Work on the main novel “Fathers and Sons” was completed by Turgenev in July 1861. By this time, a bitter event had occurred in his creative life - a break with Sovremennik, due to the writer’s disagreement with the article “When will the real day come?” N. A. Dobrolyubova about the novel “On the Eve”.
The time has come for the 60s. Turgenev saw that a lot was changing in the balance of social forces in Russian society, and observed the reflection of this process in the editorial life of the magazine, with which he was associated for many years, the development of which he contributed and where the star of his own literary fame rose.
He understood that the liberal nobles were being replaced by a younger generation of revolutionary democrats, one of whom was Dobrolyubov, who appeared in Sovremennik together with Chernyshevsky in the late 50s. And although the article itself contained a flattering review of the novel, Turgenev could not agree with its revolutionary conclusions. Dobrolyubov wrote that Russia also has its own enslavers, but not external ones (like the home country of the hero of the novel), but internal ones. And therefore she needs “Russian Insarovs” to fight the “internal Turks.” “When will they finally appear? When will the real day come? - the meaning of the article boiled down to such questions.
Turgenev strongly disagreed with this interpretation of his novel. Moreover, he, being a supporter not of social revolution, but of reforms, could not share the radical sentiments of the young critic. And therefore Turgenev asks Nekrasov “not to publish this article.” He hesitates. Seeing this, Turgenev declares: “Choose: me or Dobrolyubov.” Nekrasov takes the side of a person ideologically close to himself, Dobrolyubov, and thereby predetermines Turgenev’s departure from the magazine.
“The connection of times has broken down...” - Even Turgenev, who assumed a caring attitude towards his novel, did not count on the boiling of passions around Fathers and Sons. But most of all, he was discouraged by the desire that appeared in printed publications for a one-sided interpretation of the essence of the conflict and the character of the main character of the novel.
Russia in the late 50s lived on the eve of a huge social event - the abolition of serfdom, which for the country was supposed to be a turning point in all spheres of public life, including the breaking of the worldview of the advanced social strata.
As expected, time “split”, separating the liberal nobles and the “new” people of Russia - common democrats, fathers and sons - on opposite sides of the historical barrier.
This has happened more than once in Russian history. Russian literature also knew the problem of fathers and children. Let us recall the moral split in the Russian nobility of the 20s of the 19th century, depicted by Griboedov, or the noble spiritual opposition of the 30s - central problem in "A Hero of Our Time".
However, as for Turgenev’s novel, here we were talking not only about a dispute between generations, but also about a break in the connection of times, so obvious to the writer. Therefore, the conflict in “Fathers and Sons” was overtly dramatic.
"Fathers and children." “Retired people” - and “heirs”. In the novel, people of the 40s and 60s of the 19th century found themselves face to face. It was belonging to time that was the source of the conflict between Pavel Petrovich Kirsanov and Evgeny Bazarov.
The 1840s were, at times, liberal nobles. Then the concept of “liberal,” according to Turgenev, meant “protest against everything dark and oppressive, meant respect for science and education, love for poetry and art, and, finally, most of all, love for the people, who, while still under the yoke of serfdom without rights, needed the active help of his happy sons.” Liberal-minded people, filled with faith in progress, humanity, and civilization, were often called idealists and romantics. In general, the 40s are associated with an atmosphere of high spirituality in Russian society. This is the time of Belinsky, Stankevich, Turgenev, and the Kirsanov brothers.
Like Turgenev, Nikolai Petrovich graduated from St. Petersburg University and “came out... as a candidate.” He, like Turgenev, could have ended up in Paris if not for 1848, which, as we know, the writer witnessed. Like Turgenev, he loves Pushkin and music. In a word, these are people of the same blood. And Pavel Petrovich for the author is not only the embodiment of comme il faut and the personification of the guards-noble ideal, but a man capable of sacrificing his great ambition and all important career considerations to an all-consuming love-passion and, together with the loss of his beloved woman, losing all meaning of existence.
Behind the noble heroes in Turgenev’s novel there is a historically formed cultural tradition, which determined a very specific type of spirituality with its norms and values - what we call noble aristocracy.
In the 60s, a new culture appeared on the cultural scene. social group- various intelligentsia.
