ahead” - what is it about? The fact is that Gogol conceived a work consisting of three volumes. The writer struggled over the second part of the novel to the point of exhaustion, to despair, but in 1845 the second volume, already written, was burned.

In 1848, work began again on the second volume of Dead Souls, and again it was burned. What happened? Why? Gogol decided that the prophetic word of truth had failed, that he could no longer give anything to Russia, and not only refused to continue the poem - he also abandoned his life. He refused medicine and food and died on March 4, 1852. “The second volume of Dead Souls became for Gogol an ascetic cell, where he fought and suffered until they carried him out lifeless,” said one of Gogol’s closest friends, P. V. Annenkov.

The writer saw his work on a par with Dante’s “Divine Comedy”, consisting of three parts: “Hell”, “Purgatory”, “Paradise”. It was on this road (volume 1 - hell, volume 2 - purgatory, volume 3 - heaven) that Gogol decided to take his hero, because he believed in the spiritual rebirth of everyone - this path is open to everyone, and even Plyushkin, “ if they want." The teacher will have to at least briefly tell students about the composition and ideological content of Dante’s “Divine Comedy” and include in the lesson information about the inhabitants of the different circles of hell. These can be short messages from specially trained students.

LESSONS 38-39. "These insignificant people." Images of landowners in “Dead Souls”

Traditionally, Gogol’s “Dead Souls” is considered at school from the perspective of V. G. Belinsky as a satirical and socially accusatory work. During the lessons, the characteristics of Manilov, Korobochka, Nozdrev, Sobakevich, Plyushkin are compiled according to plan: a description of the house, village, owner, dinner, deal, since chapters 2-6 are distinguished by their general composition. The general conclusions boil down to the fact that in the images of landowners Gogol showed the history of the impoverishment of the human soul. Freaky landowners emerge: “a head of sugar, not a man” Manilov; “club-headed” Box;

“historical man” and spendthrift Nozdryov; a parody of the hero, “all cut down from wood” Sobakevich; “a hole in humanity” Plyushkin.

This way of studying under certain conditions may be appropriate and advisable. But, having looked at the poem from the standpoint of modern literary criticism, we will try to comprehend its innermost meaning with schoolchildren in a different way, adding to the traditional path interpretations that are new to the school. Following Gogol’s plan - and his heroes follow the path “hell - purgatory - heaven” - let’s try to look at the world that was before him.

Considering himself a prophet. Gogol sincerely believed that it was he who should point out to humanity its sins and help get rid of them.

So what sins entangled our heroes? What evil do they preach? To answer these questions, you can teach the lesson “These Insignificant People” using a group form of work.

The class is divided into five groups (according to the number of chapters devoted to the description of landowners) and, as part of educational research, looks for parallels between the heroes of Gogol and Dante’s “Divine Comedy”. The book by E. A. Smirnova “Gogol’s Poem “Dead Souls”” will help you complete these tasks. - L., 1987.

1st group. Manilov (chapter 2) According to E. A. Smirnova, the landscape of the Manilov estate fully corresponds to the description of the first circle of hell - Limbo. In Dante: a green hill with a castle - and Manilov’s house on a hill; twilight lighting of Limbo - and in Gogol “the day... is either clear or gloomy, but of some light gray color”; the pagans living in Limbo - and the bizarre Greco-Roman names of Manilov's children.

Students may notice that there is a lot of smoke in Manilov’s house, since the owner constantly smokes a pipe, and in the description of his office there are piles of ash. And smoke and ash are associated with demonism. This means that the devil has already entered the hero’s soul and it requires cleansing.

When Chichikov leaves, Manilov draws his attention to the clouds, trying to distract the guest from completing his planned journey. But even as one descends into the underworld, the darkness grows! However, already in the scene of purchase and sale, Chichikov’s words contain the author’s hope for the resurrection of even the most lost and “trashy” soul.

Manilov claims that dead souls are an insignificant commodity, and Chichikov objects and defends the dead, speaking of them: “Not trash at all!”

2nd group. Korobochka (chapter 3) There is an assumption that Chichikov’s visit to Korobochka’s house is a visit to the second circle of hell. Dante describes it this way: “Moaning, the circle of Shadows rushed, driven by an undefeatable blizzard.” In Gogol’s words, “the darkness was such that you could poke out your eyes.” And Korobochka confirms: “It’s such a turmoil and blizzard.”

Where does the blizzard come from during a thunderstorm? In the underworld, everything is possible, and Dante’s third circle of hell was generally the circle of rain.

Korobochka’s home resembles the Witch’s cave:

mirrors, a deck of cards, paintings with birds. These objects are difficult to see, since the room is twilight, and Chichikov’s eyes are sticking together. In the buying and selling scene, Korobochka does not scold his deceased peasants, like Manilov, but expresses the hope that the dead “will somehow be needed on the farm.” Thus, Gogol’s innermost thought begins to acquire more distinct contours. The idea of resurrection is also embedded in Korobochka’s name - Anastasia - “resurrected”.

– – –

The third circle of hell is gluttony (gluttony). Therefore, it is no coincidence that Chichikov ends up in a tavern from Korobochka. In this case, an analysis of the episode “In the Inn” is appropriate.

“The Fat Old Woman” continues the theme of Korobochka.

The whole story with Nozdryov corresponds to the fourth circle of hell, where stingy and wasteful souls are tormented. And Nozdryov, a reckless reveler who foolishly squanders his fortune, is a spendthrift. His passion for playing checkers emphasizes his gambling, and he invites the guest to play. The barking of dogs is an important detail in the episodes in the chapter about Nozdryov.

Nozdryov's dogs are associated with the hellish dog Cerberus, fulfilling his mission.

The transaction scene can be interpreted this way. If in the previous chapters the methods of saving the soul are depicted allegorically, then Nozdryov’s method is a dishonest deal, swindle, deception, an attempt to get into the Kingdom of Heaven undeservedly, like a king.

4th group. Sobakevich (chapter 5) Anti-bogatyr Sobakevich is also ready for resurrection. In the buying and selling scene, he seems to resurrect his dead peasants with praise. The “method of revival” here is not fraud, like Nozdryov’s, and not digging out of the ground, like Korobochka’s, but the desire for virtue and valor. An analysis of the episode will allow us to conclude that the salvation of the soul comes at a price - it is bought by a life full of work and dedication.

That’s why the owner “signs up” everyone “with commendable qualities.”

Sobakevich. Sobakevich is a hero at the table. When analyzing the episode “Lunch at Sobakevich’s”

You can pay attention to the exposure of such human vice as gluttony.

Once again this sin appears in close-up in the poem: Gogol considered it especially grave.

5th group. Plyushkin (chapter 6) Plyushkin is the last, fifth in the gallery of images of landowners. We know that Gogol wanted to make Plyushkin, like Chichikov, a character in the second volume, to lead him to moral regeneration. That is why the author tells us in detail about the past of Stepan Plyushkin, drawing the story of the impoverishment of the human soul.

What method of saving the soul is “offered” to Plyushkin? He found it right away, but didn’t understand it. Stepan Plyushkin saves things, lifting everything in his path, but we need to lift souls, save them. After all, the main idea of “Dead Souls” is the idea of the spiritual rebirth of fallen man, “resurrection,” revitalization of his soul. Plyushkin says goodbye to Chichikov: “God bless you!” Plyushkin is ready for rebirth, he just needs to remember that it is not things that need to be raised, but the soul.

After the groups' presentations, the following questions can be discussed:

1. All landowners, as we have seen, are not alike; each of them is an individual. What brings them together?

2. Why does Chichikov begin his journey with a visit to Manilov, and end it with a visit to Plyushkin?

3. Chapter 4 contains Gogol’s thoughts about Nozdrev. For what purpose were they introduced by the writer? What's bothering him?

4. Why does the chapter about Plyushkin begin with a lyrical digression?

5. Plyushkin is not deader, but more alive than others, is this true?

Manilov lives among the flowering lilac bushes, therefore, in May. The box is harvested at this time, which means in September. It’s summer in Plyushkin, the heat all around is unbearable (only it’s cold in the house), and in the provincial town it’s winter. Why is that?

Chichikov comes to Korobochka when there is a blizzard in the yard, and the pig in the yard is eating watermelon rinds. Is this a coincidence?

Each landowner lives, as it were, in his own closed world. Fences, wattle fence, gates, “thick wooden bars”, boundaries of the estate, a barrier - everything closes the life of the heroes, cutting it off from the outside world. Here the wind blows, the sky, the sun blows, peace and comfort reign, there is a kind of drowsiness and stillness here. Everything here is dead.

Everything stopped. Everyone has their own time of year. This means that there is no reality of time inside these circle worlds. Thus, the heroes of the poem live, adapting time to themselves. The heroes are static, that is, dead. But each of them can save their soul if they want.

LESSON 40. “Dead Life.”

The image of the city in the poem “Dead Souls”

In a lesson devoted to depicting the bureaucratic world in the poem, you can conduct a “correspondence tour” of the provincial town of N (chapter 1, 7-10). Let's take a close look at the city streets, signs on buildings, public places. Having “visited” the governor’s house, the tavern where Chichikov stayed, we will come to the conclusion that the city of N is a symbol of “urban idleness,” emptiness and vulgarity.

Why did Gogol strive in the first volume to recreate the terrible, hopeless, ugly pictures of modern Russia, to reveal with all the ruthlessness “the vulgarity of a vulgar man”?

To answer this question, let us remember the wise fairy tale “Dragon” by Evgeniy Schwartz.

Let's re-read the dialogue between the Dragon and the wandering knight Lancelot, who challenged the monster to battle:

– – –

Schwartz talks about “invisible” souls. Gogol made them visible. So that people would be frightened, so that they would awaken from their deadening sleep and try to save themselves, to regain their living human souls. This is the ultimate task of the first volume of the poem.

Next, it is necessary to dwell in detail on the episode of Chichikov’s visit to the civil chamber, the “temple of Themis.” Before us is a “temple” of bribery, lies and embezzlement. If in the description of the general atmosphere of the city everything is ossified, settled, deadened to such an extent that it is even difficult to imagine the possibility of any movement, then in the ward life is in full swing.

In the description of the “Temple of Themis” the most important role is played by the comic refraction of the images of the “Divine Comedy”. In this supposed temple, in this citadel of debauchery, the image of Hell is being revived - albeit vulgarized, comic, but truly Russian Hell. The worst and most tragic thing is that the “petty demon” - the chamber official - honors the chairman as the Sun, his office as Paradise, and the guests as holy Angels.

In contrast to the quiet, measured life of a landowner, where time seems to have stood still, the life of the city is outwardly seething and bubbling. But this life is illusory, it is not activity, but empty vanity. What's upsetting the city? Gossip about Chichikov! The city officials and their wives took everything so close to their hearts that they did not dare to talk about anything else, and this made the prosecutor think for the first time in his life and die from unusual tension. During the lesson it is necessary to analyze the episode “Death of the Prosecutor”. It is here that Gogol emphasizes that those around him realized that “the dead man definitely had a soul” only when he died and became “only a lifeless body.”

Questions and tasks for discussion in class

1. How do you see the city N from the first pages of the poem?

Why does Gogol describe in detail the colors and “architecture” of the city?

2. How is the city seen through the eyes of Chichikov and how is it seen through the eyes of the author?

3. For what purpose does Gogol bring the reader to the governor’s ball?

4. Why did excitement and panic grip the city at rumors about Chichikov’s purchases?

5. Why does Chichikov’s journey end with “The Tale of Captain Kopeikin”?

6. Compare provincial and metropolitan life in the poem.

Thus, the contrast between external bustle and internal ossification is striking.

The life of the city is dead and meaningless, like all the life of this crazy modern world. In a strong class, you can compare the image of the city N in “Dead Souls” with the image of the city in “The Inspector General”. These cities are very similar. But in “Dead Souls” the scale is enlarged. Instead of a town lost in the wilderness, from where “even if you ride for three years, you won’t reach any state,” a provincial, central city is shown, “not far from both capitals.” Instead of the “small fry” - the mayor - the governor. But life is the same - empty, meaningless, “dead life.”

The inactivity and emptiness of life, according to Gogol, is not only a feature of the heroes of Dead Souls. This is a universal state in which “all of humanity en masse” finds itself. Because of this, people cannot find the right road.

LESSON 41. “And how wonderful this road itself is!” The image of the road in “Dead Souls”.

Chichikov is the central character of the poem. When talking about Chichikov, it is appropriate to recall V. M. Shukshin’s story “Stalled.”

The teacher will inform the class that the hero of the story, listening to his son cram the passage about the three-bird from “Dead Souls” assigned for home, involuntarily thinks about the question:

“Who are they taking? Horses? This... Chichikov? Roman even stood up in amazement.

I walked around the upper room. That's right, they're taking Chichikov. They're bringing this guy who bought dead souls and traveled around the edges. Elka's mother!.. that's a C grade!

Valerk,” he called. -Who’s driving the troika?

Selifan.

Selifan, Selifan! Same with the coachman. Who is he taking, Selifan?

Chichikova.

So... Well? And here - Rus'-troika... Eh?

– – –

Like what? Like what? Rus' is a troika, everything is thundering, everything is flooding, and in the troika there is a rogue, a cheater..."

