Famusov

That's it, you are all proud!
Would you ask what the fathers did?
We should learn by looking at our elders...
A. S. Griboyedov

In the 60s of the 19th century, appears in Russian literature new type a hero who is commonly called the “new man”. This hero replaced the “superfluous man”, the main character of the works of the first half of the 19th century century. “Superfluous people”, smart, educated, are not satisfied with the life around them and the ideals of their contemporary society. All of them are dissatisfied with their life without meaning, but cannot find a serious goal that would capture them and give meaning to their lives. That’s why they are called “extra people.” A convincing description of “superfluous people” is given by N.A. Dobrolyubov in the article “What is Oblomovism?”

The life position of the “superfluous people” was more or less clear for its time: the heroes demonstratively opposed themselves to the surrounding society and thereby were a living reproach to this society: why are young, educated, capable people turn out to be “superfluous”? But during the first revolutionary situation and later the position of detachment from public life is no longer sufficient. In new historical conditions we need to get things done. New active heroes began to be called “new people” following N.G. Chernyshevsky, who so called the positive heroes of his social novel “What is to be done?”

The novel “Fathers and Sons” presents “ new person" - Bazarov. True, Turgenev calls him a “nihilist” and explains in detail what he means by this a foreign word. Having heard it for the first time, Nikolai Petrovich says: “This is from the Latin nihil - nothing... this word means a person who does not recognize anything” (V). Arkady immediately clarifies: “A nihilist is a person who does not bow to any authority, who does not accept a single principle on faith, no matter how much respect this principle is surrounded by” (ibid.). In other words, it is not true that Bazarov does not believe in anything, he trusts “experience”, “practical truth”, that is, he does not believe in “principles”, but believes in frogs. D.I. Pisarev, who, according to his socio-political views, should be classified as a real (and not literary) nihilist, approves of Bazarov’s similar beliefs: “It is precisely here, in the frog itself, that the salvation and renewal of the Russian people lies” (“ Motives of Russian drama", X). In the natural sciences, the critic explains his thought, phrases and authorities mean nothing; experimental evidence is needed here, and only the scientist who “will live a full mental life and look at things judiciously and seriously” can find them (ibid.).

The conversation about nihilists ends with a caustic remark from Pavel Petrovich: “Yes. Before there were Hegelists, and now there are nihilists. Let's see how you will exist in emptiness, in airless space" (V). This causticism has its own reason: no matter what Bazarov and his like-minded people say, they cannot escape the knowledge and achievements of previous generations, that is, “fathers.” This reveals one of the laws of dialectics (the transition from quantity to quality), formulated, among other things, by G. Hegel.

Bazarov as a “new man” is contrasted in the novel with the main ideological opponent - Pavel Petrovich Kirsanov, who, both in his beliefs and in his life history, is very reminiscent of “superfluous people”; it is not for nothing that Bazarov without ceremony calls him an “archaic phenomenon” (IV). In turn, Pavel Petrovich did not like the long-haired nihilist with bad manners and enormous pride at first sight. Bazarov’s bad manners, carefully noted by the writer (careless answers through clenched teeth, stomping on flower beds, sitting on the table, a careless pose “lounging” in a chair, yawning during a conversation), can be regarded as a conscious challenge to the aristocrats on the part of the “medical son”: Bazarov neglects rules of decency and demonstratively mocks the sleek hands and tight collars of the slacker Pavel Petrovich.

Both of them argue a lot in the novel and thus reveal their philosophical beliefs, political views, and life position. Turgenev cites in detail the statements of each of them about the people, state power, political struggle, the social structure of Russia, Russian history, science, art, etc. Bazarov wins these disputes, which proves the thoughtfulness, thoroughness of his beliefs and at the same time the vulnerability of many of the views of Pavel Petrovich, who, due to his age and long rural solitude, fell behind life. Former socialite does not understand that a new time is coming and it requires decisive action, and not just beautiful, albeit fair, reasoning. Bazarov says about the new time in the novel: “Before, in a more recent time, we said that our officials take bribes, that we have no roads, no trade, no proper court... And then we realized that we were talking, that’s all just chatting about our ulcers is not worth the trouble (...)” (X). Repeating this thought, Bazarov turns to Arkady: “Your brother, a nobleman, cannot go further than noble humility or noble boiling, and this is nothing. You, for example, don’t fight—and you already imagine yourself to be great—but we want to fight” (XXVI).

Thus, the reader is presented with two fundamentally different life positions. Bazarov is a democrat both by origin (his grandfather plowed the land, and his father was a regimental doctor), and by conviction (“Our dust will eat your eyes, our dirt will stain you, and you have not grown up to us...” (XXVI), - speaks main character Arkady), and by working lifestyle. Pavel Petrovich is an aristocrat, proud of his family, taking advantage of the fortune of his ancestors and demanding respect for himself “for the fact that he generally dined well, and once even dined with Wellinggon at Louis Philippe’s” (VII). Bazarov's behavior proves that he is a purposeful, efficient, strong-willed person. Turgenev's hero is a poor student, just like Rodion Raskolnikov, but he does not despair, withstands all the difficulties (lack of money, neglect of rich fellow students, enormous physical stress) that broke Raskolnikov, continues to study and is engaged in social activities. Bazarov is characterized by a materialistic worldview and serious studies in the natural sciences. The business spirit of a nihilist is to the liking of the author, who, however, does not forget that his main goal Bazarov formulated it very clearly: break down everything old, “clear the place” (X).

Turgenev, of course, does not like such “destructive” sentiments, but, being an honest writer, he shows that even during the holidays in Maryino the nihilist continues to work persistently, cuts up frogs, treats little Mitya. And Pavel Petrovich in the same Maryino great attention pays attention to his appearance and manners, but at the same time does not interfere in the management of the estate, leaving this prosaic care to his brother, he himself consoles his broken heart, looking for in Fenechka’s face features of similarity with Princess R. Bazarov quite reasonably asks the elder Kirsanov his caustic question: “ Excuse me, Pavel Petrovich, you respect yourself and sit with folded hands; What good is this for the bien public?” (X).

Turgenev portrayed Bazarov as a man with a strong character, which was manifested, for example, in the hero’s love story for Odintsova. Although the nihilist confidently declares at the beginning of the novel that there is no love, but only a physiological attraction between the sexes, he falls in love quite romantically and is rejected by the “lady of his heart.” Thus, the story of Bazarov and Odintsova essentially repeats the story of Pavel Petrovich and Princess R. However, unhappy love “breaks” Kirsanov (“the extra person”): he loses interest in life, leaves for the village, where he completely surrenders to his sad memories and experiences. Unhappy love inflicts a severe mental wound on Bazarov (“the new man”), but cannot break him: he consciously seeks distraction in his work, helps his father treat peasants, etc.

