Lesson topic: the artistic power of the last scenes of the novel and... With. Turgenev “fathers and sons. I. Turgenev. "Fathers and Sons". The artistic power of the last scenes of the novel

17.04.2019

Literature, 10th grade

Lesson topic: ARTISTIC POWER OF THE LAST SCENES OF I. S. TURGENEV’S NOVEL “FATHERS AND CHILDREN” (CHAPTER 27 AND EPILOGUE)

Goals : show emotional impact last chapters 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; reveal positive qualities 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).

Lesson progress

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

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. She tries to keep up with the times, to get closer to the younger generation. Arina Vlasyevna is a “round old lady” with “chubby hands.” She is sensitive and pious, the author paints her image: “a real Russian noblewoman of the past. ”, who should have lived “for 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 high light: “...People like them in your big world You can’t find it during the day,” he tells 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 and suppress the feeling of filial love. After all, love, both filial and parental, according to Bazarov’s concepts, is a “feigned” feeling.

The author thinks differently. He sympathizes with the old Bazarovs. And he considers the feelings of parental and filial love to be “the most holy, devoted” feelings. The writer makes you think about dear people- mother and father.)

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

III. Conversation with students issues :

1. What thoughts and feelings does Bazarov evoke in the death scene?(Admiration for strength of character, mental fortitude, courage, ability to hold on until 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 the case. At work, in the pursuit of knowledge of the not yet known, Bazarov overtakes 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 novel Turgenev; 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 performing a great feat.” “...But looking into the eyes of death, foreseeing its approach, without trying to deceive it, remaining true to yourself until the last minute, not weakening and not becoming afraid - this is the thing 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 timely steps to 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 calmness of an “indifferent” nature; they also speak of 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: Arkady returns to his parents’ home, families are 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, respond toquestions:

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 assignmentf): 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 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?

Death, this most powerful in artistically stage? After all, it would seem that everything has been said about the main character, for which the writer needed to create a kind of epilogue - the 28th chapter?

First, let's take a closer look at its composition. The chapter is framed by two landscapes. It opens with a marvelous, purely Russian, winter one: “It stood white with cruel silence...” It sounds like music, as if foreshadowing the melody and rhythmic structure of prose poems. The second landscape, which concludes the chapter and the novel as a whole, is thoroughly permeated with lyricism and elegiac sadness about fast-flowing time, the thought of an all-reconciling eternity, the immortal power of love and “endless life.”

So, a third of the text of the epilogue is occupied by pictures of nature, which, as usual in Turgenev, are in harmony with the feelings and experiences of the heroes or shade them. Nature seems to become the main thing actor in the moral and psychological conflict that the heroes come to in the epilogue.

Throughout the entire novel, now fading, now growing, if we keep in mind the tone of the narrative, as if arguing with each other, two motifs sound - ironic and lyrical. On the final pages of the novel, lyrical motifs grow and reach a climax.

Before you draw a small rural cemetery and the lonely grave of Bazarov, Turgenev, now strengthening and now weakening the irony, talks about future fate heroes: Odintsova, who will live with her husband, “perhaps to happiness... perhaps to love”; in the same vein, it is reported about Princess X..., forgotten “on the very day of her death,” and about Peter, completely numb “from stupidity and importance.” “A little sad and, in essence, very good” describes the family idyll of the Kirsanovs - father and son - and the happy motherhood of Fenechka and Katerina Sergeevna.

Along with irony, sad notes burst into the story about Pavel Petrovich’s life abroad, and the attentive reader will notice not only the silver ashtray in the shape of a peasant’s bast shoe, but also his tragic loneliness: “life is hard for him... harder than he himself suspects... It’s worth looking at him in a Russian church, when, leaning aside against the wall, he thinks and does not move for a long time, bitterly clenching his lips, then suddenly he comes to his senses and begins to cross himself almost imperceptibly...”

The gentle humor with which Turgenev tells about his heroes gives way to sharp irony and even sarcasm when he writes about the further fate of “Bazarov’s followers” - Sitnikov and Kukshina. Here and in the author’s speech, the word “irony” sounds satirically: “They say someone recently beat him (Sitnikov), but he did not remain in debt: in one dark article, squeezed into one dark magazine, he hinted that the one who beat him is a coward . He calls it irony..."

And suddenly the intonation changes dramatically. Turgenev solemnly, sadly and majestically draws Bazarov’s grave. The finale is reminiscent of Beethoven's powerful, passionate music. The author seems to be heatedly arguing with someone, passionately and intensely thinking about the grief of the lazy man to whose grave he brought the reader, about his inconsolable parents: “Are their prayers, their tears, fruitless? Isn’t love, holy, devoted love, omnipotent?..”