To answer the question of Shukshin’s story, who is Chichikov and why is he being carried by the Rus-troika, we will trace his path from the first to the last chapter. To do this, the class is divided into groups, each receiving a task card in advance, the completion of which is reported in class.

Card 1

Tell the story of Chichikov's life. Why does the author give a description of the history of his soul only in the last chapter and the narrative itself is constructed as a biography? Why does Gogol give only Chichikov and Plyushkin a “biography”? How does the author’s innermost thought relate to the image of the main character?

Card 2

Chichikov and Molchalin. What makes them similar and what makes them different? What is the purpose of Chichikov's life?

Why is he scary? What new phenomenon of Russian life does it represent? “So, let’s harness the scoundrel,” the author says about his hero. What is the meaning of these words?

Is it possible to say that Chichikov is a “hero of his time”?

Card 3

Why does Pavel Ivanovich Chichikov become the “soul of society”? Give examples from the poem that prove Chichikov’s ability to “somehow find himself in everything.” How does Chichikov's speech change depending on who he is talking to? Chichikov's box. What is the semantic and compositional meaning of this detail in the poem? Chichikov - a living soul or a dead one?

– – –

Why does Chichikov’s journey follow in the poem “The Tale of Captain Kopeikin”?

How does she establish connections between provincial and capital officials? What is the meaning of this story? Why was it banned by censorship? Why was she dear to the writer?

– – –

Remember when and where in the text of the poem it talks about the road, how do these fragments clarify the author’s position? Why does Gogol make Chichikov get lost?

In which chapters does the image of the road have the following features:

“How strange and alluring and carrying and wonderful is the word: road! and how wonderful this road itself is!”

“Our earthly, sometimes boring road.”

“Take with you all human movements, do not leave them on the road;

you won’t get up later!”

“But despite all this, his path was difficult.”

“And for a long time yet it is determined for me by the wonderful power to walk hand in hand with my strange heroes.”

“What crooked, deaf, narrow, impassable roads that lead far to the side have been chosen by humanity, striving to achieve eternal truth!”

“And, looking askance, other peoples and states step aside and give her way.”

What different connotations does the word “road” have in each quote? How does the road motif develop from the first to the last chapter of the poem? What is the meaning of this image?

General conclusions. Thus, speaking about Chichikov’s road, it is important to pay attention not only to what the hero “left on the road”, but also to what he managed to preserve - a manifestation of living human feeling. After all, according to Gogol’s plan, his hero moves into subsequent volumes, that is, he is reborn. And if we take into account the fact that the Apostle Paul was at first one of the persecutors of Christ, and then became an ardent spreader of Christianity throughout the world, then his namesake, Pavel Ivanovich Chichikov, will be reborn, and he has the makings for this. The image of the road in the poem convinces us of this. The road is a journey through time - the life path of Chichikov - the creative path of the author - the spiritual revival of the heroes - all humanity - the author himself, i.e. this is the road Up, the road of salvation, the road of hope, the road is the future of Russia.

LESSON 42. “There cannot be a dead soul...” The meaning of the title of the poem.

“Living Souls” in Gogol’s poem At the beginning of the lesson, you can review with schoolchildren the title page of the poem, depicted by Gogol himself. The word “poem” is written in a larger font, which is significantly larger than the main title. It seems that the author wanted to emphasize the significance of the colossal work, conceived in the spirit of the ancient epic. Skulls and skeletons around the letters speak about the theme of the poem - a journey to the kingdom of the dead. A team of horses, a street, dishes, glasses, fish on a platter - features of the life of a provincial town and landowners' estates, that is, Russia.

The very name “Dead Souls” combines incompatible concepts. This feature was noticed by the chairman of the Moscow censorship committee and was outraged by such an unusual name: “No, I will never allow this: the soul can be immortal; there cannot be a dead soul; the author takes up arms against immortality.” Is it so?

Researcher of the “Divine Comedy” A. A. Asoyan, relying on Dante’s words about the four meanings of this poem, writes: “One of the meanings, the very first, is literal, the second is allegorical, the third is moral, the fourth is analogical (super-meaning).” . One gets the impression that Gogol, following Dante, knew about this interpretation of “comedy” and also put four meanings into his poem.

Think about how Dante's thought is transformed into Gogol's poem.

Dead souls are the goods that Chichikov buys - the souls of dead peasants.

This is the literal meaning of the poem related to the plot. Dead souls are landowners, and officials mired in sins, and Chichikov himself: they have no soul, it is dead. This is the allegorical, metaphorical meaning of the poem. Moral - there cannot be a person without a soul, this should not happen. But there is also a deep spiritual meaning in the title of the book. It is revealed by Gogol in his suicide note: “Be not dead, but living souls.

There is no other door except that indicated by Jesus Christ, and anyone who gets through otherwise is a thief and a robber.” Dead souls are spiritually dead souls. But Gogol believes in the spiritual resurrection of fallen man. If life, the image of God, is hidden in a person’s soul, it means that the person has hope for rebirth. Spiritual rebirth is one of the highest abilities granted to man, and, according to Gogol, this path is open to everyone and even Plyushkin, “if they want.”

The lesson should also include a conversation about the living soul:

Are there living souls in the poem?

What is the life of the people's soul?

What does Gogol value and what does he not accept in the Russian people?

How does peasant Rus' fit into Gogol's poem?

Who leads the lost Chichikov to the right road to the Korobochka estate? What meaning does this reveal?

What characteristics does Sobakevich give to his dead peasants? Prove that they are proud of the Russian people.

What qualities of a Russian person are inherent in Captain Kopeikin? How does his story make you feel?

Why does Gogol so often write about a “sad, soul-grabbing song” in his poem? What's in it, in this song?

After discussing these issues, it is easy to draw the main conclusion that in Gogol’s poem, in the words of A.I. Herzen, “behind the dead souls - living souls” appear.

Talented souls, not suffering from “delusions” of the mind, freedom-loving, generous and “sincere” souls, that is, living ones. Evidence for these statements and illustrative material for the lesson will be chapters 5, 7 and 11 of the poem.

As a result, you can depict a reference diagram in your notebooks:

LESSON 43. “Rus! what do you want from me? Features of the poetics of “Dead Souls”.

Problematic question of the lesson. Why does Gogol still call his prose work, imbued with satirical pathos, a poem?

Tasks for independent educational research:

– – –

“The comic is hidden everywhere,” said N.V. Gogol. - Living among him, we do not see him;

but if the artist transfers it into art, onto the stage, then we will laugh at ourselves.”

What does Gogol laugh at and what artistic means are used to create comic effects?

What is the essence of the principle of artistic convention in literature?

Show the role of a portrait, landscape, detail, interior, dialogue in revealing the author's intention.

– – –

An essential element of the poetics of “Dead Souls” is associated with the traditions of folk culture, with folklore.

Find proverbs and sayings used by Gogol in the poem, determine their semantic and compositional role.

Explain the meaning of the proverb “A Russian man is strong in hindsight” in relation to Gogol’s poem “Dead Souls”.

What is the role of the parable about Kifa Mokievich and Mokiy Kifovich? Is it random in the work?

– – –

An important role in the poetics of “Dead Souls” is played by the lyrical element, the emotional author’s beginning.

What is the compositional role of lyrical digressions in Gogol’s poem? What topics does Gogol discuss in his lyrical digressions? How are they related to the content of the poem?

Compare the language of the lyrical digression “Rus! Rus! I see you…” and the author’s language in the description of the city (chapter 1). What is characteristic of the language of a lyrical digression?

Compare the lyrical digression in the 10th chapter of the poem with “Duma”

M. Yu. Lermontov. What gives Gogol the basis to believe in the future of Russia, in its spiritual revival?

Final question for the lesson. How is the unity of the satirical and lyrical principles achieved in the poem?

He is a live interlocutor with the reader and conducts a conversation with him, primarily about the fate of Russia.

He talks about a crazy world that has forgotten about the soul, he speaks so that the reader can see and understand that lack of spirituality is the true and only reason for the disintegration of souls and is disastrous for the country. Only with an understanding of this reason can the revival of Rus', the revival of lost ideals, spirituality, and the resurrection of the soul begin.

The ideal world is the world of spirituality, the spiritual world of man. The ideal world is a world of immortal human souls. He is perfect in every sense of the word.

And therefore this world cannot be recreated epically. The spiritual world describes a different kind of literature - lyrics. That is why Gogol defines the genre of the work as lyroepic, calling “Dead Souls” a poem. The immortality of the soul is the only thing that instills in the author faith in the obligatory revival of his heroes and all life, therefore, all of Rus'.

The lesson, like the entire study of the poem, can be completed with an expressive reading of the lyrical digression that concludes the first volume of the poem.

LESSON 44. “A matter taken from the soul.”

Extracurricular reading lesson.

“Selected passages from correspondence with friends” and their significance in the creative path of N.V. Gogol The lesson can be organized in the form of a lecture with elements of conversation.

Introductory questions. (Students will find the answers to them in the textbook.) What prompted Gogol to take up work on “Selected Places...”?

What was the writer's intention?

"Rus! what do you want from me? what incomprehensible connection is hidden between us? How to understand these words of Gogol?

The writer’s intentions are clarified by his own statements: “my soul has occupied me entirely,” “a poet has the right to enlightenment,” “to fully illuminate a person in all his powers,” “to carry his entire nature through the purifying fire.”

Working with a book's table of contents:

What unusual things did you notice about the chapter titles?

What problems did the writer touch on in his book?

“There was no cell of Russian life that he would not touch. Everything - from managing the state to managing the relationship between husband and wife - became the object of his revision, his caring interest, his overt intervention” (I. Zolotussky).

Thus, the main theme of the book is the theme of Russia, and the writer’s main attention is directed to the spiritual principles of the national character.

How was the book received in Russia? - “Every single person in Russia was angry with me... Eastern, Western... everyone was upset.”

What was unexpected for the writer in the reaction to this work? - “For me, Belinsky’s reproach was the heaviest of all reproaches.”

Students receive cards in advance with responses from Gogol’s contemporaries to “Selected Places...” - S. T. Aksakova, P. A. Pletnev, N. F. Pavlov, V. G. Belinsky, A. I. Herzen and others.

Why did Gogol react so painfully to Belinsky’s criticism and enter into a correspondence dispute?

Why can Gogol and Belinsky be called central figures in the literature of the 40s, and why can their dispute be considered historical?

What is the essence of their disagreement?

In notebooks, under the guidance of a teacher, a comparative table can be compiled in which the main provisions of Gogol’s “Selected Passages from Correspondence with Friends” and V. G. Belinsky’s “Letters to Gogol” are compared.

Final questions. Which side of the debate are you on and why? What can you say about the genre of “Selected Passages from Correspondence with Friends” - a combination of journalistic passion with high artistry?

Conclusion. “My heart says that my book is needed and that it can be useful” (N.

V. Gogol).

LESSONS 45-46. Cool essay on Gogol's poem "Dead Souls"

Ivan Aleksandrovich Goncharov LESSON 47. “Between reality and ideal there also lies an abyss through which a bridge has not yet been found, and hardly ever will be built.” Essay on the life and work of Goncharov. Features of the composition of the novel “Oblomov”

Goncharov's novel "Oblomov" has been returned to school. And this is fair, because without the name of Goncharov the history of the Russian novel would be incomplete. Through the prism of this smart, very Russian novel, we better understand both our present day and our history, since in Oblomov the writer embodied the Russian national type, comprehending its national (in traditions, folklore, morals, ideals) and social roots.

Therefore, the most appropriate way to analyze the novel is problematic. The life of I. A. Goncharov, not too filled with external events, nevertheless provides a lot of information for an interesting and fascinating story about him. In this life there was great, but unrequited love, and travel around the world, and public service, and in the “terrible” role of a censor, and a difficult relationship with I. S. Turgenev, which almost reached a duel, and raising the children of his deceased servant , and many other facts that, due to their unusual nature for a schoolchild, can truly interest and captivate.

The first lesson is centered on an essay on the life and work of Goncharov, determining the place of the novel “Oblomov” in the trilogy “Ordinary History” - “Oblomov” - “Precipice”, which will allow us to draw a conclusion about the legitimacy of the author’s combination of these three independent works into a kind of trilogy. This material can be presented in a lecture format or pre-prepared individual student messages can be included in the teacher’s lecture.

In addition, during the lesson it is possible to discuss a problematic question: what is a work of art - a textbook of life, a cast from life or a miracle of art?

The 1st and 4th parts of the novel are its support, its foundation. The takeoff in parts 2-3 is the climax of the novel, the very hill that Oblomov has to climb.

The 1st part of the novel is internally connected with the 4th part, that is, Oblomovka and the Vyborg side are juxtaposed.

A love story - summer turning into autumn and winter. The composition is inscribed in the annual circle, the annual cycle of nature, cyclical time. Goncharov closes the composition of the novel into a ring, ending “Oblomov” with the words: “And he told him what was written here.” Oblomov cannot escape from this vicious circle. Or maybe it's the other way around?

And will Ilya Ilyich wake up again in the morning in his office?

The striving “towards a point of rest” - this is how the composition of the novel is built. Thus, there is already enough evidence that a work of art is a “miracle of art”, it is a special world that lives according to its own artistic laws.

LESSON 48. “Our name is legion...” Oblomov - “our indigenous folk type.”