Despite these serious differences, the two antipodean heroes are similar in some ways, for example, both know and understand poorly life problems men, although both are convinced of the opposite. Aristocrat Pavel Petrovich “always stands up for the peasants; True, when talking to them, he frowns and sniffs cologne” (VII); democrat Bazarov “didn’t even suspect that in the eyes of the peasants he was still something like a fool” (XXVII). Turgenev cites a conversation between a young nihilist and a man who cannot answer the master’s abstruse questions: the interlocutors do not understand each other at all. Having listened to the absurdity that the earth stands on three fish, and the village world lovingly obeys the strict master, Bazarov “shrugged his shoulders contemptuously and turned away, and the man wandered off,” reasoning that the master “was chattering something; I wanted to scratch my tongue. It is known, master; does he really understand? (XXVII).

To summarize, it should be said that Turgenev made an attempt to truthfully describe the new hero of Russian public life at a moment when the ideological and psychological “portrait” revolutionary democrats not yet fully formed. And yet, many aspects of Bazarov’s character, as history has shown, were so correctly noted by the writer that they were repeated in the characters of real Russian revolutionary democrats (Dobrolyubov, Pisarev and others).

Portraying the “new man,” Turgenev contrasted him with the hero of the previous era—the “superfluous man.” The author showed that Bazarov has a stronger character than Pavel Petrovich: efficiency, determination, will, desire for action for the common good, breadth of life views and tasks favorably distinguish the young nihilist from the sophisticated gentleman, selfish, immersed in personal experiences, subordinate to external circumstances .

At the same time, the writer is frightened by the too radical beliefs of the “new people,” their contempt for universal human values ​​(family relationships, love), and disregard for the cultural and scientific traditions developed by their “fathers and grandfathers.” A complex attitude towards the “new man” allowed Turgenev to create a multifaceted, interesting image Main character.

On the left - M. Gorky and M. Andreeva posing for Repin. Finland, 1905. On the right is I. Repin. Portrait of M. F. Andreeva, 1905

Ilya Repin was one of the greatest portrait painters in world art. He created a whole gallery of portraits of his outstanding contemporaries, thanks to which we can draw conclusions not only about what they looked like, but also what kind of people they were - after all, Repin is rightfully considered a subtle psychologist who captured not only the external features of those posing, but also the dominant features their characters. At the same time, he tried to distract himself from his own attitude towards the posing and to grasp the inner, deep essence of the personality. It is interesting to compare photographs of the artist’s famous contemporaries with their portraits.

Actress Maria Fedorovna Andreeva | Photo

Maria Andreeva was not only one of the most famous actresses the beginning of the twentieth century, but also one of the most beautiful and captivating women - among those who are called fatal. She was a fiery revolutionary and the common-law wife of Maxim Gorky; Lenin called her “comrade phenomenon.” They said that she was involved in the death of industrialist and philanthropist Savva Morozov. However, Repin managed to resist the charms of the actress - after all, she was the wife of his friend. They were both frequent guests at his estate and posed for portraits by the artist.


M. Gorky and M. Andreeva pose for Repin. Finland, 1905 | Photo

The writer Kuprin witnessed the creation of this portrait, and when the artist asked his opinion, he hesitated: “The question took me by surprise. The portrait is unsuccessful, it does not look like Maria Fedorovna. This big hat casts a shadow on her face, and then he (Repin) gave her face such a repulsive expression that it seems unpleasant.” However, many contemporaries saw Andreeva exactly like this.


I. Repin. Portrait of the composer M. P. Mussorgsky, 1881. M. P. Mussorgsky, photo

Ilya Repin was a fan of the work of composer Modest Mussorgsky and was his friend. He knew about the composer’s alcohol addiction and the consequences for his health that it led to. When the artist heard that Mussorgsky was hospitalized in serious condition, he wrote to the critic Stasov: “Again, I read in the newspaper that Mussorgsky is very ill. What a pity for this brilliant force, who disposed of himself physically so stupidly.” Repin went to Mussorgsky in the hospital and within 4 days created a portrait that became a real masterpiece. 10 days after this, the composer died.


I. Repin. Portrait of Leo Tolstoy, 1887, and photo of the writer

The friendship between Repin and Leo Tolstoy lasted 30 years, until the death of the writer. Although their views on life and art often differed, they treated each other very warmly. The artist painted several portraits of Tolstoy’s family members and created illustrations for his works. Repin depicted the willpower, wisdom, kindness, and calm greatness of the writer - the way he saw him. Been to the artist's house eldest daughter Tolstoy Tatyana Sukhotina, who also became the artist’s model.


Tatyana Sukhotina, Tolstoy’s daughter, in the photo and portrait by Repin

One day, the mother of aspiring artist Valentin Serov approached Repin with a request to see her son’s work. In this powerful woman, Repin saw the features of the unyielding and proud princess Sofia Alekseevna. He's been into it for a long time historical theme and wanted to paint Princess Sophia in prison, but could not find a model, and then she found him herself.


Valentina Serova, the artist’s mother, photo. On the right is I. Repin. Princess Sophia in the Novodevichy Convent, 1879

Valentina Serova in the photo and portrait of Repin

It took Repin a very long time to convince his friend Pavel Tretyakov to sit for his portrait - the gallery owner was very reserved and a closed person, he liked to remain in the shadows and did not want to be known by sight. Lost in the crowd of visitors to his exhibitions, he could, while remaining unrecognized, hear their sincere feedback. Repin, on the contrary, believed that everyone should know Tretyakov as one of the most outstanding cultural figures of the era. The artist depicted the gallery owner in his usual pose, absorbed in his thoughts. Closed hands indicate his usual isolation and detachment. Contemporaries said that in life Tretyakov was as modest and extremely restrained as Repin portrayed him.


I. Repin. Portrait of P. M. Tretyakov, 1883, and photo of the gallery owner

Everyone who was personally acquainted with the writer A.F. Pisemsky argued that Repin managed to very accurately capture the defining traits of his character. It is known that he was quite caustic and sarcastic towards his interlocutor. But the artist also caught other important details, he knew that the writer was sick and broken by the tragic circumstances of his life (one son committed suicide, the second was terminally ill), and he managed to capture traces of pain and melancholy in the writer’s gaze.


I. Repin. Portrait of A. F. Pisemsky, 1880, and photo of the writer

Repin painted portraits of his loved ones with particular warmth. The portrait of his daughter Vera in the painting “Autumn Bouquet” is imbued with genuine tenderness.


I. Repin. Autumn bouquet. Portrait of Vera Ilyinichna Repina, 1892, and photo of the artist’s daughter

To complete the assignment, choose only ONE of the four proposed essay topics (17.1-17.4). Write an essay on this topic in a volume of at least 200 words (if the volume is less than 150 words, the essay is scored 0 points).

Reveal the topic of the essay fully and multifacetedly.

Justify your theses by analyzing the elements of the text of the work (in an essay on lyrics, you need to analyze at least three poems).

Identify the role of artistic means that is important for revealing the topic of the essay.

Think over the composition of your essay.

Avoid factual, logical, and speech errors.

Write your essay clearly and legibly, observing the norms of writing.

Explanation.

To complete the assignment in Part 3, select only ONE of the proposed essay topics (17.1-17.4).