Repetitions, exclamations, questions - all this conveys the drama of the author’s thoughts, the depth and sincerity of his feelings. So you can only write about dear and very a loved one. The final lines of the novel can be interpreted in different ways, but one thing is certain - Turgenev, bidding farewell to his heroes, once again clearly expressed his attitude towards them and emphasized the main idea of the novel, which, in our opinion, was most accurately captured by the critic N. N. Strakhov: “Be that as it may, Bazarov is still defeated; defeated not by the faces and not by the accidents of life, but by the very idea of this life. Such an ideal over him was possible only on the condition that all possible justice was given to him... Otherwise, there would be no power and meaning in the victory itself.”

Why didn’t I. S. Turgenev end the novel with the death of Bazarov, this most artistically powerful scene? After all, it would seem that everything has been said about the main character, for which the writer needed to create a kind of epilogue - the 28th chapter?

First, let's take a closer look at its composition. The chapter is framed by two landscapes. Opens a marvelous, purely Russian, winter: “Stood white winter with cruel silence..." It sounds like music, as if foreshadowing the melody and rhythmic structure of prose poems. The second landscape, which concludes the chapter and the novel as a whole, is thoroughly permeated with lyricism and elegiac sadness about fast-flowing time, the thought of an all-reconciling eternity, the immortal power of love and “endless life.”

So, a third of the text of the epilogue is occupied by pictures of nature, which, as usual in Turgenev, are in harmony with the feelings and experiences of the heroes or shade them. Nature, as it were, becomes the main character in the moral and psychological conflict that the heroes come to in the epilogue.

Throughout the entire novel, now fading, now growing, as if arguing with each other, two motives sound - ironic and lyrical. On the final pages of the novel, lyrical motifs grow and reach a climax.

Before drawing a small rural cemetery and the lonely grave of Bazarov, Turgenev, now strengthening and now weakening the irony, talks about the further fate of the heroes: Odintsova, who will live with her husband, “perhaps to happiness... perhaps to love”; in the same vein, it is reported about Princess X..., forgotten “on the very day of her death,” and about Peter, completely numb “from stupidity and importance.”

“A little sad and, in fact, very good” describes the family idyll of the Kirsanovs - father and son - and the happy motherhood of Fenechka and Katerina Sergeevna.

The gentle humor with which Turgenev tells about his heroes gives way to sharp irony and even sarcasm when he writes about the further fate of “Bazarov’s followers” - Sitnikov and Kukshina. Here and in the author’s speech, the word “irony” sounds satirically: “They say that someone recently beat him (Sitnikov), but he did not remain in debt: in one dark article, squeezed into one dark magazine, he hinted, that the one who beat him is a coward. He calls it irony..."

And suddenly the intonation changes dramatically. Turgenev solemnly, sadly and majestically draws Bazarov’s grave. The finale is reminiscent of Beethoven's powerful, passionate music. The author seems to be heatedly arguing with someone, passionately and intensely thinking about rebellious man, to whose grave he brought the reader, about his inconsolable parents: “Are their prayers, their tears, fruitless? Isn’t love, holy, devoted love, omnipotent?..”

Repetitions, exclamations, questions - all this conveys the drama of the author’s thoughts, the depth and sincerity of his feelings. This is how you can only write about a dear and very close person. The final lines of the novel can be interpreted in different ways, but one thing is certain - Turgenev, bidding farewell to his heroes, once again clearly expressed his attitude towards them and emphasized the main idea of the novel, which, in my opinion, was most accurately captured by the critic N. N. Strakhov: “Be that as it may, Bazarov is still defeated; defeated not by the faces and not by the accidents of life, but by the very idea of this life. Such an ideal victory over him was possible only on the condition that all possible justice was given to him... Otherwise, there would be no power and meaning in the victory itself.”

First, let's take a closer look at its composition. The chapter is framed by two landscapes. It opens with a marvelous, purely Russian, winter one: “It was a white winter with cruel silence...”. It sounds like music, as if foreshadowing the melody and rhythmic structure of prose poems. The second landscape, which concludes the chapter and the novel as a whole, is thoroughly permeated with lyricism and elegiac sadness about fast-flowing time, the thought of an all-reconciling eternity, the immortal power of love and “endless life.”

So, a third of the text of the epilogue is occupied by pictures of nature, which, as usual in Turgenev, are in harmony with the feelings and experiences of the heroes or shade them. Nature, as it were, becomes the main character in the moral and psychological conflict that the heroes come to in the epilogue.

Throughout the entire novel, now fading, now growing, as if arguing with each other, two motives are heard - ironic and lyrical. On the final pages of the novel, lyrical motifs grow and reach a climax.

“A little sad and, in fact, very good” describes the family idyll of the Kirsanovs - father and son - and the happy motherhood of Fenechka and Katerina Sergeevna.