The main “target” for the young, assertive generation of commoners was the aristocratic nobility. They refused to see in aristocracy the highest form of the then culture. Linking noble aristocracy with the social consequences of the serfdom system - poverty and lack of rights of the people, the lack of public human rights, the commoners categorically did not accept everything that was inherent in it, even the aristocratic manner of dressing and behavior in society. That is why Turgenev’s Bazarov is so disgusted by Pavel Petrovich’s well-groomed nails, neatly shaved chin and “stone” collars.
As an ideological challenge to aristocracy, young people of all ranks cultivated carelessness and even untidiness in their clothing. Therefore, a long robe with tassels, red hands, cheap tobacco, and the swagger of Bazarov’s behavior are quite significant, ideologically significant signs in the portrait of the sixties.
From the first pages of the novel, Turgenev strives to show the mutual rejection of the old and new generations. So, Bazarov is in no hurry to greet Father Arkady: “not immediately” he gave him his hand. Pavel Petrovich, when meeting the guest, “did not shake his hand at all and even put it back in his pocket.” And by the way, Bazarov noticed this.
Both sides are pointedly impolite in their assessments of each other. “Is this one hairy?” - this is Pavel Kirsanov’s first review of Bazarov. Bazarov does not skimp on his characterizations, calling Uncle Arkady an “archaic phenomenon” and Nikolai Petrovich a “retired man.”
Frank disdain is heard in Pavel Petrovich’s question addressed to his nephew: “Well, what exactly is Mr. Bazarov himself?” - as if we are talking about an inanimate object, and also to Bazarov regarding frogs: “Do you eat them or breed them?” Bazarov’s behavior is also emphatically uncivil when he, yawning, lazily answers Pavel Petrovich.
Turgenev, despite the fact that he was accused of being biased towards the heroes, tried to rise above the impending “battle.” He is equally ironic in his description of the rustic panache of Pavel Kirsanov, all his fezzes, “colorful” morning shirts, dark English suits, Chinese red shoes, patent leather ankle boots, fragrant mustaches and portrait characteristics"Mr. Nihilist", with a bag of frogs, in a hat entwined with a tenacious marsh plant, walking through the flower beds.
In Turgenev’s novel, the aristocratic arrogance of Kirsanov (“the doctor’s son” and “does not shy”) and the painful pride of the commoner (“Trash, aristocrat”) are self-evident. In a word, Turgenev was ready to talk about the main conflict of his time without prejudice.
Guest
You didn't go to school and your name is Mowgli?
Guest 2 Total 1.What was the name of the titan who stole fire from Olympus and gave it to people?
What was the name of the titan who stole fire from Olympus and gave it to people?
Corel painter 1The 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.
Tatiana 1 Total 3.Like Prometheus, bringing fire to humanity, the sculpture depicts a young, half-naked and powerful titan
Where is this sculptureAlexander Kachalin 7
Somewhere near Leninsky Prospekt?THE THIRD IS NOT ODD 1
Total 2.What features of young contemporaries did Turgenev try to capture in the image of Bazarov?
Tra M. 7Since 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.
Irina G. 4 Total 1.Which empire that ever existed on earth was the largest and most powerful for its time?
Daniel Pago 3The British Empire was the largest in the history of mankind with colonies on all continents (42.7 million km2). In second place is the Mongol Empire of 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 the Sea of Japan and from Novgorod to Cambodia.
Oleg Romanko 10 Total 2. Pushkin through the eyes of his contemporariesAbout how professional artists and amateurs, Russians and foreigners saw and captured their brilliant contemporary; as well as quotes from memories of Pushkin.
...Perhaps (flattering hope)
The future ignorant will point out
To my famous portrait,
And he says: that was the Poet!
Please accept my thanks
Fan of peaceful Aonides,
O you, whose memory will preserve
My flying creations
Whose benevolent hand
Will shake the old man's laurels!...
1823 lines from "Eugene Onegin"
Xavier de Maistre "Pushkin the Child",1800 - 1802
(written in oil on a metal plate.)
It is believed that this is the first image of Pushkin. The miniature was presented to S.M. Velikopolskaya, the daughter of the family doctor and friend of the Pushkins, M.Ya. Mudrov. For more than a hundred years, the portrait was carefully kept by the Wielkopolskas. In 1950, the artist V.S. Yakut, after a successful performance in the role of Pushkin in A.P. Globa’s play “Pushkin,” received it as a gift. And ten years later, having learned about the creation of a museum dedicated to Pushkin in Moscow, Yakut donated a precious relic there.