In the M2 answer form, indicate the number of the topic you have chosen, and then write an essay on this topic in a volume of at least 200 words (if the essay is less than 150 words, then it is scored 0 points).

Rely on the author's position and formulate your point of view. Argument your theses based on literary works (in an essay on lyrics, you must analyze at least three poems).

Use literary theoretical concepts to analyze the work.

Think over the composition of your essay.

Write your essay clearly and legibly, observing the norms of speech.

Commentary on essay topics

C17.1. What is unique about Chatsky’s conflict with Famus society? (Based on the comedy by A. S. Griboyedov “Woe from Wit.”)

The images created by Griboedov are bright and ambiguous, uncharacteristic of classic comedy; The conflict of the play is also unconventional. Heated debates flare up between Chatsky and Famusov about the acceptability of various methods for obtaining promotions and awards, about the importance of public opinion, about education. This conflict is social; on the one hand - Chatsky and some off-stage characters (Skalozub's brother, Prince Fyodor, Tugoukhovskaya's nephew), on the other - the Moscow noble society led by Famusov. This is a confrontation not between two people, but between two worldviews and social positions; Chatsky and Famusov are only their most prominent representatives. From a historical point of view, this version of the social conflict is insoluble: the confrontation between the old and the new cannot be resolved peacefully. However, in the comedy, the relationship between specific characters, Chatsky and Famusov’s society, is clarified to the end: they deeply despise each other, do not want to have anything in common; The conflict in the literary sense is resolvable, but in the universal sense it is not.

C17.2. What features of the “new man” in the image of Bazarov does he accept and which does I. S. Turgenev deny? (Based on the novel “Fathers and Sons.”)

“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to death, because it still stands on the threshold of the future,” Turgenev wrote about his hero. The writer himself was undecided in his attitude towards Bazarov. On the one hand, he justifies and appreciates Bazarov, quite sincerely admiring his intelligence, firmness, ability to defend his ideals and achieve what he wants; endows this image with traits that it does not possess. But, on the other hand, the reader feels (there is no direct indication of this in the text, but it slips by itself, against the will of the author) that Bazarov is alien to the author, incomprehensible - the denial of art, nature, love is unacceptable for Turgenev. Turgenev sincerely wants to force himself to love his hero, to “fire” with his idea, but to no avail. The author and his main character remain on opposite sides. That is why the image of the new man Evgeny Vasilyevich Bazarov turned out to be complex, contradictory, and, of course, very interesting.

C17.3. Why does A. A. Blok refer to the historical past of the Motherland in his poems about Russia?

According to Blok himself, the theme of Russia is the main one in his poetry. Blok turned to this topic at the very beginning of his creative career and remained faithful to it until the end of his life. The poem “Gamayun, the prophetic bird” became the first work of the young Blok dedicated to the fate of Russia. Already in it the theme of the historical path of the homeland, its tragic history arises. Bird Gamayun

Broadcasts and sings

Unable to lift the troubled ones with wings...

The cycle “On the Kulikovo Field” is entirely dedicated to Russia. In the first poem of this cycle, the theme of the path arises, revealing itself in two planes: spatial and temporal. The time plan is an image of the historical path of Russia:

The holy banner will flash in the steppe smoke

And the Khan's saber is steel...

And eternal battle! We only dream of peace

Through blood and dust...

It is the combination of the temporal plane with the spatial one that gives the poem a special dynamism. Russia will never freeze in deathly immobility; it will always be accompanied by changes.

The poem “Born in the Years of the Deaf...”, dedicated to Z. N. Gippius, is also permeated with the expectation of change. Blok realizes the doom of his generation, the generation of children of the “terrible years of Russia,” and calls for renewal.

C17.4. Images of two capitals in Russian literature.

Over its centuries-old history, Russia has changed its capital more than once. Peter the Great, barely having time to found a new city - Petersburg - moved the capital there. Since then, the confrontation between St. Petersburg and Moscow began, claiming to be the main city of the country. This struggle could not help but be reflected in the works of writers who felt the spirit of the times. In addition, both cities are original and do not resemble one another: Moscow is always vibrant, cheerful, active; St. Petersburg is gloomy, proud, and preserves traditions. Even having lost its official status, it remains a “cultural capital”.

A. S. Pushkin admires the proud Moscow, which did not surrender to Napoleon: “Moscow... how much has merged in this sound for the Russian heart!” But Petersburg is dearer to the poet:

I love you, Petra's creation,

I love your strict, slender appearance,

Neva sovereign current,

Its coastal granite...

Such poems could only be written by a person who truly loved St. Petersburg. For Pushkin, this city is the embodiment of Peter’s spirit.

We find a whole cycle of “Petersburg Tales” in Gogol. But the splendor of St. Petersburg fades into the background here, since Gogol writes not a guide to the city at all, but satirical works. Indifference, bureaucracy, depersonalization of a person - this is what worries the writer in the first place. Therefore, the image of the capital is bifurcated.

One cannot help but recall “Tavern Moscow”, sung by Sergei Yesenin. Nightlife is in full swing here, everything is in smoke, everyone is in a drunken stupor. In this Moscow there is revelry, drunkenness, nothing is sacred. The poet wants to escape from the stuffy atmosphere of taverns, see at least a piece of clear sky, breathe fresh air. But there is no way out, and this hopelessness and depression also affects the reader. How far this Moscow is from Pushkin’s!

In Russian literature, as in life, there is no clear answer: which city is better? Moscow and St. Petersburg are dear to the Russian heart, each in their own way.

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You didn't go to school and your name is Mowgli?

What was the name of the titan who stole fire from Olympus and gave it to people?

The Titan who stole fire from Olympus was named Prometheus. He took pity on the people and gave them fire, for which he himself was punished by Zeus. Prometheus was chained to a rock. Every day an eagle flew to him and pecked out his liver. Within a day it was overgrown. The next day everything was repeated all over again. Zeus betrayed his “comrade” to such torment because he taught people to use fire. Prometheus was freed by Hercules, he killed the eagle that flew to the titan and cut Prometheus's chains.

Like Prometheus, bringing fire to humanity, the sculpture depicts a young, half-naked and mighty titan

Somewhere near Leninsky Prospekt?THE THIRD IS NOT ODD 1

What features of young contemporaries did Turgenev try to capture in the image of Bazarov?

Since Bazarov was a nihilist, he had a negative attitude towards traditional foundations and art, a skeptical attitude towards love and towards parents, but he was also sincere and open, capable of mercy.

Which empire that ever existed on earth was the largest and most powerful for its time?

The British Empire was the largest in the history of mankind with colonies on all continents (42.7 million km2). In second place - Mongol Empire Genghis Khan. It is the largest continental unitary state in the history of mankind. It was founded by Genghis Khan in 1206 and included the largest territory in world history: from the Danube to Sea of ​​Japan and from Novgorod to Cambodia.