What is Oblomovism?

During the lesson, it is necessary to emphasize and prove the persuasiveness, vitality of Oblomov’s image, its internal complexity, leading to ambiguous assessments. It is necessary to show the connection of the image with literary predecessors, with images of Russian folklore, to conclude that Oblomov is “our indigenous folk type,” and point to Gogol’s traditions of depicting life.

Main problems of the lesson:

I. Is Dobrolyubov right when he claims that “there is a significant part of Oblomov in each of us”? Are the Oblomovs really “legion”?

A system of questions and tasks will help you solve the first problem of the lesson:

1. At the beginning of the novel we see Oblomov lying in bed for half a day. How is this connected with the images of Russian folklore? What is the symbolic meaning of this scene?

2. In Oblomov’s dream, Goncharov calls the tale of Emel the Fool “an evil and insidious satire on our great-grandfathers.” What meaning is revealed when the image of Oblomov is brought closer to Emelya?

3. In one of the articles about the novel, Oblomov’s portrait is compared to an ancient statue. Is there any basis for comparison in this?

4. Why did Oblomov’s youthful dreams not come true?

5. What is the compositional meaning of the image of Oblomov’s many guests? Why does the author make them representatives of different social classes?

6. Why did the word “other” and the correlation of oneself with “others” offend Oblomov? What does Oblomov mean when he states: “Our name is legion...”?

The lesson makes it possible to see the social (in conditions of upbringing and lordly origin) and national (in traditions, ideas, moral standards, ideals, culture) roots of Oblomovism.

II. Why and how did the energetic, mischievous, inquisitive Ilyusha Oblomov turn into the motionless, apathetic Ilya Ilyich Oblomov?

Questions and tasks for discussing the second problem of the lesson:

1. Analyze “Oblomov’s Dream.” What is Oblomovka - a forgotten, miraculously surviving “blessed corner” - a fragment of Eden or the starting point of the hero’s moral fall, the beginning of his death?

2. Compare the images of Oblomov and Zakhar. Who is in slavery to whom? What is the meaning of the fact that Oblomov cannot do without Zakhar, and Zakhar cannot do without Oblomov? (Oblomov and Zakhar are like twin brothers who simply cannot exist without the other. Moreover, Zakhar is a caricature of his master.

Their slavery is mutual. But they both seem to be quite happy with this state.)

3. Is it true that the novel “internally glorifies Russian laziness”? Confirm or refute this point of view, justifying your opinions with text.

In the lesson, it is necessary to show that “Oblomov’s lying down” is not just laziness and apathy as character traits, but a position, the conviction that “life is poetry,” rest, peace.

III. Are Oblomov and Stolz antipodes?

Questions and tasks for discussing the third problem of the lesson:

1. Who, in your opinion, is more right, more convincing in affirming his life ideal - Stolz or Oblomov?

2. Which word more accurately describes Oblomov’s state - laziness or peace? Support your opinions with text.

3. Comment on Oblomov’s thought: “Life is poetry. People are free to distort it!” Is Oblomov happy with his way of existence?

4. Is Stolz happy because he knows how to “make money”? What meaning is revealed in the fact that Stolz is German?

5. Why are people as different as Oblomov and Stolz friends all their lives? (Oblomov and Stolz, in a broad sense, are like two extremes of the national Russian character, which combines monstrous laziness, dreamy contemplation, efficiency, talent, love for one’s neighbor.) 6. “Active Stolz and Olga live to do something. Oblomov lives just like that.” What is the author's attitude towards the characters in this assessment? Comment on this thought, express your attitude to it.

7. What does “the purpose of life” mean? What does it mean to “live just like that”, “to live to live”?

LESSON 49. “Love, with the power of Archimedes’ lever, moves the world...”

“Oblomov” as a novel about love This lesson can be organized as a seminar lesson. It is no coincidence that the author puts his hero through the test of love. He tests him for his ability to achieve the highest human value, believing that love is not only the feeling of one person falling in love with another, but also an attitude towards the world. During the lesson, students should be united into working groups:

1st group. Oblomov and Zakhar: love and enmity.

2nd group. Oblomov and Stolz: love-friendship.

3rd group. Oblomov and Olga: love-love.

4th group. Oblomov and Pshenitsyna: betrayal of high ideals?

5th group. Oblomov and nature: childhood estate and country park.

6th group. Oblomov and children.

Issues for discussion:

1. Which of the heroes passed the test of love most worthily?

2. Was Olga and Oblomov’s happiness possible? Why did she fall in love with the hero?

3. Was “the ideal of his life really realized” in Pshenitsyna’s house?

4. Do you believe in the “eternity” of Olga and Stolz’s happiness?

Result of the lesson-seminar. Love is the meaning of life for Oblomov and, more broadly, for every person.

LESSON 50. “Heart of Gold” or “Russian laziness”? Roman "Oblomov"

in Russian criticism This lesson makes it possible to compare different points of view on the novel and the image of the main character. The lesson will allow you to clarify and adjust the students’ perceptions.

The duality of the character of the main character explains the opposing judgments about him by the first critics of the novel.

Oblomov’s two “faces” Honesty, conscientiousness, good-heartedness, Infantility, lack of will, inability, meekness, striving for ideals, for action, apathy, slowness, daydreaming, “heart of gold.” "Russian laziness"

N.A. Dobrolyubov examines the character of Oblomov from the position of revolutionary democrats. He sees him as the last in a row of “superfluous people” and denounces “Oblomovism”

as a social vice.

In the critical views of D.I. Pisarev there is a sharp change in attitudes towards the images of the novel “Oblomov”: from positive assessments to sharp rejection.

A.V. Druzhinin compares Goncharov with Flemish painters. He believes that Oblomov is “lovable to all of us and is worth boundless love” and calls him an eccentric.

I. F. Annensky reflects on the contemplative talent of Goncharov the artist.

N.I. Zlygostaeva sees Oblomov among the “strange” people in Russian literature:

Bashmachkin, Manilov, Podkolesin, Platonovsky Yushka. Their souls are filled with quiet peace.

Lesson summary. In criticism, opinions were divided into two camps regarding the question of what is more important: “artistry” or “social significance” of a work.

After studying the novel “Oblomov”, it is possible to write a home essay on one of the topics indicated in the application.

Alexander Nikolaevich Ostrovsky LESSON 51. “I work all my life.” A word about Ostrovsky.

The personality and fate of the playwright In a lesson dedicated to the life and creative path of the playwright, several points should be highlighted:

1. Pages of theater history (information).

– – –

2. Features of Ostrovsky's plays.

“He revealed to the world a man of a new formation: a merchant-Old Believer and a merchant-capitalist, a merchant in an army coat and a merchant in a “troika”, traveling abroad and doing his own business. Ostrovsky opened wide the door to a world hitherto locked behind high fences from the prying eyes of others.”

(V. G. Marantsman). Ostrovsky's new hero gives rise to the originality of the problems and themes of the plays and determines the characteristics of the characters.

3. Pages of the playwright’s biography: family, Zamoskvorechye, study, service.

Residents of Zamoskvorechye, work in conscientious and commercial courts, where the main “clients” are merchants. Observations on the life of a merchant. All this was reflected in Ostrovsky’s plays, the characters of which seemed to be taken from life.

4. The writer’s incredible ability to work. The result is 48 works, in which 547 characters act.

5. Creative path.

The first work. In 1847 in the newspaper “Moscow City Leaflet”

The play “The Insolvent Debtor” appeared. In 1850, the same work, revised by the author, was published in the magazine “Moskvityanin”. Then it was under arrest for 10 years, because in it, according to Dobrolyubov, “... human dignity, personal freedom, faith in love and happiness and the shrine of honest labor were thrown into dust and brazenly trampled by tyrants.”

“This is what I am doing now, combining the sublime with the comic,” Ostrovsky wrote in 1853, defining the emergence of a new hero, a hero with a “warm heart,” honest, straightforward. Plays “Poverty is not a vice”, “Don’t sit in someone else’s sleigh”, “Profitable place”, “Forest”, “Warm heart”, “Talents and admirers”, “Guilty without guilt”, etc. “And such is the spirit in me done: I’m not afraid of anything!

It seems that if you cut me into pieces, I’ll still stand on my own,” says the heroine of the play “The Kindergarten.”

“The Thunderstorm” (1860) is a play about an awakening, protesting personality.

“The Snow Maiden” (1873) - an ancient, patriarchal, fairy-tale world.

“Dowry” (1879) - the playwright’s view 20 years later on the problems raised in the drama “The Thunderstorm”.

6. Features of Ostrovsky’s style:

originality of names (often proverbs);

folklore moments.

Final questions. Is it possible to talk about the modernity of Ostrovsky’s plays (prove your point of view)? Why do modern theaters constantly turn to Ostrovsky's plays?

LESSON 52. “Ostrovsky’s most decisive work”1.

History of creation, system of images, methods of characterizing characters in Ostrovsky’s play “The Thunderstorm”

During the lesson you can organize work in groups.

1st group. History of the creation of the play (messages about homework with additional literature).

It is necessary to note the general meaning of the work; it is no coincidence that Ostrovsky named his fictional, but surprisingly real city with the non-existent name Kalinov. In addition, the play is based on impressions from a trip along the Volga as part of an ethnographic expedition to study the life of the inhabitants of the Volga region. Katerina, remembering her childhood, talks about sewing on velvet with gold. The writer could see this craft in the city of Torzhok, Tver province.

2nd group. The meaning of the title of the play “The Thunderstorm” (reports of independent observations of the text).

A thunderstorm in nature (act 4) is a physical phenomenon, external, independent of the heroes.

The storm in Katerina's soul - from the gradual confusion caused by love for Boris, to the pangs of conscience from betraying her husband and to the feeling of sin before people, which pushed her to repentance.

A thunderstorm in society is a feeling by people who stand up for the immutability of the world of something incomprehensible. Awakening of free feelings in a world of unfreedom. This process is also shown gradually. At first there are only touches: there is no proper respect in the voice, there is no decorum, then - disobedience.

A thunderstorm in nature is an external cause that provoked both a thunderstorm in Katerina’s soul (it was she who pushed the heroine to confession) and a thunderstorm in society, which was dumbfounded because someone went against it.

Conclusion. Meaning of the title:

– – –

a thunderstorm in society illuminates.

3rd group. The system of characters in the play. (Reports on independent observations of the text.) When studying the list of characters, you should note the telling names and the distribution of heroes by age: young - old. Then, when working with the text, students’ knowledge deepens, and the system of heroes becomes different. The teacher, together with the class, draws up a table, which is written down in notebooks.

– – –

Questions for the class. What place does Katerina occupy in this system of images? Why were Kudryash and Feklusha among the “masters of life”? How to understand the definition - “mirror images”?

4th group. Features of revealing the characters' characters. (Students’ reports about their observations of the text.)

1. Speech characteristics (individual speech characterizing the hero):

Katerina is a poetic speech reminiscent of a spell, lament or song, filled with folk elements.

Kuligin is the speech of an educated person with “scientific” words and poetic phrases.

Wild - speech is replete with rude words and curses.

2. The role of the first remark, which immediately reveals the character of the hero:

Kuligin: “Miracles, truly it must be said: miracles!”

Curly: “What?”

Dikoy: “What the hell are you, you came to beat the ships! Parasite! Get lost!"

Boris: “Holiday; what to do at home!”

Feklusha: “Bla-alepie, dear, blah-alepie! The beauty is wonderful."

Kabanova: “If you want to listen to your mother, then when you get there, do as I ordered you.”

Tikhon: “How can I, Mama, disobey you!”

Varvara: “I won’t respect you, of course!”

Katerina: “For me, Mama, everything is the same as my own mother, as you are, and Tikhon loves you too.”

3. Using the technique of contrast and comparison:

Feklushi's monologue - Kuligin's monologue, life in the city of Kalinov - Volga landscape,

– – –

LESSON 53. “Cruel morals, sir, in our city...” We walk through the city of Kalinov We enter the city of Kalinov from the side of the public garden.

Let's pause for a moment and look at the Volga, on the banks of which there is a garden. Beautiful! Eye-catching! So Kuligin also says: “The view is extraordinary! Beauty! The soul rejoices!” People probably live here peaceful, calm, measured and kind. Is it so? How is the city of Kalinov shown?

Work on two monologues by Kuligin (act 1, scene 3; act 3, scene 3).

1. Highlight the words that especially characterize life in the city.

"Cruel morals"; “rudeness and naked poverty”; “You can never earn more than your daily bread through honest work”; “trying to enslave the poor”;

“to make even more money from free labor”; “I won’t pay a penny extra”; “trade is undermined out of envy”; “they are at enmity”, etc. - these are the principles of life in the city.

2. Highlight the words that especially vividly characterize life in the family.

“They made the boulevard, but they don’t walk”; “the gates are locked and the dogs are unleashed”; “so that people don’t see how they eat their own family and tyrannize their family”; “tears flow behind these constipations, invisible and inaudible”; “behind these castles there is dark debauchery and drunkenness,” etc. - these are the principles of family life.

If it’s so bad in Kalinov, then why is there a wonderful view at the beginning, the Volga, the same beautiful nature in the scene of the meeting between Katerina and Boris?