The gentle humor with which Turgenev talks about his heroes gives way to sharp irony and even sarcasm when he writes about the further fate of “Bazarov’s followers” - Sitnikov and Kukshina. Here and in the author’s speech, the word “irony” sounds satirically: “They say that someone recently beat him (Sitnikov), but he did not remain in debt: in one dark article, squeezed into one dark magazine, he hinted that the one who beat him - coward. He calls it irony..."

And suddenly the intonation changes dramatically. Turgenev solemnly, sadly and majestically draws Bazarov’s grave. The finale is reminiscent of Beethoven's powerful, passionate music. The author seems to be heatedly arguing with someone, passionately and intensely thinking about the rebellious man to whose grave he brought the reader, about his inconsolable parents: “Are their prayers, their tears, fruitless? Isn’t love, holy, devoted love, omnipotent?..”

Repetitions, exclamations, questions - all this conveys the drama of the author’s thoughts, the depth and sincerity of his feelings. This is how you can only write about a dear and very close person. The final lines of the novel can be interpreted in different ways, but one thing is certain - Turgenev, bidding farewell to his heroes, once again clearly expressed his attitude towards them and emphasized the main idea of the novel, which, in my opinion, was most accurately captured by the critic N. N. Strakhov: “Be that as it may, Bazarov is still defeated; defeated not by the faces and not by the accidents of life, but by the very ideas of this life. Such an ideal victory over him was possible only on the condition that all possible justice was given to him... Otherwise, there would be no power and meaning in the victory itself.”

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THE LAST CHAPTER OF THE NOVEL “FATHERS AND CHILDREN” BY I. S. TURGENEV. EPISODE ANALYSIS

First, let's take a closer look at its composition. The chapter is framed by two landscapes. It opens with a marvelous, purely Russian, winter one: “It was a white winter with cruel silence...”. It sounds like music, as if foreshadowing the melody and rhythmic structure of prose poems. The second landscape, which concludes the chapter and the novel as a whole, is permeated through and through with lyricism and elegiac sadness about fast-flowing time, the thought of an all-reconciling eternity, the immortal power of love and “endless life.”

So, a third of the text of the epilogue is occupied by pictures of nature, which, as usual in Turgenev, are in harmony with the feelings and experiences of the heroes or shade them. Nature, as it were, becomes the main character in the moral and psychological conflict that the heroes come to in the epilogue.

Throughout the entire novel, now fading, now growing, as if arguing with each other, two motives sound - ironic and lyrical. On the final pages of the novel, lyrical motifs grow and reach a climax.

Before drawing a small rural cemetery and the lonely grave of Bazarov, Turgenev, now intensifying and now weakening the irony, talks about the further fate of the heroes: Odintsova, who will live with her husband, “perhaps to happiness... perhaps to love”; in the same vein, it is reported about Princess Khoi, forgotten “on the very day of her death,” and about Peter, completely numb “from stupidity and importance.” “A little sad and, in fact, very good” describes the family idyll of the Kirsanovs - father and son - and the happy motherhood of Fenechka and Katerina Sergeevna.

Along with irony, sad notes burst into the story about Pavel Petrovich’s life abroad, and the attentive reader will notice not only a silver ashtray in the shape of a peasant’s bast shoe, but also his tragic loneliness: “life is hard for him... harder than he himself suspects... It’s worth looking at him in a Russian church, when, leaning aside against the wall, he thinks and does not move for a long time, bitterly clenching his lips, then suddenly he comes to his senses and begins to cross himself almost imperceptibly..."

The gentle humor with which Turgenev tells about his heroes gives way to sharp irony and even sarcasm when he writes about the further fate of “Bazarov’s followers” - Sitnikov and Kukshina. Here and in the author’s speech, the word “irony” sounds satirically: “They say that someone recently beat him (Sitnikov), but he did not remain in debt: in one dark article, squeezed into one dark magazine, he hinted that the one who beat him - coward. He calls it irony..."

And suddenly the intonation changes dramatically. Turgenev solemnly, sadly and majestically draws Bazarov’s grave. The finale is reminiscent of Beethoven's powerful, passionate music. The author seems to be heatedly arguing with someone, passionately and intensely thinking about the rebellious man to whose grave he brought the reader, about his inconsolable parents: “Are their prayers, their tears, fruitless? Isn’t love, holy, devoted love, omnipotent?.. "

Repetitions, exclamations, questions - all this conveys the drama of the author’s thoughts, the depth and sincerity of his feelings. This is how you can only write about a dear and very close person. The final lines of the novel can be interpreted in different ways, but one thing is certain - Turgenev, bidding farewell to his heroes, once again clearly expressed his attitude towards them and emphasized the main idea of the novel, which, in my opinion, was most accurately captured by the critic N. N. Strakhov: “Be that as it may, Bazarov is still defeated; defeated not by the faces and not by the accidents of life, but by the very idea of this life. Such an ideal victory over him was possible only on the condition that all possible justice was given to him... Otherwise, in the very victory would have no power or meaning."