Lesson #1.
NOVEL BY I. S. TURGENEV “FATHERS AND CHILDREN”.
HISTORY OF CREATION.
CHARACTERISTICS OF THE ERA OF THE 60S OF THE XIX CENTURY

Goals: remind students of the writer’s position in the literary and social struggle while working on the novel; to emphasize the peculiarities of Turgenev’s talent to “catch” modernity, to respond to everything new that was just emerging in Russian life; talk about the history of writing the novel, find out the meaning of the title, exchange initial impressions of the work you read; using the material of the novel “Fathers and Sons” to characterize the era of the 60s of the 19th century.

Progress of lessons

1. What is the significance of the Sovremennik magazine for I. S. Turgenev?

2. What is the reason for the writer’s break with Sovremennik and N.A. Nekrasov?

3. Tell us about Russian social life in the 60s of the 19th century.

(In the 60s of the 19th century, a new era of Russian life began. The warring forces of society were identified: conservatives defending the old order, liberals , advocating gradual changes in the socio-political life of Russia (Turgenev himself is a supporter of gradual reformist changes in the country), and democrats , determined to immediately destroy the old and establish new orders (Turgenev’s hero, Bazarov, belongs to these forces.)

I. S. Turgenev witnessed the triumph of revolutionary democrats over liberals. He admired the courage of the Russian revolutionaries, but didn't believe it in the prospects of their activities, therefore, he was especially acutely aware of the shortcomings and extremes of the revolutionary movement of the sixties, which received the name “nihilism” in the novel “Fathers and Sons.” The nihilists, according to the modern literary critic N.I. Prutsky, were indeed “ready to deny the beautiful, art, aesthetics... The nihilists called themselves “terrible realists,” supporters of merciless analysis, fans of the exact sciences, experiment.”

The novel “Fathers and Sons” is a topical novel that largely explains the life of Russian society. Turgenev “caught and developed” in the novel the main conflict of the crisis era - the uncompromising struggle of liberals with revolutionary democrats. In the book, Turgenev reflects on the change of generations, on the eternal struggle between old and new, on caring for cultural heritage. These eternal problems found a capacious formulation in the title of the novel “Fathers and Sons” - this is a “universal coverage of reality” in its entirety: from the past through the present to the future.)

II. Implementation of an individual task.

Student message.

history of writing the novel

“Fathers and Sons” was created in a troubled era. The novel was conceived in 1860 in England, during summer holiday Turgenev. The writer continued working on the novel in Paris. But judging by the letters to friends, things were moving slowly. In May 1861, Turgenev arrived in Russia, in Spasskoye-Lutovinovo. Under the influence of immediate impressions, the work went well.

The novel "Fathers and Sons" was completed by August 1861.

While working on the book, Turgenev suffered disappointments. Breaks with people he valued followed one after another.

After the novel “On the Eve” and N. Dobrolyubov’s article “When will the real day come?” Turgenev broke with Sovremennik, with which he had many connections; he was its employee for fifteen years.

Then a conflict arose with I. A. Goncharov, which led to a breakdown in relations, followed by a quarrel with L. N. Tolstoy in the summer of 1861, which almost ended in a duel.

Turgenev's faith in friendly feelings collapsed.

The novel “Fathers and Sons” was published in the magazine “Russian Messenger” in February 1862, dedicated to V. G. Belinsky, and directed “against the nobility as an advanced class.”

I. S. Turgenev: “The main figure, Bazarov, was based on the personality of a young provincial doctor who struck me (he died shortly before 1860). In that wonderful person embodied... that barely born, still fermenting principle, which later received the name of nihilism. The impression made on me by this person was very strong and at the same time not entirely clear: I... listened intently and looked closely at everything that surrounded me... I was embarrassed by the following fact: in not a single work of our literature did I even see a hint of what seemed to me everywhere..."

Turgenev wrote about the prototypes: “Nikolai Petrovich [Kirsanov] is me, Ogarev and thousands of others; Pavel Petrovich [Kirsanov] – Stolypin, Esakov, Rosset, also our contemporaries.”

In the character of Nikolai Petrovich, Turgenev captured a lot of autobiography, the writer’s attitude towards this hero is sympathetic.

Pavel Petrovich Kirsanov had prototypes: Alexey Arkadyevich Stolypin, officer, friend and relative of M. Yu. Lermontov; brothers Alexander, Arkady and Klimenty Rosset, guards officers, close acquaintances of Pushkin.

III. Analysis of the content of the novel “Fathers and Sons”.

Questions and tasks:

1. When do the events take place? Read the beginning of the novel.

2. Who comes with Arkady?(Nikolai Petrovich Kirsanov is expecting his son’s arrival, but Arkady arrives with Bazarov, a commoner democrat, a hero of the new era.)

3. Analysis of the landscape (described in the 3rd chapter of the novel) that appeared to the eyes of Arkady and Bazarov on the road to Maryino.

Reading from the words: “The places they passed through could not be called picturesque...”

4. What is the situation of the peasants? What details of the landscape indicate this?

5. Why, in your opinion, does Turgenev avoid bright epithets that depict the life of nature?(Before us social function landscape. The author selects in nature only that which is directly or indirectly related to the living conditions of the peasants. Poverty, poverty in everything. Ponds with “thin dams”, “villages with low huts”, ruined cemeteries: the living, crushed by poverty, forgot about the dead... “Arkady’s heart gradually sank.”)

6. Analysis of the second part of the landscape (Chapter 3). Reading from the words: “And while he was thinking, spring took its toll...” What feelings arise after reading?(The writer is full of optimism. The landscape is beautiful! The life of nature is captivating. There is not a single detail that darkens the mood!)

7. Using the material from the novel, tell us about the relationship between peasants and landowners.(“Forest... only I sold it”, “... the land goes to the peasants...”, “... quitrents are not paid...”, “dissociated from the peasants...” Nikolai Petrovich transfers peasants from corvée to quitrent, takes good lands for himself, uses the labor of civilians workers, cuts down forests that should go to the peasants, does everything to protect their interests. The peasants resist in their own way - they refuse to fulfill their lordly duties.)

8. Who will carry out the necessary changes?(Of course, new people of the new era, such as Bazarov, are commoners by origin and beliefs.)

Homework.

1. Reading a novel (chapters 11–15).

2. Write a profile of N.P. Kirsanov.

3. Analysis of E. Bazarov’s behavior at a party. His relationship with Arkady and P.P. Kirsanov.

Lesson #2.
E. BAZAROV AMONG THE KIRSANOVS. IDEOLOGICAL
AND SOCIAL DIFFERENCES OF HEROES

Goals: work on the content of the novel, analysis of chapters II, IV, X; draw students' attention to the origin of E. Bazarov, his behavior at a party, his attitude towards the Kirsanov brothers; Based on the text, highlight the main lines of the dispute between Bazarov and Pavel Petrovich Kirsanov, determine the “winner” in these disputes.

Progress of lessons

I. Student survey.

Questions:

1. Tell us about the history of the creation of the novel “Fathers and Sons.” To whom did Turgenev dedicated his work?

2. Do the heroes of the novel have prototypes? Who are they?

3. Which one social conflict is the basis of the novel "Fathers and Sons"?

4. What is the writer’s position in the dispute between liberal nobles and commoner democrats?

5. What is the essence of the main conflict of the novel? How is this reflected in the work?

6. How do you understand the meaning of the title of the novel?

7. Tell us about the era of the 60s of the 19th century (based on the novel).

II. Analysis of the content of Chapter II of the novel. Meeting of Evgeny Bazarov with Nikolai Petrovich Kirsanov(reading in faces).