Conclusion. The city of Kalinov is contradictory. On the one hand, there is a wonderful place where the city is located. On the other hand, life in this city is terrible. The beauty is that it does not depend on the owners of the city; they cannot subjugate nature.

Issues for discussion

1. How can you evaluate Feklushi’s monologues (act 1, scene 2; act 3, scene 1)? How does the city appear in her perception? (Bla-alepye, wondrous beauty, promised land, paradise and silence.)

3. What are the people like who live here? (They believe Feklusha’s stories, which show her darkness and ignorance: a story about a fiery serpent; about someone with a black face; about time that is becoming shorter - act 3, yav. 1; about other countries - act 2, yavl. 1 . They are afraid of thunderstorms - action 4, iv.

They believe that Lithuania fell from the sky - Act 4, Rev. 1.)

4. How is it different from the residents of the city of Kuligin? (An educated person, a self-taught mechanic - the surname resembles the surname Kulibin. Feels the beauty of nature. Aesthetically stands above other heroes:

sings songs, quotes Lomonosov. He advocates for the improvement of the city, tries to persuade Diky to give money for a sundial and a lightning rod. Tries to influence residents, educate them, explaining the thunderstorm as a natural phenomenon. Thus, Kuligin personifies the best part of the city’s residents, but he is alone in his aspirations, so he is considered an eccentric. The eternal motive of grief from the mind.)

6. Who prepares their appearance? (Kudryash introduces Dikoy, Feklush introduces Kabanikha.) Dikoy and Kabanikha are the “masters” of the “dark kingdom.” The main method of revealing their characters is speech characterization. You should pay attention to the analysis of their main remarks:

– – –

General conclusion. The Boar is more terrible than the Wild One, since her behavior is hypocritical. Dikoy is a scolder, a tyrant, but all his actions are open. Kabanikha, hiding behind religion and concern for others, suppresses the will. Her biggest fear is that someone will live by their own will.

The results of the actions of these heroes:

The talented Kuligin is considered an eccentric and says: “There is nothing to do, we must submit!”

– – –

Educated Boris is forced to adapt to the tyranny of the Wild in order to receive an inheritance.

This is how he “breaks” the “dark kingdom” of good people, forcing them to endure and remain silent.

LESSON 54. “I was born so hot.”

Katerina's protest against the “dark kingdom”

In the system of characters, Katerina stands alone.

Questions for discussion in class

1. Why can’t we call her either “victim” or “mistress”? (The answer is in her character traits.)

2. What traits of her character are revealed in her very first remarks? (Inability to be a hypocrite, lie, directness. The conflict is immediately obvious: Kabanikha does not tolerate self-esteem or disobedience in people, Katerina does not know how to adapt and submit.)

3. Where did these traits come from in the heroine? Why does the author only talk about Katerina in such detail, talk about her family, childhood? How was Katerina raised? What kind of atmosphere surrounded her in childhood and in her husband’s family?

– – –

(The relationships between the characters are in a state of sharp contrast and give rise to an irreconcilable conflict.)

4. How is Katerina’s protest expressed? Why can we call her love for Boris a protest?

(Love is the desire to live according to the laws of your soul.)

5. What is the complexity of the heroine’s internal state? (Love for Boris is: free choice, dictated by the heart; deception, which puts Katerina on a par with Varvara; refusal of love is submission to the world of Kabanikha. Love-choice dooms Katerina to torment.)

6. How are the heroine’s torment, struggle with herself and her strength shown in the scene with the key and the scenes of the meeting and farewell with Boris? Analyze vocabulary, sentence construction, folklore elements, connections with folk songs. (Scene with the key: “What am I saying, that I’m deceiving myself? I should even die to see him.” Date scene: “Let everyone know, let everyone see what I’m doing! If I wasn’t afraid of sin for you , will I be afraid of human judgment? "The farewell scene: “My joy! Goodbye!” All three scenes show the heroine’s determination. She never betrayed herself: she decided to love at the behest of her heart, she confessed to betrayal out of an inner sense of freedom (a lie). - always lack of freedom), came to say goodbye to Boris not only because of a feeling of love, but also because of a feeling of guilt: he suffered because of her.

She rushed to the Volga at the request of her free nature.)

7. Prove that Katerina’s death is a protest. (Katerina’s death is a protest, a rebellion, a call to action. Varvara ran away from home, Tikhon accused his mother of his wife’s death, Kuligin reproached him for being unmerciful.)

8. Will the city of Kalinov be able to live as before?

LESSON 55. “What should a critic do here?”2 Controversies surrounding the play “The Thunderstorm”

The controversy surrounding “The Thunderstorm” is determined, firstly, by the nature of the genre, since a work intended for the stage requires different interpretations, secondly, by the originality of the content, since the play contains a social and moral conflict, and thirdly, by the active development of critical thought in the present period.

The lesson can be taught to three groups of students.

A group of theorists. Question about genre. The play "The Thunderstorm" - a drama or a tragedy? A number of researchers view the “Thunderstorm” as a tragedy. The main question is: does “The Thunderstorm” meet this definition?

Definition of tragedy In the play "The Thunderstorm"

“...a particularly intense, irreconcilable conflict, intense, tragically acute, most often ending in the death of the hero. The hero turns out to be a conflict that leads to the death of the heroine in front of an obstacle that exceeds his strength." Katerina's strong, passionate character ("Literary Dictionary" edited by L. I. Timofeev) allows us to consider her a victim of tragedy "Only a person of the highest nature can be a hero or a victim of tragedies" ( V. Belinsky). “She needs noble characters” (Aristotle) “A conflict, exceptional in its significance, reflecting Katerina enters into a struggle not of the private in the most pointed form leading, progressive tendencies of character, but of the public: “dark socio-historical development” (“Literary Kingdom” - awakening personality dictionary") Changing the starting position at the end of the tragedy Compare the beginning and end of the play: a thunderstorm swept over the city - everything became different Conclusion. Katerina’s strong, protesting character and the irreconcilable struggle ending in death raise “The Thunderstorm” to the level of a national tragedy. But Ostrovsky himself calls it a drama, since the heroine of the play is from a patriarchal bourgeois environment and much attention is paid to the everyday side of life.

Group of critics. The work is based on materials from the article by N. Dobrolyubov “A Ray of Light in the Dark Kingdom” (1860), D. Pisarev “Motives of Russian Drama” (1864) and Ap. Grigoriev “After Ostrovsky’s “Thunderstorm”” (1860).

1. Tell us about Dobrolyubov’s views on the play, based on the quotation plan:

"Ostrovsky has a deep understanding of Russian life."

“He captured such common aspirations and needs that permeate all Russian society.”

“Arbitrariness, on the one hand, and a lack of awareness of the rights of one’s personality, on the other, are the foundations on which all the ugliness of mutual relations rests.”

“Besides them, without asking them, another life has grown, with different beginnings, and although it is far away, not yet clearly visible, it is already giving itself a presentiment and sending bad visions to the dark tyranny of tyrants.”

“The character of Katerina... constitutes a step forward in all of our literature.”

“The Russian strong character in The Thunderstorm strikes us with its opposition to all tyrant principles.”

“The decisive, integral Russian character acting among the Wild and Kabanovs appears in Ostrovsky in the female type... the strongest protest is the one that rises... from the chest of the weakest and most patient.”

“Sad, bitter is such liberation... This is the strength of her character, and that is why “The Thunderstorm” makes a refreshing impression on us.”

“This end seems joyful to us... it presents a terrible challenge to tyrant power.”

– – –

“Nature” of Dobrolyubov and “personality” of Pisarev.

Evaluation of Katerina as a heroine who has not yet become a developed personality.

The spontaneity and inconsistency of the image, acting under the influence of feeling.

Assessment of suicide as an act of the unexpected.

3. Views of Ap. Grigorieva.

Nationality is the main thing in Ostrovsky’s work.

It is the nationality that determines the originality of Katerina’s character.

A group of theater experts. The play has gained immortality on stage, but each production has its own interpretation, its own view, its own interpretation, so it’s worth saying a few words about the main productions.

The first performer was L. B. Kositskaya, who prepared the role with Ostrovsky. This is an impulse towards a dream. The main thing in the image is “why don’t people fly?”

G. N. Fedotova did not part with the role of Katerina for 35 years. Her style is sincere and poetic.

P. A. Strepetova - “created a martyr for us, a Russian woman. And we saw this martyrdom in all its horror, but also in all its imperishable beauty" (V.

Doroshevich). Suvorin wrote about the last scene: “So it just happened!

No scream, no despair... How many of them die so simply, silently.”

M. N. Ermolova emphasized internal energy and readiness to protest. This is a courageous woman - “a ray of light in a dark kingdom.”

Film directed by Petrov (1934). Katerina - A.K. Tarasova - victim. The characters are presented too straightforwardly, without sympathy for Katerina, who is alone in this terrible world, she is doomed.

E. Kozyreva (performance at the Mayakovsky Theater). The main thing is the affirmation of the victory of light and goodness over darkness and ignorance. In the last scene there is will, not despair.

Conclusion. The diverse stage embodiment of the drama “The Thunderstorm” is a kind of continuation of the controversy started by Dobrolyubov and Pisarev. The main dispute concerns the image of the main character: is she a victim or a “ray of light”, is there strength or weakness in her, is the last scene protest or humility?

Many theaters still have the drama “The Thunderstorm” in their repertoires, and this speaks of its vitality, and the fact that Ostrovsky was able to notice typical, timeless features.

– – –

Assignments and questions for discussion

1. What do these plays have in common?

State of love: Snow Maiden - state before love, then love; Katerina - apparent love for her husband, then real love; Larisa - love for Paratov, then “I was looking for love and did not find it.”

Heroines. At the center of each play is a strong woman who is ready to do anything for love.

Heroes who serve to reveal the image of the heroine.

The collision of love and the world around us.

2. What are the features of the conflict in each play?

Compare the behavior of heroines and heroes and think about who is taller and stronger spiritually: a man or a woman?

Why? (Katerina follows the call of her heart, but violates the moral laws of the world of the “dark kingdom”. The love is mutual. The Snow Maiden goes from dislike to love, acquiring self-esteem, answers Mizgir that she is not selling her love. The love is mutual. Larisa follows the call of her heart , leaving with Paratov beyond the Volga, follows his love, but is faced with deception.)

3. How to evaluate betrayal? Katerina cheated on her husband. Snow Maiden - Lelya, Larisa - the groom. Condemn?

Justify? Understand?

4. Why can't male heroes rise to the same heights? Compare their behavior. (Mizgir is able to sacrifice himself for the sake of love, he is freer, and therefore stronger than others. Boris and Tikhon are dependent, which means weaker, more weak-willed. Paratov, Karandyshev are also dependent, one on money, the other on his conceit, therefore they are also weaker than the heroines, who are in charge of themselves and their love.)

5. Love is the driving force of the plot. Follow the lines of the characters who talk about love:

All the heroes talk about love, but Katerina most of all. We are talking about different types of love: parental, filial, friendly, and love as a high spiritual feeling. The first and last remarks about such love belong to Katerina. In the 4th act, where the “dark kingdom” wins, there are no lines with the word “love” at all. Replies with the word “love” reveal the character of the characters: Katerina - “I have loved you for a long time”; Boris - “If I fell in love,” “if you knew how much I love you,” but “no one will know about our love.”

– – –

The theme of love is stated more straightforwardly. For the Snow Maiden, love is the path to becoming human. For the male and female, love is a commodity that needs to be sold at a higher price. For Mizgir - the path from “I will shower you with gifts”, “you don’t know your worth” to death in the name of love.

– – –

Love is Larisa’s path from the remark “I just want to love.” Next comes the degradation of love:

“everyone loves themselves, when will someone love me”; “if only love were equal”;

“I don’t believe in love anymore”; “I was looking for love and didn’t find it, it doesn’t exist in the world.” For other heroes, love is a commodity:

Vozhevatov, Knurov - Larisa the Diamond;

– – –

6. How does the world around us perceive love? Is it possible in this world:

"The Snow Maiden" - the world of fairy tales, Berendeyev, the patriarchal world. This is a distant time, but the author brings there the problems of his time (70s) - therefore the bobyl and the bobylikha are the personification of the world of profit.

“Thunderstorm” - the “dark kingdom” will not accept Katerina’s love.

“Dowry” is the most tragic world (80s) - love is impossible in it.

7. Did the heroine win or lose?

8. Who will pray for the heroines who died for love? (Before her death, Katerina says: “He who loves will pray.”)

– – –

The main points of the lecture Page one - “Mother”. The difficult childhood and youth of the mother, Varvara Petrovna Lutovinova, a constant feeling of dependence and at the same time an extraordinary mind and great abilities. Strong will, pride, the desire for independence in an atmosphere of lack of love turned into a desire to rule and control the destinies of people. A woman with a heavy, despotic, capricious character was gifted and had a peculiar charm. In relation to her three sons, she was caring and tender, but this did not stop her from tyrannizing them and punishing them for any reason. The mother’s features are recognizable in the lady from the story “Mumu”, Glafira Petrovna from the novel “The Noble Nest”, and the domineering grandmother from the story “Punin and Baburin”. His mother's diary, discovered after her death, shocked Turgenev. I couldn’t sleep all night, I thought about her life: “What a woman!.. May God forgive her everything!” But what a life!”