Questions:

1. How is Evgeny Bazarov dressed? What does “hoodie with tassels” mean?(Hoodie - loose clothing. The appearance of Bazarov in such a robe among the Kirsanovs is a challenge to aristocratic conventions.)

2. Bazarov’s appearance. What did Nikolai Petrovich pay attention to?(“Bazarov’s Naked Red Hand” is the hand of a man accustomed to physical labor.)

3. How did Bazarov introduce himself?(“Evgeny Vasiliev” is a common form. This is how the peasants introduced themselves.)

4. Why, when meeting Nikolai Petrovich, did not Bazarov immediately shake his hand?(What if his hand hangs in the air? After all, the aristocrat Nikolai Petrovich might not have given his hand.)

III. Analysis of the content of Chapter IV of the novel. Bazarov's arrival in Maryino.

Questions:

1. What impression does the Maryino estate make?

2. How does Bazarov behave? Nikolai Petrovich?(Nikolai Petrovich tries not to notice the guest’s cheeky manners.)

3. Pavel Petrovich Kirsanov. His appearance, manners.(The appearance is striking in its sophistication.)Does Turgenev sympathize with the hero or is he ironic about him?

4. What assessment did Bazarov give to the Kirsanov brothers?

5. What did Evgeniy Bazarov do in Maryino? Arkady?(“Arkady sybaritized, Bazarov worked.” The life of the nobles is spent in idleness, and the content of Bazarov’s life is work; even when visiting, he continues his natural science studies.)

6. What is the attitude of Pavel Petrovich Kirsanov towards Bazarov?(“Pavel Petrovich hated Bazarov with all the strength of his soul: he considered him proud, impudent, cynic, plebeian.”)

7. How do ordinary people feel about Bazarov?

8. Bazarov is a “nihilist.” How does Arkady explain the meaning of this word? What is the essence of Bazarov's nihilism?(Treat everything from a critical point of view, not taking anything for granted. Nihilism is a special worldview, which is based on the denial of social norms, rules, principles.)

Bazarov and Kirsanov Nikolai Petrovich and Pavel Petrovich are different people. Bazarov is a “nihilist” and a democrat, a man who has gone through a harsh school of labor and hardship. The Kirsanovs are people of the “old century”. There can be no reconciliation or unity between them. A collision is inevitable.

(The chapter is dominated by dialogue. Turgenev is a master of dialogue.)

Plan:

1. Expressive reading of the dialogues of the characters in their faces.

2. Keep track of what the characters say and how they say it. (How do you understand the word “principle” and why do the heroes argue so fiercely about principles? Explain the point of view of those arguing. What is behind the principles: the demands of life or tradition? Is P. Kirsanov right in reproaching young people for being unprincipled? How do the heroes feel about the existing system? Can Bazarov be considered a revolutionary? weak side political views Bazarova? Do those arguing convince each other?)

3. Views on nature and art. Identification of the author's position. Does Turgenev join Bazarov’s statement that nature is not a temple, but a workshop? Does he completely deny Bazarov's credo? What description of nature does the author end the novel with and why?

The fight between Pavel Petrovich and Bazarov takes place over evening tea. The heroes argue about the Russian people, about the principles and activities of the nihilists, about art and nature, about the nobility and aristocracy. Every remark of Bazarov is directed against any generally accepted principle. (P. Kirsanov talks about the need to follow authorities, to believe in them. E. Bazarov denies the rationality of both. Pavel Petrovich argues that one cannot live without principles, Bazarov replies: “Aristocracy, liberalism, progress, principles, just think how many foreign and ... useless words!" Pavel Petrovich is touched by the backwardness of the Russian people and reproaches Bazarov for contempt for the people, the nihilist counters the reproach: "Well, if he deserves contempt!" The situation of the people causes anger in Bazarov. The hero sees trouble in all areas folk life. Kirsanov talks about Schiller and Goethe, Bazarov exclaims: “A decent chemist is twenty times more useful than any poet!” The 60s of the 19th century were the years of new discoveries in the field of natural science, chemistry, and medicine. Many leading figures of that era were interested in these sciences. Thus, during this period of rapid development of science and technical thought, an underestimation of art was often observed among part of society. Such extremes were also characteristic of Bazarov. Bazarov recognized only what was useful to his cause. The criterion of benefit is the starting position from which the hero approached various phenomena of life and art.)

In the fights between E. Bazarov and P. Kirsanov, the truth was not born. The participants in the dispute were driven not by a desire for it, but by mutual intolerance. Both heroes were not entirely fair to each other.

Homework.

2. Answer the questions:

1) The attitude of the heroes towards love, women in general.

2) E. Bazarov and Anna Sergeevna Odintsova.

3) The love story of P. P. Kirsanov for Princess R.

4) Are Arkady and Katya happy?

Lesson No. 3 FRIENDSHIP AND LOVE IN THE LIFE OF HEROES
(BASED ON THE NOVEL “FATHERS AND CHILDREN” BY I. S. TURGENEV)

Goals: analyze the relationship between Bazarov and Arkady Kirsanov, try to understand the inevitability of the gap between the heroes, “catch” the social conditioning of the gap; find out what place love occupies in the lives of the characters in the novel, whether they are capable of strong feelings, whether they will withstand the tests of love; show the deep internal differences between Bazarov and Odintsova with some similarity in their natures; reveal (in the clash between Bazarov and Odintsova) Bazarov’s superiority over the nobles in the sphere of feelings.

During the classes

I. Conversation with students on the topic “The relationship between Evgeny Bazarov and Arkady Kirsanov.”

Questions:

1. Reading and analysis of the text from the words: “...We say goodbye forever... you were not created for our bitter, tart, filthy life. You have neither insolence nor anger, but only youthful courage..."

2. How does Bazarov characterize the life of revolutionaries in these words?

3. Why did Arkady join the nihilists?(“Young courage and youthful enthusiasm”; Bazarov is pushed to fight by “insolence” and “anger.”)

4. Does A. Kirsanov sincerely share Bazarov’s views at first?

5. Why, despite the desire, Arkady cannot become “strong, energetic”?

6. Why did the friends split up? Does Bazarov have followers?(Educated and wealthy liberal nobles strive for comfort (moral and physical). They want to feel that they are progressive people. But when they have to act, narcissism and selfishness make them incapable of consistent struggle (“... you involuntarily admire yourself, you feel good about yourself scold..." - says Bazarov to Arkady). Arkady is Bazarov's temporary travel companion. Arkady Kirsanov is not used to difficulties, in the struggle against which character is developed; Bazarov's ideas were not deeply felt by him.)