Page two - “A few words about love.” Perhaps it is from his mother that Turgenev’s contradictions in relation to women: worship and insurmountable rejection of family, marriage, stable “philistine happiness”. This explains the strange love for Pauline Viardot (Michelle Fernand Paulina Garcia). The beauty of the 22-year-old singer’s voice in the role of Rosina from The Barber of Seville captivated Turgenev. In a letter to her we read: “Oh, my feelings for you are too great and powerful. I can no longer live away from you, I must feel your closeness, enjoy it; the day when your eyes did not shine on me is a lost day!” Her appearance is inspired by the prose poem “Stop!”

Page three - "Father". Turgenev's first meeting with true love is unrequited. They preferred someone else to him. The “other” turned out to be Father Sergei Nikolaevich. The son did not hate his father, but portrayed him in the story “First Love” “quiveringly and lovingly.”

Page four - “Childhood impressions.” Favorite Spassky. An old manor garden, where his mother’s secretary, Fyodor Ivanovich Lobanov, taught him to read and write, a huge mansion with 40 rooms, a huge library and a boy who thought about life early, acutely felt pain and deeply understood beauty.

Page five - “First work.” 1843 - the poem “Parasha”. Everything here is Turgenev’s, this is a statement of one’s own style, the first sketches of the image of a “Turgenev girl.”

Page six - “Notes of a Hunter.” 1852 - Turgenev writes an obituary for Gogol’s death and publishes “Notes of a Hunter” (the stories were published separately in Sovremennik from 1847 to 1851). For these publications and “violation of censorship rules” “by the highest command” Turgenev was arrested and then exiled to Spasskoye-Lutovinovo until November 1853. “An indictment of serfdom” - this is what Herzen called “Notes of a Hunter.” The stories are varied. This is a story about the greatness and beauty of the Russian people, about the position of the people under the yoke of serfdom, about the harmful influence of serfdom on people, about the beautiful Russian nature.

Turgenev sees the Russian peasant as a mysterious sphinx. “Yes, then you, Karp, Sidor, Semyon, Yaroslavl, Ryazan peasant, my compatriot, Russian bone! How long ago did you end up in the sphinxes? - he asks in the prose poem "Sphinx".

Page seven - “Liberals”. Turgenev had a great friendship with Sovremennik; he had a hard time breaking up with it. Turgenev is a liberal, and a liberal of the 40s. In the 60s it was already a different liberalism. “This word “liberal” has recently become incredibly vulgar, and not without reason... Who, think of it, did not hide behind it! But in our time, in my young time... the word “liberal” meant a protest against everything dark and oppressive, it meant respect for science and education, love for poetry and art, and finally, most of all, it meant love for the people.”

Page eight is “Last.” In the 80s, dying in a foreign land from a serious illness, yearning for his homeland, Turgenev wrote to Polonsky: “When you are in Spassky, bow from me to the house, the garden, my young oak - bow to the homeland, which I will probably never again I'll see." The writer died on August 22, 1883, and rests in Russian soil at the Volkov cemetery in St. Petersburg.

LESSON 60. “And the distance of the free novel...”1 Turgenev is the creator of the Russian novel.

The history of the creation of the novel “Fathers and Sons”

The objectives of the lesson are to identify the features of the novel genre and the reasons for its development in the middle of the 19th century, to trace the development of the novel genre in the work of Turgenev.

“The novel arose in an era when all civil, social, family and human relationships in general became infinitely complex and dramatic; life has spread in depth and breadth in an infinite variety of elements,” Belinsky wrote.

Features of the novel form are large form (a large number of characters, great interest in the circumstances of human life, large exposition, no restrictions in time and space, but artistic completeness).

Questions for class discussion

1. Who is Turgenev looking for when turning to the novel genre? (A new hero. And in the novel “Rudin”, the hero of which never found the real deal. “Onegin was replaced by Pechorin, Pechorin Beltov and Rudin.

We heard from Rudin himself that his time had passed, but he did not indicate to us anyone who would replace him, and we do not yet know whether we will soon see his successor,” Chernyshevsky wrote. And in the novel “The Noble Nest”, showing the disorder and loneliness of Lavretsky. And in the novel “On the Eve”, not allowing Insarov to get to his homeland and join the fight for its liberation.)

2. Why were the heroes of the first three novels unable to use their powers? How does the image of a new hero change from novel to novel? (“Then a complete, sharply and vividly outlined image of the Russian Insarov will appear in literature” (N. Dobrolyubov). Bazarov will become such a hero.)

3. What is the situation in the country at the time the novel was written? (Reforms; arrest of Chernyshevsky, Pisarev;

development of science - Butlerov, Sechenov, Mendeleev; exacerbation of confrontation between social forces.)

4. What is the meaning of the novel's title? (Socio-historical - the confrontation of two forces - and universal. The first mention of the novel was in a letter to Lambert (1860). There are three stages of writing: August 1860 - August 1861 - creation of the main text; end of September 1861 - January 1862 - “plowing the novel ", introducing numerous amendments caused by changes in the political situation; February - September 1862 - preparation of the novel for publication. Result - 238 pages of Turgenev’s neat handwriting were published in the Russian Messenger).

5. What did Turgenev want to show in the novel? What is his plan? (The rise of the revolutionary democratic movement; a new, emerging type - nihilism; criticism of the moral qualities of nihilism, in particular self-conceit; the conflict of two forces: new (nihilists) and old (conservatives and liberals); family problems.)

6. What is special about the novel? What position does Bazarov occupy in the system of characters? What explains Bazarov's central position? (Turgenev was reproached for the lifelessness of the image of Bazarov, but the author himself said that it was important for him to observe the “living face.” In the article “About “Fathers and Sons”” we read: “...at the base of the main figure, Bazarov, lay one that struck me the personality of a young provincial doctor. This man embodied - in my eyes, a barely born, still fermenting principle, which later received the name of nihilism."

– – –

A young Russian doctor who met Turgenev on a train during a trip to Germany.

A young doctor whom Turgenev met in a carriage on the Nikolaev Railway.

A young provincial doctor, a neighbor on the estate, Viktor Ivanovich Yakushkin (version by N. Chernov).

Traits of representatives of revolutionary democracy: Chernyshevsky, Dobrolyubov.

– – –

LESSON 61. “I put “nihil” over everything that is done.”2.

Bazarov is a hero of his time “And if he is called a nihilist, then it should be read: revolutionary” - this is how Turgenev wrote about his hero. The novel was written at a time when the struggle between different views and movements intensified in Russia. Turgenev, showing the confrontation between liberals and revolutionary democrats, could not take either side. In the novel they do not have a clear author's relationship. But Bazarov received more attention.

This is something new that tries itself.

Questions and tasks for discussion in class

1. There are two aspects to the image of Bazarov: a militant democrat and a nihilist. Analyzing chapters II, III, IV, V of the novel, prove its democracy (clothing, speech, appearance, behavior, relationship with servants, reading range, etc.).

2. Why did Prokofich dislike Bazarov? Give reasons for your opinion.

3. How does Bazarov behave during his stay in Maryino? Compare his activities with those of Arkady (chap. X).

4. How does Bazarov talk about his origin (chap. X, XXI)? What do we learn about his life path, about his parents? How does this help to understand his image?

5. Why does Bazarov “diligently” oppose himself to Pavel Petrovich and behave defiantly?

6. Nihilism - nihil (lat.) - nothing - a mental trend that denies generally accepted values, ideals, moral standards, culture. On the one hand, Turgenev is not a supporter of nihilism, so his attitude towards Bazarov is complex and ambiguous. On the other hand, Bazarov somehow doesn’t really “fit in”

within the framework of nihilism, which enhances its complexity and inconsistency. Describe the views of the Bazarovanihilist (chap. V, X). What is he denying? What is he guided by in his denial? Are his views specific?

7. Bazarov is engaged in natural sciences. How does this relate to the problems of the novel?

8. Identify the strengths and weaknesses of nihilism.

9. How are Bazarov’s relations with the people shown? Watch how they change throughout the novel.

10. What does Turgenev mean by the word “nihilist”? (“Russian revolutionaries were called that way abroad.”) LESSONS 62-63. “Everything gave rise to disputes between them...”3 “Fathers” and “sons”

in the novel "Fathers and Sons"

The very title of the novel identifies two forces: “fathers” and “children.” The work in the lesson will focus on two meanings of these concepts: social and universal.

Questions and tasks for discussion in class

1. Analyze chapters II and IV and determine what role the hand motif plays in revealing the theme of “fathers”

and "children". (Bazarov has a “naked red hand”, which he did not immediately offer to Nikolai Petrovich;

Pavel Petrovich has “a beautiful hand with long pink nails,” which he not only did not give to Bazarov, but hid back in his pocket. Peter “as an improved servant did not approach the gentleman’s hand.” Prokofich “went up to Arkady’s hand.” Thus, the hand is an indicator of the confrontation between Pavel Petrovich and Bazarov, and the conflict between “fathers” and “children” exists even among servants.)

2. Prove that this conflict reaches its peak in Chapter X. Watch how the heroes' dispute develops. What are they right and what are they wrong? (They argue about the meaning of the nobility, about nihilism, about the Russian people, about art, about power.)

– – –

3. Did the heroes find the truth? Did they want to find her or were they just sorting things out? Did they try to understand each other? (The positions of Bazarov and Kirsanov are extremes. They lacked: one - the feeling of respect for the “son”, the other - the love and understanding of the “father”. They were not looking for the truth, but simply sorting things out. Starting from Chapter XIII, the author removes the external opposition, the antithesis goes inside.

But more and more often the heroes find themselves in similar situations: unfulfilled love, the story with Fenechka.)

4. Follow the text of Chapters II, III, VI, VII, IX, X, XXV, XXVI, XXVIII to see how Arkady’s attitude towards nihilism changes. Find the author’s attitude towards Bazarov’s nihilism (chapter XI). What do Pisarev’s words say:

“Arkady... wants to be the son of his age and puts on himself the ideas of Bazarov, which absolutely cannot merge with him. He is on his own, and the ideas are on their own, dangling like an adult’s frock coat put on a ten-year-old child”? (Arkady’s passion for nihilism is a tribute to fashion and time.

He imitates Bazarov, which evokes the author’s irony.)

5. Analyzing the vocabulary of chapters XII and XIII, show the author’s attitude towards the characters who consider themselves Bazarov’s students. Why are they caricatured? What is their compositional role in the novel?

(Kukshina and Sitnikov are needed as a background against which the image of Bazarov is revealed. The caricature and unnaturalness of the imaginary nihilists highlight the strength and power of Bazarov.)

6. Describe Bazarov’s relationship with his parents. What is the ideological and compositional role of the images of the old Bazarovs for understanding the character of the main character? (Bazarov has no closeness with his parents, although he loves and pities them. Bazarov consciously refuses family traditions, continuity of generations, denies authority, believes that he raised himself. He is a hero of the time, without a past and, sadly, without a future. )

7. Describe the relationships in the Kirsanov family. What is the compositional role of the Kirsanovs’ images for understanding Bazarov’s personality? (Pavel Petrovich respects traditions, but refuses changes in life. This is a hero without a future, everything is in his past. He, like Bazarov, is proud, uninfluenced, lonely. Both heroes are lifeless. It is no coincidence that Turgenev linked “fathers” in the title »

and “children” by a connecting conjunction. It should be like this: both fathers and children. Arkady and Nikolai Petrovich remain vital because one strives to take all the best from their “fathers,” while the other constantly keeps the past in mind and tries to understand the future. These heroes create families.) General conclusion. In revealing the social level of the conflict, Bazarov is left alone, and Pavel Petrovich is alone, since Nikolai Petrovich almost does not enter into the dispute. If we talk about the universal family meaning of the title, then in the system of images we find a confrontation between the Kirsanov family and the Bazarov family. Children of fathers are the future, but only if they learn the traditions of the past.

LESSON 64. “Love follows people who are not in love like a ghost”4.

Love in the novel "Fathers and Sons"

The novel has four love plots, 4 views on this problem: Pavel Petrovich’s love for Princess R., Bazarov’s love for Odintsova, Arkady’s love for Katya and Nikolai Petrovich’s love for Fenechka. The lesson can be taught by working in 4 groups.

1st group. Pavel Petrovich and Princess R.

1. Working on the vocabulary of Chapter VII, show how Pavel Petrovich changed after the death of Princess R.

2. Find key words that characterize Princess R. Confirm the uncertainty and mystery of the heroine. How does the image of Princess R. help in understanding the character of Pavel Petrovich? How does Pavel Petrovich's love for Princess R. help us understand the image of Bazarov?

3. Using the text of Chapter XXIV, explain why Pavel Petrovich was interested in Fenechka.

Conclusion. This love is a love-obsession that “broke” the life of Pavel Petrovich; he could no longer live as before after the death of the princess. This love brought nothing to people except torment.

2nd group. Nikolai Petrovich and Fenechka.

1. Tell the story of Fenechka, highlight her main features. What is the compositional role of this image?

2. Compare the experiences of Nikolai Petrovich (end of Chapter VIII) with the experiences of Pavel Petrovich.

3. Compare the brothers' love. What are the similarities and differences in their feelings? What is the role of the brothers' love stories in understanding the image of Bazarov?

Conclusion. The love of Nikolai Petrovich and Fenechka is natural and simple. If the relationship between Pavel Petrovich and Princess R. could not translate into marriage, a family, they resembled a fire that broke out, and then the embers smoldered for a long time, then the relationship between Nikolai Petrovich and Fenechka is, first of all, a family, a son. Their love is like a candle, the flame of which burns evenly and calmly.

3rd group. Bazarov and Odintsova.

1. Using the text of chapters VII, XIV and XVII, characterize Bazarov’s attitude towards women.

2. Observing the vocabulary of chapters XIV, XV, XVI, watch how Bazarov imperceptibly changes, how cynicism gradually disappears, embarrassment appears.

3. Tell us about Odintsova, prove that she could understand Bazarov.

4. Based on the text, prove that Bazarov is experiencing terrible mental anguish.

5. Compare two scenes of Bazarov’s explanation - late in the evening and during the day (Chapters XVII, XVIII). Why did the explanation take place during the day, when there was no longer that charm of the night that “flows into the soul and makes it tremble”?

6. Why couldn’t the heroes’ love take place? Prove your opinion using the text of chapters XVI and XVIII.

Is Odintsova to blame for not answering Bazarov?

7. Describe Bazarov’s behavior after the explanation. Has Bazarov’s love been “trampled”?

8. How are the love situations of Bazarov and Pavel Petrovich similar and different?

9. What is the ideological and compositional role of the image of Fenechka for understanding the characters of Bazarov and Pavel Petrovich?

Conclusion. Bazarov's love-passion bifurcates his soul, showing that this rude, cynical nihilist can be a romantic. At first glance, Bazarov’s love is similar to Pavel Petrovich’s love, it also did not take place, but love did not “trample” Bazarov, after an explanation, Bazarov plunges headlong into work. Critics P. G. Pustovoit and A. G. Tseitlin believe that love “brings down” Bazarov from his pedestal. If you agree with this point of view, then Bazarov and Pavel Petrovich are similar. The test of love shows that Bazarov is capable of truly, passionately, deeply loving.

4th group. Arkady and Katya.

1. Follow through the text how Arkady relates to Anna Sergeevna Odintsova (Chapter XIV). Why does the novel show Arkady's love for Anna Sergeevna?

2. Based on the text, prove that Arkady changes (“returns” to his true self) under the influence of Katya (chapters XXV, XXVI).

3. What is the ideological and compositional role of Katya’s image?

Conclusion. The earthly love of Arkady and Katya, a fulfilled love without storms and shocks, which will naturally turn into marriage, resembles the love of Nikolai Petrovich and Fenechka.

Thus, father and son are similar in their attitude to love.

LESSON 65. “To die the way Bazarov died is the same as performing a great feat”5.

Analysis of the episode “The Death of Bazarov”

The last pages of the novel, dedicated to the death of the main character, are the most important.

According to D.I. Pisarev: “The whole interest, the whole meaning of the novel lies in the death of Bazarov... The description of Bazarov’s death is the best place in Turgenev’s novel;

I even doubt that in all the works of our artist there would be anything more remarkable.”

Turgenev recalls: “I was walking one day and thinking about death. Following this, a picture of a dying man appeared in front of me. It was Bazarov. The scene made a strong impression on me, and then the rest of the characters and the action itself began to develop.”

When starting to analyze the image of Bazarov in the final scene, one should understand three questions:

1. Why does Turgenev end Bazarov’s life this way (“a figure... doomed to death”)? Here it is appropriate to recall Turgenev’s views on nature and the relationship between man and nature, as well as his attitude to the revolution, to revolutionary destruction and violence.

2. How does the writer show the hero at the moment of death? (“When I wrote the final lines of “Fathers and Sons,” I was forced to tilt my head so that tears would not fall on the manuscript,” the author wrote.

In the last scenes, Turgenev loves Bazarov and shows him worthy of admiration.)

3. How does Turgenev lead his hero to death?

The work in the lesson takes place mainly on the material of Chapter XXVII, but with reference to the previous chapters.

Questions and tasks for conversation

1. Why does Turgenev “lead” the hero to death? How does this reflect the writer's views?

2. How does Bazarov’s loneliness grow in the clash with the surrounding heroes? Why can’t there be understanding with the “fathers”? Why does Arkady “leave”? Why is love with Odintsova impossible?

3. How is Bazarov’s relationship with the people, the strength that the hero feels behind him, for whom he is ready to sacrifice himself? (Compare the attitude of the servants in Maryino and the attitude of the men on Bazarov’s estate, characterize the scene “Conversation with the men,” noting the “playing along” of the men to the master.) What do we first notice in Bazarov’s character after the conversation with the men?

4. Observing Bazarov’s behavior, observe how the feeling of loneliness manifests itself in him.

5. What is the cause of death and its symbolic meaning? How does Bazarov behave? Why does he hide his condition from his parents? How do you feel about death and how do you fight illness?

6. Why does the hero refuse confession, knowing that he will die anyway? Why, at the same time, remaining true to his convictions, does he ask to call Odintsova? Why, before his death, does Bazarov speak so beautifully as he never spoke, that is, betrays his principles? (In the face of death, everything external and superficial disappeared and the most important thing remained: an integral, convinced nature, capable of a wonderful feeling, of a poetic perception of the world.)

7. What is the symbolic meaning of Bazarov’s death? What does the description of the cemetery with Bazarov’s grave symbolize?

LESSON 66. “Who is dearer to you: fathers or children?”6 Controversies surrounding the novel “Fathers and Sons”

Turgenev's ambivalent attitude towards the main character of the novel brought reproaches and censure from his contemporaries to the writer. Both the author and Bazarov were severely scolded.

The final lesson on the novel can be conducted in the form of a debate, where each group of students will defend a certain point of view.

Group I represents the view of the writer himself, who was able to correctly sense the emerging new type of hero, but did not take his side.

“Did I want to scold Bazarov or praise him? I don’t know this myself, because I don’t know whether I love him or hate him!” “My whole story is directed against the nobility as an advanced class.” “The word “nihilist” I released was used then by many who were only waiting for an opportunity, a pretext to stop the movement that had taken over Russian society... When I returned to St. Petersburg, on the very day of the famous fires of the Apraksinsky courtyard, the word “nihilist” was already picked up by thousands of voices, and the first exclamation that escaped from the lips of the first acquaintance I met on Nevsky was:

“Look what your nihilists are doing!” They are burning Petersburg!“ “...I had no right to give our reactionary bastard the opportunity to grab onto a nickname - a name;

the writer in me had to make this sacrifice for the citizen.” “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction because it still stands on the threshold of the future - I dreamed of some strange pendant Pugachev."

Turgenev shows Bazarov in a contradictory way, but he does not seek to debunk him or destroy him.

Group II considers the position of M. N. Katkov, editor of the magazine “Russian Messenger” (articles “Turgenev’s novel and his critics”, “On our nihilism (regarding Turgenev’s novel)”).

“How ashamed Turgenev was to lower the flag in front of the radical and salute him as before an honored warrior.” (P.V. Annenkov’s story about Katkov’s reaction.) “If Bazarov is not elevated to apotheosis, then one cannot help but admit that he somehow accidentally ended up on a very high pedestal. It really overwhelms everything around it.

Everything in front of him is either rags or weak and green. Is this the kind of impression you should have wanted?” (Katkov’s letter to Turgenev.) Katkov denies nihilism, considering it a disease that needs to be fought, but notes that Turgenev puts Bazarov above everyone else.

III group. Views of F. M. Dostoevsky. Bazarov is a “theorist” who is at odds with “life”, a victim of his dry and abstract theory. This is a hero close to Raskolnikov. Without considering Bazarov's theory, Dostoevsky believes that any abstract, rational theory brings suffering to a person. Theory breaks down in reality. Dostoevsky does not talk about the reasons that give rise to these theories.

IV group. Position of M. A. Antonovich (articles “Asmodeus of our time”, “Mistakes”, “False realists”). A very harsh position that denies the social significance and artistic value of the novel. In the novel “... there is not a single living person or living soul, but all are only abstract ideas and different directions, personified and called by proper names.” The author is not friendly towards the younger generation and “he gives complete preference to fathers and always tries to elevate them at the expense of the children.” Bazarov, according to Antonovich, is “a glutton, a chatterbox, a cynic, a drunkard, a braggart, a pathetic caricature of youth, and the whole novel is slander against the younger generation.” Antonovich’s position was supported by Iskra and some employees of Russian Word.

V group. View of D. Minaev (poem “Fathers or Sons?” Parallel with the novel). Minaev’s irony in relation to the confrontation between “fathers” and “children”.

VI group. The novel as assessed by Pisarev (articles “Bazarov”, “Unresolved Question”, “Walk through the Gardens of Russian Literature”, “Let’s see!” “New Type”). Pisarev gives the most detailed and thorough analysis of the novel.

“Turgenev does not like merciless denial, and yet the personality of the merciless denier emerges as a strong personality and inspires involuntary respect in every reader. Turgenev is prone to idealism, and yet none of the idealists depicted in his novel can compare with Bazarov either in strength of mind or strength of character.”

Pisarev explains the positive meaning of the main character, emphasizes the vital importance of Bazarov; analyzes Bazarov’s relationships with other heroes, determines their attitude towards the camps of “fathers” and “sons”; proves that nihilism got its start precisely on Russian soil; determines the originality of the novel.

D. Pisarev’s thoughts about the novel were shared by A. Herzen.

The debate about the novel continued and continues now, because in the novel Turgenev followed the words of Botkin:

“Don’t be afraid to bare your soul and stand face to face with the reader.” Turgenev once said: “Only the present, powerfully expressed by characters or talents, becomes the undying past.” The ongoing controversy surrounding the novel is the best proof of these words.

LESSONS 67-68. Cool essay based on the novel by I. S. Turgenev “Fathers and Sons”

A. Pushkin.

V. Mayakovsky.

A. Pushkin.

D. Pisarev.

D. Minaev.

Fyodor Ivanovich Tyutchev.

Afanasy Afanasyevich Fet 10th grade students encountered the lyrics of Tyutchev and Fet in elementary school, read several of their poems in 5-6 and 9th grades. However, the personality traits and fates of poets were not the subject of close attention until the 10th grade. In the 1st-2nd lessons, schoolchildren will study Tyutchev's lyrics, in the 3rd-4th lessons - Fet's lyrics, and in the 5th lesson they will engage in a comparative analysis of their poems.

LESSON 69. “Not what you think, nature...” Pages of F.’s life.

Tyutcheva. Philosophy of nature in his lyrics The lesson is centered on the teacher's story about interesting facts from Tyutchev's biography and an analysis of his philosophical poems about nature.

The main idea of the lesson is to emphasize that Tyutchev’s outwardly ordinary life was full of drama, complexity and ambiguity, that his inner world is full of thoughts about life, reflections in the mysteries of existence, that his poetry is, first of all, the poetry of thought.

Basic facts of the poet's biography, which can be reflected in the teacher's lecture.

1803-1819 - childhood, youth, study with S. E. Raich, interest in Latin literature, translations from Horace.

1819-1822 - study at Moscow University, passion for the philosophy of Pascal and Rousseau. Pascal’s “Penses” (“Thoughts”) is an impulse towards the philosophical nature of his lyrics, understanding the place of man in the Universe, the connections between man and nature.

1822-1837 - service in the Russian diplomatic mission in Munich, and then in Turin.

1838 - death of the poet's first wife Eleanor Tyutcheva.

1839 - second marriage with Ernestina Dernberg.

The 40s were the period of formation of Tyutchev’s political worldview.

1844 - return to St. Petersburg. Publication of political articles “Russia and Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question”.

1854 - the first collection of Tyutchev's poems was published.

50-60s - increased tragedy in the perception of life associated with understanding life in Russia, and criticism of the government. The dramatic nature of love for Elena Denisyeva and her death (1864).

1858-1873 - service in Russia as chairman of the Foreign Censorship Committee.

1873 - death of Tyutchev.

Specifics of Tyutchev’s poetics:

If in the first period of his creativity Tyutchev acts as a poet of a philosophical nature, then in adulthood the poetry of thought is enriched by the complexity of feelings and moods.

To express the complex world of the human soul, the poet uses associations and images from the natural world. He not only depicts the state of the soul, but its “beating”, the movement of inner life, depicting the invisible mystery of gestures of the inner world through the visible dialectics of natural phenomena.

The poet has the ability to convey not the object itself, but those of its characteristic plastic features by which it is guessed. The poet encourages the reader to “finish” what is only outlined in the poetic image.

The sound and color structure of Tyutchev’s lyrics is unique in the inseparability of impressions from colors and sounds; the “sound of color” and “color of sound” are integrated in the artistic image.

(“sensitive stars”; a ray bursting into the window with a “ruddy loud exclamation”, etc.) Students can observe and prove these features of Tyutchev’s poetic style when analyzing his lyrics. When learning to interpret Tyutchev's texts about nature, it is necessary not only to pay attention to their philosophical nature, but also to trace the evolution of meanings and moods in the poems of the early and late periods.

Questions and assignments for the poem “Silentium!”

1. What two worlds does the poet depict in the poem? Which world is described in more detail? What is characteristic of a person’s inner world? (Feelings, dreams, thoughts, emotional movements.)

2. What are the signs of the external world? What pictures of nature are important for the poet to create an image of the outside world? (Stars in the night, keys, outside noise, daylight.)