7. What is the role of Kukshina and Sitnikov in revealing the ideas of nihilism?

II. A debate or conversation with students on the topic “Love in the lives of heroes.”

For Turgenev, a person’s ability to love is a criterion of his worth. The writer necessarily puts his heroes through this test.

Sample questions for discussion:

2. How do you evaluate Pavel Petrovich’s love story?(In the memory of Pavel Petrovich, Princess R. was imprinted as an “incomprehensible, almost meaningless ... image.” Turgenev emphasizes her “small mind” and hysterical behavior. Pavel Petrovich failed in love. He was “tormented and jealous, did not give her “peace, dragged around following her everywhere..." Where did his self-respect and pride go?)

3. One of the problems of the novel is Bazarov’s conflict with the world of the nobility. The hero’s relationship with Odintsova is just a ramification of this conflict. What are Bazarov's views on love and women in general?(Bazarov has a predominantly cynical consumerist view of a woman. Before meeting Anna Sergeevna Odintsova, Bazarov did not love anyone, so he had a wrong idea about this feeling.)

4. What attracted Evgeny Bazarov to Odintsova? How is he behaving?(Anna Sergeevna charmed Bazarov with her beauty, feminine charm, and ability to behave with dignity. But real love arose when Bazarov saw in Odintsova an intelligent interlocutor and a person capable of understanding him. Bazarov needs spiritual communication! Evgeny Bazarov's feelings are deep.)

5. Odintsova’s purpose in life? What is her attitude towards Bazarov?(The goal of Anna Sergeevna’s life is material security, comfort and tranquility. Odintsova does not respond to Bazarov’s love. She just wanted to see at her feet an interesting, intelligent person, not like others. Politically, Bazarov was a person who did not believe in those fundamentals of life which seemed familiar to her. By social status, Bazarov is a poor man, a future doctor, best case scenario- scientist. By nature, Turgenev's hero is sharp and straightforward. Bazarov’s love for Odintsova is an event that shakes the foundations of his beliefs, calling into question his philosophical system.)

6. Could the fate of Bazarov and Odintsova have been happy? Could Anna Sergeevna change, go with Bazarov into his “bitter, tart, noble” life?(She would never have followed him, even if she had fallen in love.)

Conclusions. Bazarov is capable of love, of great and deep feeling. According to M. M. Zhdanov, the comparison of Bazarov with Odintsova and Pavel Petrovich Kirsanov allows us to see the internal unity of the work, the connection of the love affair with the main conflict of the novel, and proves the “triumph of democracy over aristocracy” in the field of feelings.

Bazarov loves Odintsova and at the same time despises himself for not being able to cope with the feeling. The hero's loneliness is growing. Trying to fight his love for Anna Sergeevna, he immerses himself in work, but this does not save him. The complex web of contradictory feelings can no longer be unraveled or cut.

7. Was Dostoevsky right when he saw in Bazarov “a sign of a great heart”?

8. Are Arkady and Katya happy?(Their feelings are natural and therefore beautiful.)

9. How should we understand Turgenev’s words about love in the epilogue of the novel?

Homework.

2. Answer the questions:

1) Bazarov’s attitude towards his parents.

2) Analyze the scene of Bazarov’s illness and death. What qualities of the hero were manifested in last hours life?

3) Reflect on the fate of Bazarov if he had remained alive. Why didn't the novel end with the hero's death?

Lesson No. 4. THE ARTISTIC POWER OF THE LAST SCENES OF A NOVEL
I. S. TURGENEV “FATHERS AND CHILDREN” (CHAPTER 27 AND EPILOGUE)

Goals: show emotional impact the last chapters of the novel; help students imagine the hopeless situation in which Bazarov found himself, whether the hero’s illness and death were accidental, what is Turgenev’s attitude towards his hero; to uncover positive traits Bazarov, which manifested themselves with particular force in the last hours of his life (courage, willpower, loyalty to one’s convictions, love of life, woman, parents, the mysterious Motherland).

During the classes

I. Individual messages from students on the topic “Bazarov and Parents” or a conversation on the following questions:

1. Parents of E. Bazarov. Who are they?(The old Bazarovs are simple people, living out their lives in a small house under a thatched roof. They idolize their son and are proud of him. Vasily Ivanovich Bazarov is a tall “thin man with tousled hair.” He is a commoner, the son of a sexton, who became a doctor. For the fight against awarded an order during the plague epidemic. Tries to keep up with the times, to get closer to the younger generation. Arina Vlasevna is a “round old lady” with “chubby hands.” She is sensitive and pious, believes in omens. The author paints her image: “a real Russian noblewoman of the old days “, who should have lived “over two hundred years.” The arrival of dear “Enyusha” excited her, filled her entire being with love and care.)

2. What role did the parents play in raising their son? How do they look at his activities now?(They helped Evgeniy in any way they could, they felt his uniqueness.)

3. How does Bazarov relate to his parents?(Bazarov understands that it is impossible to “remake” his parents. He loves them as they are (although the difference in views is obvious). Bazarov contrasts his parents with high society: “... People like them cannot be found in your big world during the day.” ", he says to Odintsova. But nevertheless, in communication with his mother and father, the son is “angular and helpless": neither caress nor calms down. He is often silent and does everything possible to hide away, suppress the feeling of filial love in himself. After all, love, both filial and parental, according to Bazarov’s concepts, is a “feigned” feeling.

II. Expressive reading of a passage about the death of Bazarov(with minor abbreviations).

III. Conversation with students on the following questions:

1. What thoughts and feelings does Bazarov evoke in the death scene?(Admiration for strength of character, mental fortitude, courage, ability to hold on to the end.)

2. Establish the cause of the hero’s illness and death.(It seems that infection during an autopsy is an accident; in fact, this is not so. At work, in the quest for knowledge of the not yet known, Bazarov is overtaken by death.)

3. D. I. Pisarev: “The whole interest, the whole point of the novel lies in the death of Bazarov... The description of Bazarov’s death isbest place in the novelTurgenev; I even doubt that there is anything remarkable in all the works of our artist.”

A. P. Chekhov: “What a luxury - “Fathers and Sons”! Just at least shout guard. Bazarov's illness was so severe that I became weak, and it felt as if I had become infected from him. And the end of Bazarov?.. It’s the devil knows how it was done. Simply brilliant."

Do you agree with these statements by Chekhov and Pisarev?

4. What is Turgenev’s attitude towards his hero?

I. S. Turgenev: “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.”

The writer’s attitude towards Bazarov was not entirely clear: Bazarov was his “enemy”, for whom he felt"involuntary attraction". The writer did not believe that people of Bazarov’s type would “find a way to renew Russia”(D.K. Motolskaya).

I. S. Turgenev: “If the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness, if he does not love him... it's my fault and did not achieve his goal." In these words, in my opinion, the writer’s love for his hero.

5. Tell us how Bazarov’s loneliness gradually grows in clashes with the people around him.(According to M. M. Zhdanov, Turgenev, depicting Bazarov’s superiority over others, psychologically very subtly and convincingly shows his loneliness. The break with the Kirsanovs occurred due to ideological differences, with Anna Sergeevna - on the basis of unrequited love, the hero despises Kukshina and Sitnikov, Arkady by their nature they are not capable of great things, the old Bazarovs and their son are people of different generations, and the difference in their development is great, with ordinary people– alienation.