3. Why does the external world prevent a person from focusing on his inner life? Why does the word “be silent” become the leitmotif of the poem?

4. What poetic meaning is revealed in the fact that the poem is named in Latin? Why can only silence save a person’s inner life?

5. What character does the abundance of verbs in the imperative mood give to the text?

6. How and for what purpose are the images of night and day contrasted in the poem? Why do the images of the poem move from the pictures of the night to the “rays of day”?

Questions and assignments for the poem “The gray shadows mixed together...”

1. What philosophical meaning does the description of the evening twilight acquire in the poem? What images depict the silence of the outside world? Why is this silence so necessary for the lyrical subject?

2. Why is the evening hour for him “an hour of unspeakable melancholy”? How to understand the words: “Everything is in me, and I am in everything!”?

3. What character does the abundance of ellipses, short syntactic structures, and fragmentary descriptions give to the first stanza?

4. What poetic meaning is emphasized by the many verbs in the imperative mood in the second stanza?

5. What details of the external world does the poet notice? What are the colors, sounds, smells of the outside world? In what relationship should a person and the outside world exist “at sunset”?

6. Why does the lyrical subject long to “taste destruction”? How to understand this image?

Questions and assignments for the poem “Not what you think, nature...”

1. To whom are the lines of the poem addressed? How are the world of nature and the world of “external, alien forces” interconnected in the text?

2. Why does the poet believe that the inability to hear the life of nature is not the fault of those who “do not see or hear”?

3. Does the lyrical subject hear the life of nature? Prove your opinion.

4. Find common features in the poems “Not what you think, nature ...”, “The gray shadows mixed ...” and “Silentium”.

When studying poems about nature of the late period, it is necessary to pay attention to the appearance in them of the image of the Motherland, colored by moods of sadness and inexpressible suffering. The poem “These poor villages...” should be interpreted in this vein.

At home, students can be asked to think about the poem “How good you are, O night sea...”, to find out what new the author brings to the image of the natural world and the world of the human soul. In addition, it is interesting to compare F. Tyutchev’s poem “How good you are, O night sea...” with V. Zhukovsky’s poem “The Sea”

and try to determine what in the mood and figurative series of these poems gives grounds for their comparison.

LESSON 70. “We love more tenderly and more superstitiously...” Tyutchev’s love lyrics.

Experience in comparative analysis of poems The lesson is centered on reading and studying Tyutchev’s love lyrics, identifying ways to reveal a person’s dramatic experiences in them. Students can prepare messages about the recipients of Tyutchev’s love lyrics and read poems dedicated to them.

1. A story about a fire on a steamship, where Tyutchev’s first wife Eleanor and his children were, and reading poems dedicated to her memory: “I am still languishing with the anguish of desires...”

(1848) and “At the Hours When It Happens...” (1858).

2. Reading poems dedicated to the poet’s second wife Ernestina Fedorovna Dernberg. These are “December 1, 1837”, “Italian Villa”, “With what bliss, with what melancholy in love...”, “I don’t know if grace will touch...”.

3. Poems dedicated to E. A. Denisyeva occupy a special place in the works of F. Tyutchev, because they extremely strongly depict the feeling of last, farewell love. These are “Oh, how murderously we love...”, “More than once have you heard the confession...”, “Predestination”, “Don’t say: he loves me as before...”, “There is also in my suffering stagnation...”, “ Last love".

A literary composition can be composed from these verses. Competent, expressive reading will be an indicator of their understanding.

For textual analysis, you can choose poems dedicated to a woman who understood and appreciated Tyutchev’s love, but did not connect her life with him - Amalia von Lerchenfeld, married to Baroness Amalia Maximilianovna Krudner. This is the early “I remember the golden time...” (1836), dedicated to 16-year-old Amalia, and later “K. B." - Krüdner to the Baroness (1870).

By comparing these texts, you can draw students’ attention to the features of their poetics and think about the following questions:

1. What are the key images in these poems, how are they connected? (In the first poem, it is She, her poetic appearance, the features of her appearance associated with pictures of the external world. In the second, it is He, his feelings that have not ceased for many years. His external appearance is not important here - what is important is his inner, spiritual life.)

2. What time of year and day is depicted in the first poem? What poetic meaning does this reveal? Is the season important in the second poem?

3. How are the appearance of the beloved and the pictures of nature related in the first poem?

4. What role do the techniques of anaphora and syntactic parallelism play in the text of the second poem?

5. Which of the poems is filled with more philosophical overtones? Give reasons for your point of view.

In the final part of the lesson, you can listen to a romance by an unknown author based on Tyutchev’s poems “K. B. (“I met you - and all the past ...”)”, and at home compare in writing the vocabulary, syntax and poetic intonations of Tyutchev’s poem “K. B."

and Pushkin’s poem “I remember a wonderful moment...”, revealing Pushkin’s parallels in Tyutchev’s lyrics.

LESSON 71. “Love you, hug you and cry in front of you...” Pages of Fet’s life.

Poems about love You can also devote two lessons to the study of A. Fet's lyrics: on the first - to report interesting facts about the poet's biography, read and discuss his poems about love, on the second - to analyze several of the poet's philosophical poems devoted to the theme of man and nature.

The teacher’s emotional story about the personality and fate of the poet should include the dramatic love story of Fet and Maria Lazic, who died in her youth. At the beginning of the lesson, a small concert is appropriate to help students immerse themselves in the atmosphere of Fet’s amazing poems dedicated to Maria Lazic. These are “A ray of sun between the linden trees...”, “Motionless eyes, crazy eyes...”, “Fingers opened the sweet pages again...”, “In the silence and darkness of a mysterious night...”, “You suffered, I still suffer...”.

The lesson centers on an analysis of the poem “Whisper, Timid Breathing...”, in which the poetic features of Fet’s work are successfully revealed.

Questions and assignments for the poem “Whisper, timid breathing...”

1. What feeling is dominant in the poem? Does the mood change as the text progresses?

2. What character does the text’s lack of verbiage and fragmentary descriptions give it? Is it possible to talk about fragmentation, randomness of feeling, or is it holistic?

3. How did the images of nature and the inner state of man merge together in each stanza of the poem?

4. What meaning is revealed when analyzing the poetic space of a poem? To do this, compare the first and second stanzas.

5. How do colors and sounds help understand the feelings of the lyrical subject? Why in the first stanza the external world and the internal state of a person are perceived mainly aurally, and in the second stanza - visually?

6. What metaphorical images become key in the third stanza? What does the color scheme sound like in it? Is it possible to talk about the symbolism of color?

7. Why is the crown of a love date - tears, and in the natural world - dawn? Why the word "dawn"

repeated twice?

8. How does your analysis help you understand the poetic meaning of the poem, its emotional pathos?

As an individual research task of an advanced nature, we can propose to compare Fet’s poem “Whisper, timid breathing...”

with a poem-album from the lyrics of the troubadours “The hawthorn in the garden has drooped its leaves...”

and think whether there are grounds for comparison here.

In the final part of the lesson, you can organize observations of Fet’s poem “The Night Shined. The garden was full of the moon...” and try to figure out the features of Fet’s poetics in it.

Issues for discussion

1. What is the complexity of the emotional state of the lyrical subject of this poem? What conflicting feelings dominate his soul? How is this expressed in the vocabulary and syntax of stanzas I-II?

2. What character do the short sentences of the first stanza give to the inner world of the lyrical subject? What poetic meaning does this reveal?

3. Has the mood changed in stanzas III-IV? What are the key words in the last stanza? Is there a difference in the words “believe” and “believe”?

4. Stanzas II and IV end the same way. What poetic meaning does this reveal?

5. What has changed in the lyrical subject’s attitude towards life when “many years have passed”? Why is he ready to forget the insults of fate and believe in the infinity of life? What gives him vitality?

6. Identify key images of the text by analyzing a series of nouns, adjectives and verbs.

How are images - semantic dominants - interconnected? What poetic meaning do these connections reveal?

7. Listen to the romance “The Night Shined.” The garden was full of the moon...” to poems by Fet. Did the composer manage to preserve the melody of the poem and the emotionality of the imagery?

LESSON 72. “But believe in spring...” Philosophy of nature in Fet’s lyrics The lesson is centered on reading and learning to interpret Fet’s philosophical poems dedicated to the life of nature: “A wavy cloud...”, “It’s still a May night...”, “Dawn bids farewell to the earth,” “This morning, this joy...”

At the beginning of the lesson there is a conversation on the analysis of the poem “A Wavy Cloud...” (1843):

1. What parts can this poem be divided into? What mood is permeated by each part?

2. What is the imagery of this poem? How are the external world and the internal state of a person related in it?

3. What characteristic features of Fet’s poetry are manifested in this poem? (Fragmentation in the depiction of the external world and the integrity of the spiritual, internal world.) This activity will prepare schoolchildren for independent interpretations of other poems by Fet. Work can be organized in three groups:

Group 1. Poem “Still May Night” (1857).

1. What literary associations does the title of this poem evoke in the reader?

2. What mood is the poem permeated with? Does the mood change as the text progresses? What poetic meaning does the exclamatory intonation of the 1st stanza give to the text?

3. Why does the May night cause not only love, but also anxiety in the lyrical subject?

4. Why does the poet compare the young foliage of birch trees with the bride’s attire? What contradictory states of mind are revealed in this case?

5. How do we see the lyrical subject of the poem? What feelings does he have and why? What words and expressions convey his condition? (“Anxiety and love”, “languish”, “with song”, “and the last”

6. What is dramatic in the depiction of feelings in the 4th stanza? Why does the poet go “to her” with the “last” song?

Group 2. The poem “Dawn bids farewell to the earth” (1858).

1. What “double life” does the poet talk about in the last quatrain?

2. What images-symbols are there in the poem?

3. Find the figurative and expressive means used by the poet and determine their artistic role in the poem.

4. How can pictures of nature on the eve of sunset be related to human life?

Group 3. Poem “This morning, this joy” (1881).

1. What objective realities paint a picture of spring?

2. What character does its “verblessness” give to the poem?

3. What colors, sounds, smells characteristic of spring does the poet notice?

4. What feeling is the poem permeated with? Why does his lyrical subject experience a “night without sleep”?

5. What meaning does the technique of anaphora give to the poem?

6. What visual and expressive means are used to create poetic images of nature and the inner state of a person?

Final question for the lesson. What is characteristic of Fet's poetic style?

Conclusion. Fet is a master of verbal depiction of the subtlest states in the human soul. His poems are filled with philosophical meaning, because in them human life is correlated with eternal life and the renewal of nature. The metaphorical nature, heightened emotionality and unusual syntax of Fet’s poetry help him create unique artistic images that depict the complex spiritual life of a person.

LESSON 73. “Here a powerful spirit reigns…”1 Comparative analysis of poems by Tyutchev and Fet.

Features of the poetic style of Tyutchev and Fet As a result of studying the topic, students should have a clear idea of the features of the poetic style of F. Tyutchev and A. Fet. At the beginning of the lesson, the teacher, together with the class, draws up a summary table, which is written down in notebooks.

Features of the poetic style of Tyutchev and Fet Tyutchev Fet The philosophical character of poetry, the thought in which is always The tragic character of the lyrics, the dominant merges with the image. In poetry, Tyutchev strives for feeling - tension, at the same time, inherent in poetry, to comprehend the life of the Universe, to comprehend the secrets of the cosmos Feta light and optimism. The dialectic of tragedy and joy, and human existence, overcoming dramatic situations with a sense of harmony of the world. Life, according to Tyutchev, is a confrontation between hostile forces. Beauty in his poems is overcoming suffering, strengths. Dramatic perception of reality, joy extracted from pain. Life in Fet’s poems is a moment, combined with an inexhaustible love for life, fixed in eternity. The human “I” in relation to nature is not a drop. The impressionistic nature of the image of feelings in the ocean, but two equal infinities. Internal, their fragmentation and extreme imagery. The strict invisible movements of the human soul are consonant with the artistic structure of the poems, their internal balance with the visible dialectic of natural phenomena and the feeling of sketchiness, deliberate raggedness. The figurative system of Tyutchev’s lyrics combines the subject heightened metaphorical nature of poetry, the dynamism of the realities of the external world and the subjective impressions and musicality of artistic images.

from this world produced by the poet. Mastery The predominance of mood over thought, thought in depicting the harmony of the objective realities of the world is “dissolved” in the music of the external and the depth of the internal world The poet’s skill in creating phonetic Mastery in the use of parallelisms, repetitions, and pictorial images, the combination of sound recording periods, rhythmic pauses, richness and depth with an unexpected palette of colors, color images, poetic intonations, sound instrumentation. In the second half of the lesson, you can organize independent research work on a comparative analysis of F. Tyutchev’s poem “The earth still has a sad look...” and A. Fet’s poem “Even the fragrant bliss of spring...” and preparation for independent written work that can be started in class and completed at home.

Tasks for comparative analysis Identify the features of the artistic form of each poem. What poetic meaning can be seen in this?

What are these poems about? Do they have allegorical overtones?

Compare the vocabulary, syntax, poetic intonations of the poems. Draw conclusions about the similarities and differences between the feelings and artistic images of these poems.

Draw conclusions about the main features of the poetic style of Tyutchev and Fet, manifested in these poems.

A. A. Fet. Inscription on Tyutchev's book of poems.

Nikolai Alekseevich Nekrasov LESSON 74. “Struggle prevented me from being a poet, songs prevented me from being a fighter.” The personality and fate of N. A. Nekrasov In Nekrasov’s words, which can be taken as an epigraph to the poet’s work, is the reason for the internal contradictions in his worldview and creativity. The poet - a lyricist in essence - throughout his life subordinated his poetic creativity to political and social tasks. He did not wait for divine sounds sent down from above for his “songs,” but sought to teach his muse what she should be. According to Nekrasov, the muse is obliged to “dictate” to the poet lines filled with compassion for the oppressed and disadvantaged people, to be the muse of “revenge and sadness.”

At the beginning of the lesson there is a short concert of Nekrasov’s poems, as well as an emotional story about the most important pages of the poet’s life and work. You can read in class poems that show deep feelings of compassion for the Russian people, poems about love, about the tasks of poetic creativity, for example: “The heart breaks from torment ...”, “You are always incomparably good ...”, “Hearing the horrors of war ...”, “Holiday life - years of youth...", "To the poet" ("Love and Labor - under the heaps of ruins..."), "To the Russian writer."

Questions for the class to identify perceptions. What life problems worried the poet?

How do you see his appearance in these verses?

– – –

1. Childhood in the village of Greshnev on the Volga, studying at the Yaroslavl gymnasium.

2. The first years of life in St. Petersburg, conflict with his father, the beginning of poetic activity. Negative assessment in criticism of the collection “Dreams and Sounds”.

3. The turning point in Nekrasov’s life is his rapprochement with Belinsky. Nekrasov is an apologist for the “Gogolian trend” in literature. "Physiology of St. Petersburg."

4. Works of the first half of the 40s: “Motherland”, “Modern Ode”, “Lullaby”, “On the Road”, etc. Bitterness and compassion for the humiliated, irony towards the “masters of life”.

Questions and tasks for discussing the poem “Am I Driving Down a Dark Street at Night...”

1. What mood is this poem permeated with? How would you define its genre (memoir, reflection, elegy, requiem, genre scene)?

2. What are the origins of human tragedy? Prove that the woman’s lot was especially difficult and hopeless.

What is the only way out of poverty and grief that the heroine finds?

3. What does the lyrical subject of the poem reproach himself for? Why can't he forget the mother of his child?

4. How does an incident from “private life” help to understand the drama of the world in which people live? What objective realities characterize the world where the heroes live? Why is the world merciless to them?

5. Find the key words in each part of the poem. How are they connected with the late insight of the lyrical subject? How does he evaluate his “unsuccessful” love?

Individual tasks. Compare the poems “I’m driving along a dark street at night...”

and “On the Road.” Do they have any basis for comparison? Compare different points of view on the poem “I’m driving along a dark street at night...”:

“Tell Nekrasov from me that his poem in the 9th book [of Sovremennik] drove me completely crazy; Day and night I recite this amazing work - and have already learned it by heart” (from a letter from I. Turgenev to V. Belinsky dated November 26, 1847).

“Whoever is able to write poems: “Philanthropist”, “Epilogue to an unwritten poem”, “Am I driving along a dark street at night...”, “Sasha”, “Living in accordance with strict morality...” - he can be sure that his living Russia knows and loves"

(D. Pisarev, 1861).

There is not even a shadow of that hope in the goodness of Providence, which always, constantly reinforces the ill-fated beggar and keeps him from crime... It is a pity that Mr. Nekrasov’s muse is one of the darkest and that he sees everything in a black light... As if there is no longer a brighter side? » (from the report of censor E. Volkov, an official of special assignments under the Minister of Public Education, to inspector A. S. Norov dated November 14, 1856).

5. In 1847-1866. Nekrasov is the publisher and editor of Sovremennik.

The main themes and motives of Nekrasov’s lyrics from 1847-1866.

Their genre diversity:

poems about the plight of peasants, the urban poor, and women’s lot (“Orina, the soldier’s mother,” “Rural suffering is in full swing...”, “About the weather,” “Crying children,” “Forgotten village,” etc.);

lyrical poems about love, about the complex relationships of loving people (“You are always incomparably good...”, “You and I are stupid people...”, “I don’t like your irony...”, “I’m sorry”, etc.);

poems about poetry, about the complex contradiction between poetic vocation and public duty (“Celebration of life - years of youth...”, “I am unknown.

I did not gain from you...", "Blessed is the gentle poet...", "Poet and Citizen", etc.);

poems dedicated to comrades in the struggle, revolutionary sentiments (“Song to Eremushka”, “On the Death of Shevchenko”, “Turgenev”, “Belinsky”, “Reflections at the Front Entrance”, “In Memory of Dobrolyubov”, etc.);

poems about Russia, about the high social purpose of the Russian person (“No matter what year, the strength decreases ...”, “Sasha”, “The Unhappy”, “Return”, “The Beginning of the Poem”, etc.).

6. In 1867-1877. Nekrasov is the editor and publisher of the journal Otechestvennye zapiski. The peaks of Nekrasov’s poetic creativity during this period:

poems about the Decembrists (“Grandfather”, “Russian Women”), satirical poems (“Recent Time”, “Contemporaries”), the poem “Who Lives Well in Rus'”;

elegiac works (“It’s stuffy without happiness and will...”, “Three Elegies”, “Despondency”, “Morning”, “Elegy”);

This year Victory Day is celebrated for the sixty-fifth time. This is a special holiday, this is a “holiday with ...”

“defectology PROGRAM OF EDUCATIONAL PRACTICE EDUCATIONAL PRACTICE IN INSTRUCTIONAL-METHODOLOGICAL CAMP Direction of training: 050400 Psychological and pedagogical education...”

“ILINA Nina Fedorovna PROFESSIONAL DEVELOPMENT OF A TEACHER IN AN INNOVATION COMPLEX 13.00.08 – Theory and methods of vocational education Abstract of the dissertation for the degree of candidate of pedagogical sciences Krasnoyarsk 2006 The work was completed at the Department of Pedagogy of the State Educational Institution of Higher Professional Education “Krasnoyarsk State Pedagogical University named after. V.P. Astafye..."

“Municipal educational institution “Basic secondary school in the village of Duplyatka, Balashov district, Saratov region” Reviewed and approved by: Methodological association Order No._from Protocol No._ From “_” 2013 Director:_ L.A. Chernikova “_” 2013 Adopted at the methodological (pedagogical...)

“Teacher's Guide Ministry of the Environment of Finland Ministry of the Environment of Sweden Ministry of the Environment of Norway BBK 20.1:74.26 3-48 Green Pack: A set of educational materials. – Szentendre (Hungary): REC, 2009 ISBN: 978-963-9638-41-9 Contains ... "

"ARKADY BORMAN A.B. Tyrkova to Williams according to her letters and memoirs of her son Louvain Washington Tous droits rservs pour tous pays l "auteur CONTENTS Preface Autobiographical sketch by A.B. Tyrkova-Williams Chapter 1. Childhood and youth 11 Chapter 2. First marriage 29 Chapter 3. Difficult beginning of an independent life ...."

“Kozlov Yuri Andreevich MINIMALLY INVASIVE SURGERY OF NEWBORNS AND INFANTS 01/14/19 – pediatric surgery ABSTRACT of the dissertation for the degree of Doctor of Medical Sciences Moscow 2014 The work was performed at the State budgetary educational institution of additional professional...”

“UDC: 159 Nikolaeva Anastasia Yuryevna senior lecturer of the Department of Psychology and Pedagogy of the Novomoskovsk branch of the University of the Russian Academy of Education [email protected] Anastasia Yu. Nikolaeva senior teacher of department of psychology and pedagogics of Novomoskovsk branch of university...”

“FEDERAL AGENCY FOR EDUCATION GOU VPO PERM STATE PEDAGOGICAL UNIVERSITY Department of Special Preschool Pedagogy and Psychology Full Name author: Miftakhova AA Educational and methodological...”

“State budgetary educational institution of Moscow, gymnasium No. 1562 named after Artem Borovik. Additional general education program “School of Polite Sciences” Compiled by: Salnikova O.V. Primary school teacher Highest category...”

After reading the novel, watch the video and prepare your answers to the following questions.

In order to understand the image of Pechorin, you need to understand his soul, his inner world, the motives of his behavior and actions. Pechorin's Journal will help you solve this riddle.

We study the novel by M.Yu. Lermontov “A Hero of Our Time”

Questions and tasks for discussing the chapter “Bela”

1) How many narrators are there in the story? What is the artistic significance of changing narrators?

2) How can the inconsistency of his character be discerned in the first portrait of Pechorin, given by Maxim Maksimych?

3) Why is Bela’s story, which happened in the past, constantly interrupted by evaluative remarks from Maxim Maksimych and the author?

4) Analyze the dialogue between Maxim Maksimych and Bela from the words “Where is Pechorin?” to the words “fell on the bed and covered her face with runes.” What artistic means does the author use to reveal the psychological state of the characters? How is Pechorin indirectly characterized in the subtext of the dialogue?

5) Why didn’t Pechorin consider himself to blame in the story with Bela?

How does the inconsistency of Pechorin’s character manifest itself after Bela’s death? What artistic details highlight this?

6) Read Pechorin’s monologue from the words “Maksim Maksimych,” he answered, “I have an unhappy character” to the words “Are all the youth there really like that?” Compare Pechorin's reasoning about his past with the life story of Onegin.

7) Compare the text of Pechorin’s monologue with Lermontov’s poem “Duma”.

8) What role do landscape sketches play in the chapter?

9) How does the character of Maxim Maksimych appear in the chapter? Trace the details of his psychological portrait.

Questions and tasks for discussing the chapter “Maksim Maksimych”

1) Find in the text details that characterize the psychological state of Maxim Maksimych, waiting for Pechorin.

2) Read the description of Pechorin’s appearance. Prove that this is a psychological portrait. Why do we see the second portrait of Pechorin through the eyes of the author?

3) Read the episode of Pechorin’s meeting with Maxim Maksimych from the words “I turned to the square and saw Maksim Maksimych running as fast as he could” to the words “his eyes were constantly filling with tears.” By what means does the author depict the psychological state of Pechorin and Maxim Maksimych? Try to comment on the subtext of their dialogue.

4) Why didn’t Pechorin strive to see Maxim Maksimych?

6) What impression does Pechorin make on the reader? What traits of his character seem negative to you? What details of the text of chapters 1-2 emphasize its positive qualities?

"Pechorin's Journal".

Questions and tasks for discussion of the chapter “Taman”

1) What is the artistic meaning in the fact that in the chapter “Taman” the hero himself is the narrator?

2) What surprised Pechorin in the heroes of the chapter “Taman”?

3) Read the dialogue between the blind man and the undine girl at night on the seashore from the words “So about an hour passed” to the words “I could hardly wait for the morning.” How does Pechorin’s character manifest itself in this episode? Why did he need to “get the key” to the smugglers’ riddle?

4) Read the portrait of an undine girl. What assessments does Pechorin give her and how does this characterize him?

5) Analyze the episode of Pechorin’s fight with the girl in the boat. Assess Pechorin's behavior in this scene.

6) Why does Pechorin call smugglers “honest”?

7) Why is he sad at the end of their story? What does this reveal about his character?

8) What position of Pechorin in relation to the people around him does the author emphasize?

Questions and tasks for discussing the chapter “Princess Mary”

1) Why did Pechorin seek Mary’s love?

2) How to understand his statement: “What is happiness? Intense pride"? Is Pechorin consistent in observing this life position?

3) What are Pechorin’s views on friendship? How does this manifest itself in his relationships with people around him?

4) How is Pechorin characterized by his relationship with Werner and Grushnitsky?

5) Why did Pechorin single out Vera out of all the women? Find an explanation for this in the diary entries for May 16 and 23.

6) Note the features of sincerity and pretense in Pechorin’s confession to Mary (from the words “Yes, this has been my fate since childhood” to the words “This will not upset me at all”).

7) Read the episode of Pechorin and Mary crossing a mountain river (entry dated June 12). How does Mary’s explanation with Pechorin reveal the intelligence and originality of her character?

8) Read the entry dated June 14. How does Pechorin explain the changes in himself and how does this characterize him?

9) Read Pechorin’s internal monologue before the duel (entry dated June 16). Is Pechorin sincere in this confession or is he being disingenuous even to himself?

11) What is Pechorin’s behavior during the duel? What positive and negative does the author emphasize in his image?

12) Is it possible to sympathize with the hero or is he worthy of condemnation?

13) How is Lermontov’s skill demonstrated in depicting the life and psychology of people in this episode?

Questions and tasks for discussing the chapter “Fatalist”

1) What is Vulich’s attitude towards predetermination in fate? At Pechorin's? From the author? Which of them has it ambiguous and why?

2) Why does Lermontov introduce into the narrative the idea that Pechorin felt Vulich’s imminent death?

3) Is Vulich looking for death?

4) Is Pechorin looking for death? Why?

5) How does Pechorin characterize his desire to try his luck?

7) What traits of his personality are manifested in the scene of the capture of a drunken Cossack?

8) Which character does the title of the chapter refer to? What artistic meaning is revealed in this?

9) Prove that the chapter “Fatalist” is a philosophical work.