6. D. I. Pisarev considers Bazarov’s death heroic, akin to a feat. He writes: “To die the way Bazarov died is the same as accomplishing a great feat.” “...But look death in the eyes, foresee its approach, without trying to deceive it, remain true to yourself until last minute, not to weaken and not to be afraid - this is the matter strong character" Is Pisarev right in assessing Bazarov’s death as a feat?

7. How might his fate have turned out?

8. What qualities of Bazarov manifested themselves with particular force in the last hours of his life? For what purpose did he ask his parents to send for Odintsova?(We can probably say that Bazarov is dying of loneliness. Being in a state of deep mental crisis, he is negligent in autopsying the corpse and does not take action in time Nothing to reduce the possibility of infection. The courage with which Turgenev's hero meets his death testifies to the true originality of his nature. Everything superficial and external disappears in Bazarov, and a person with a loving and even poetic soul is revealed to us. Bazarov admired Odintsova, with a feeling of love he already Not considers it necessary to fight.

In the image of Bazarov, Turgenev typifies such wonderful qualities of new people as will, courage, depth of feelings, readiness for action, thirst for life, tenderness.)

9. Why doesn’t the novel end with the death of the hero?

10. Does bazaarism exist these days?(In the epilogue, I. S. Turgenev writes: “No matter what passionate, sinful, rebellious heart hides in the grave, the flowers growing on it serenely look at us with their innocent eyes; they tell us not only about eternal peace, about that great the tranquility of an “indifferent” nature; they also talk about eternal reconciliation and endless life..."

Excited voice of the author! Turgenev talks about the eternal laws of existence that do not depend on man. The writer convinces us that going against these laws is madness. In the novel, what is natural wins: it returns to parents' house Arkady, families are being created... And the rebellious, tough, prickly Bazarov, even after his death, is still remembered and loved by his aging parents.)

Homework.

2. After reading the article, answer the questions:

1) What are the fundamental properties of the Bazarov type?

2) What, according to Pisarev, is the author’s attitude towards the Bazarov type in general and towards the death of the hero in particular?

3) What, from Pisarev’s point of view, controls Bazarov’s behavior?

4) How does Bazarov compare with the heroes of the previous era?

3. Written response ( individual task): Why is I. S. Turgenev’s novel “Fathers and Sons” and its hero interesting to today’s reader?

4. Write down interesting statements about the novel by literary critics N. N. Strakhov, V. Yu. Troitsky. Which of them, in your opinion, are closer to Turgenev’s point of view on his hero? Which ones should you argue with?

Lesson No. 5.
DISPUTES AROUND I. S. TURGENEV’S NOVEL “FATHERS AND CHILDREN”.
CONTEMPORARIES ABOUT “FATHERS AND CHILDREN”

Goals: introduce assessments of Turgenev’s novel by Russian critics; consider the main provisions of the article by D. I. Pisarev “Bazarov”; find out why the novel is interesting to today’s reader, what is outdated and what is modern in the work; determine your attitude towards Turgenev’s novel and its characters.

During the classes

I. Repetition of what has been learned.

Sample questions:

1. Let us remember how the novel was created, where it was published, to whom it was dedicated, and against whom it was directed.(The novel was conceived in 1860 in England, completed in Russia in 1861, published in Russky Vestnik in 1862, dedicated to V. G. Belinsky, directed against the nobility.)

2. What events of the novel do you consider the main ones?

3. What is the essence of the main conflict?

4. For what purpose does I. S. Turgenev pit Bazarov against other heroes of the novel? What is “psychological couple reception”? Which characters in the novel are involved?

5. What is “nihilism”?

6. What is the essence of Bazarov’s nihilism?

7. What is Odintsova’s role in identifying the main conflict of the novel?

8. Why did Turgenev “force” his hero to die? Did Bazarov believe in the immortality of the soul?

9. What do you think is outdated and what is modern in the novel?

10. What is your attitude towards Turgenev’s novel and its characters?

II. Discussion of statements by Russian critics about the novel “Fathers and Sons.”

I. S. Turgenev after the publication of "Fathers and Sons" I wanted to leave it forever literary activity and even said goodbye to readers in the story “Enough.”

“Fathers and Sons” made a splash in a way the author did not expect. With bewilderment and bitterness, he stopped before the “chaos of contradictory judgments”(Yu. V. Lebedev).

In a letter to A. A. Fet, Turgenev remarked in confusion: “Did I want to scold Bazarov or extol him? I don’t know this myself, because I don’t know anymore whether I love him or hate him!”

1. D. I. Pisarev wrote two brilliant articles “Bazarov” (1862) and “Realists” (1864), in which he expressed his attitude towards Turgenev’s novel and the main character. The critic saw his task as “outlining Bazarov’s personality in broad strokes,” showing his strong, honest and stern character, and protecting him from unfair accusations.

Pisarev's article "Bazarov". (2–4, 10, 11th chapters.)

Conversation with students on the following questions:

1) What are the fundamental properties of the Bazarov type and what determines them?(Pisarev, with his characteristic aphoristic precision, reveals the essence of the Bazarov type, which was generated by the harsh school of labor. It was labor that developed energy... Pisarev explained the rudeness and harshness of Bazarov by the fact that “from harsh labor, hands become coarse, manners become coarser, feelings become coarser.”)

2) What, according to D.I. Pisarev, controls Bazarov’s actions?
(The reasons for active activity, according to Pisarev, are “personal whim or personal calculations.” The critic, having overlooked Bazarov’s revolutionary spirit, could not clearly explain what “personal calculations” means. Pisarev also impoverished the concept of “personal whim” without filling it with revolutionary content.)

3) How does Bazarov compare with the heroes of the previous era?

(D.I. Pisarev wrote about the attitude towards Bazarov and his predecessors in Russian literature: “... the Pechorins have will without knowledge, the Rudins have knowledge without will, the Bazarovs have both knowledge and will, thought and deed merge into one solid whole.")

4) What does the critic say about Turgenev’s attitude towards the Bazarov type in general? What does he think about the death of the hero in particular?(For Turgenev, his hero stands “on the threshold of the future.” Bazarov dies, and his lonely grave makes one think that the democrat Bazarov has no followers or successors.

Pisarev seems to agree with Turgenev, since he believes that Bazarov “has no activity.” Well, what if “he has no reason to live; So we have to see how he will die.” The critic analyzes in detail the chapter about Bazarov’s illness and death, admires the hero, and shows what gigantic strengths and capabilities this new type has. “To die the way Bazarov died is the same as having accomplished a great feat.”)

5) What statements of the Russian critic seem interesting to you?

2. D. D. Minaev 1 . The poem “Fathers or Sons? Parallel" (1862).

For many years without fatigue

Two generations are waging war,

Bloody war;

And these days in any newspaper

“Fathers” and “Children” enter the battle.

These and those smash each other,

As before, in the old days.

We carried out as best we could

Two generations parallel

Through the darkness and through the fog.

But the steam of fog scattered:

Only from Turgenev Ivan

Waiting for a new novel -

Our dispute was decided by the novel.

And we exclaimed in enthusiasm:

“Who can stand in an unequal dispute?”

Which of the two?

Who has won? Who has the best rules?

Who forced himself to respect:

Bazarov, Pavel Kirsanov,

Caressing our ears?

Take a closer look at his face:

What tenderness and fineness of the skin!

The hand is white as light.

In speeches, in receptions - tact and measure,

The greatness of the London "Sir" -

After all, without perfume, without a toiletry case 2

And life is hard for him.

And what kind of morality! Oh Gods!

He is worried about Fenechka,

Like a high school student, he trembles;

Standing up for a man in a dispute,

Sometimes he's in front of the whole office,

Showing off with my brother in conversation,

"Calm, calm!" - he insists.

Nurturing your body,

He does things without doing anything,

Captivating old ladies;

Sits in the bath, goes to bed,

Fears a new race,

Like a lion on the Brulevskaya terrace

Walking in the morning.

Here is a representative of the old press.

Will you compare Bazarov with him?

Hardly, gentlemen!

The hero can be seen by signs,

And in this gloomy nihilist

With his medicines, with his lancet,

There is no trace of heroism.

* * *

Like the most exemplary cynic,

He is madame de Odintsova

He pressed it to his chest.

And even, what audacity,

Hospitality rights without knowing

One day, hugging Fenya,

Kissed me in the garden.

Who is dearer to us: old man Kirsanov,

Lover of frescoes and hookahs,

Russian Togenburg 3 ?

Or he, a friend of the mob and the bazaars,

Reborn Insarov, -

Bazarov cutting frogs,

A slob and a surgeon?

The answer is ready: it’s not for nothing that we

We have a weakness for Russian bars –

Bring them crowns!

And we, deciding everything in the world,

These issues have been resolved...

Who is dearer to us - fathers or children?

Fathers! Fathers! Fathers!

Conversation with students on the following questions:

2) What are the features of the form of the poem?(Minaev’s ironic poem is reminiscent of Lermontov’s “Borodino”. The poet sees in the novel “Fathers and Sons” Turgenev’s attacks on the younger generation. Turgenev’s sympathies, according to Minaev, are on the side of the fathers: “Who is dearer to us - fathers or children? Fathers! Fathers! Fathers !")

3. M. A. Antonovich “Asmodeus 4” of our time" (1862).

Maxim Alekseevich Antonovich – publicist, literary critic and a natural scientist, belonged to the revolutionary-democratic camp, was a student of N. A. Dobrolyubov and N. G. Chernyshevsky. He carried his reverent attitude towards Chernyshevsky and Dobrolyubov throughout his life. Antonovich had a difficult relationship with Nekrasov.

According to his daughter’s recollections, Antonovich had a very proud and intolerant character, which aggravated the drama of his fate in journalism.

In the article “Asmodeus of Our Time,” Antonovich spoke negatively about I. S. Turgenev’s novel “Fathers and Sons.” The critic saw in the novel the idealization of fathers and slander of children. In Bazarov, Antonovich found immorality and a “mess” in his head. Evgeny Bazarov is a caricature, slander against the younger generation.

Some excerpts from the article.

“From the very first pages... You are overwhelmed with some kind of deadening cold; you don't live with actors novel, you are not imbued with their life, but begin to coldly reason with them or, more precisely, follow their reasoning... This shows that Mr. Turgenev’s new work is extremely unsatisfactory in its artistically... not in the new work... psychological analysis, No… artistic images pictures of nature...

...in the novel... there is not a single living face or living soul, but all are only abstract ideas and different directions... He [Turgenev] despises and hates his main character and his friends with all his heart...

In disputes, he [Bazarov] is completely lost, expresses nonsense and preaches absurdities that are unforgivable to the most limited mind...

About moral character and moral qualities there is nothing to say about the hero; this is not a person, but some kind of terrible creature, just a devil, or, to put it more poetically, an asmodeus. He systematically hates and persecutes everyone, from his own good parents, which he cannot stand, and ending with frogs, which he slaughters with merciless cruelty. No feeling ever creeps into his cold heart; not a trace of any hobby or passion is visible in him...

[Bazarov] is not a living person, but a caricature, a monster with a tiny head and a giant mouth, with a small face and a large nose, and, moreover, the most malicious caricature...

How does the modern young generation of Turgenev imagine itself? He is apparently not disposed towards him, and is even hostile towards children; he gives full priority to fathers...

The novel is nothing more than a merciless and destructive criticism of the younger generation...

Pavel Petrovich [Kirsanov], a single man... endlessly immersed in worries about dandyism, but an invincible dialectician, amazes Bazarov and his nephew at every step...”

Some statements from Antonovich’s article are written down on the board, and students are asked to challenge the critic’s opinion.

- “Mr. Turgenev’s new work is extremely unsatisfactory artistically.”

- Turgenev “despises and hates his main character with all his heart,” and “gives full advantage to his fathers and tries to elevate them...”

- Bazarov “is completely lost, expresses nonsense and preaches absurdities.” Pavel Petrovich “amazes Bazarov at every step.”

- Bazarov “hates everyone”... “not a single feeling creeps into his cold heart.”

4. Nikolai Nikolaevich Strakhov- literary critic, author of the article “I. S. Turgenev. "Fathers and Sons"". The article is devoted to exposing nihilism as a theory supposedly divorced from Russian life.

The critic believed that Bazarov is an image of a man trying to subjugate the “forces of life” that gave birth to him and dominate him. Therefore, the hero denies love, art, the beauty of nature - these are the forces of life that reconcile a person with the world around him. Bazarov hates reconciliation, he thirsts for fight. Strakhov emphasizes the greatness of Bazarov. Turgenev’s attitude, according to Strakhov, is the same towards both fathers and children. “This identical measure, this common point of view in Turgenev is human life, in its broadest and fullest meaning.”

III. Implementation of individual homework assignments.

Reading a written answer to the question “Why is Turgenev’s novel “Fathers and Sons” and its hero interesting to today’s reader?”

Homework.

1. An essay based on Turgenev’s novel “Fathers and Sons.” (Writing time is a week).

Sample topics:

1) The meaning of the title of Turgenev’s novel “Fathers and Sons.”

2) Russian nobility as portrayed by Turgenev.

3) What is the strength and artistic appeal of Bazarov?

4) What do I like and what do I not accept in Bazarov?

5) “So you deny everything?” (Bazarov and Pavel Petrovich Kirsanov.)

6) The attitude of the novel’s heroes towards women.

7) The role of landscape in Turgenev’s novel “Fathers and Sons.”

8) " Extra people"in literature of the 19th century and " new hero"I. S. Turgeneva.

9) Analysis of an episode from I. S. Turgenev’s novel “Fathers and Sons” (students’ choice).

2. Biography of the poet F. I. Tyutchev.

3. Reading the poet's poems.