About Pushkin: “A passion for poetry manifested itself in him with the first concepts”: “It happened... they asked him: “Why aren’t you sleeping, Sasha?” - to which he usually answered: “I write poetry”; here they threaten him with rods in order to force him to leave poetry and go to sleep; here's how else with early childhood the poetic genius developed in him.”
N.V. Berg “The Village of Zakharovo”: “... The kind owner took me around the garden and showed me the places that the child Pushkin especially loved. First of all, we examined a small birch grove located not far from the house, almost at the very gate. In the middle there used to be a table with benches all around. Here, on good summer days, the Hannibals dined and drank tea. Little Pushkin loved this grove and even, they say, wanted to be buried in it<...>From the grove we went to the shore of the pond, where a huge linden tree was still preserved, near which there had previously been a semicircular bench. They say that Pushkin often sat on this bench and loved to play here. From the linden tree there is a very good view of the pond, the other bank of which is covered with a dark spruce forest. Previously, there were several birch trees around the linden tree, which, as they say, were all covered with Pushkin’s poems. All that was left of these birches were rotten stumps; however, a little further on, one survived, on which traces of some kind of writing are still visible. I could make out quite clearly only a few letters: okr...k and vayut<...>
- Was the child Alexander Sergeich meek or naughty?
- He was meek, so quiet, Lord! all with books, it happened... sometimes they would play with their brothers, but then no, I didn’t spoil them with the peasants... the children were quiet, the children were respectful.
- When did he leave here?
- Yes, God knows! He must have left about twelve years old..." (from a conversation with Arina Rodionovna's daughter)
S.G. Chirikov "Portrait of Pushkin", 1810
I'm a young rake
Still at school;
I’m not stupid, I say without hesitation,
And without cutesy antics...
My height is the same as the tallest ones
Cannot be equal;
I have a fresh complexion, brown hair
And a curly head...
A real devil in pranks,
A real monkey face
Much, too much frivolity
(“My Portrait” 1814
translation from French)
Among Pushkin’s lyceum nicknames there was one given “based on his physiognomy and some habits”: “a mixture of a monkey and a tiger.”
“It is impossible to be more ugly - a mixture of the appearance of a monkey and a tiger; he comes from African ancestors and still retains some blackness in his eyes and something wild in his gaze.”<...>When he speaks, you forget about what he lacks in order to be beautiful, his conversation is so interesting, sparkling with intelligence, without any pedantry... It is impossible to be less pretentious and more intelligent in the manner of expression.” (Entries in the diary of Kutuzov’s granddaughter D.F. Fikelmon)
I. Repin "Pushkin at the exam in Tsarskoe Selo on January 8, 1815", 1911
Pushkin recalls the exam in Tsarskoe Selo, held in 1815, and how he arrived at the lyceum famous poet G.R. Derzhavin. Tired of the monotony of the exam, Derzhavin dozed off. He suddenly perked up when Pushkin began to read his poem “Memoirs in Tsarskoe Selo.” Derzhavin was delighted with the talent of the young poet. I. Repin depicted in his painting, painted in 1911, an exciting plot where a young poet reads his poem.
"...The members of Arzamas looked at the graduation of young Pushkin as a happy event for them, as a triumph. His parents themselves could not have taken a more tender part in it; especially Zhukovsky, his successor in Arzamas, seemed happy , as if God himself had sent him a sweet child. The child seemed to me quite playful and unbridled, and it even hurt me to watch how all the older brothers vying with each other spoiled my little brother. Almost always it was like this with me: those whom I was destined to love dearly. , at first our acquaintance seemed disgusting to me. They will ask: was he a liberal then? How could an eighteen-year-old boy who had just broken free, with a passionate poetic imagination and boiling African blood in his veins, not be, and in such an era? when freethinking was in full swing, I didn’t ask then why he was called “Cricket”; now I find it very opportune: for at some distance from St. Petersburg, hidden within the walls of the Lyceum, he was already singing his sonorous voice from there in beautiful poetry.<...>He was praised, scolded, extolled, scolded. Cruelly attacking the mischief of his youth, the envious themselves did not dare to deny him his talent; others sincerely marveled at him wonderful poems, but few were aware of what was in him, if possible, even more perfect - his all-comprehending mind and high feelings beautiful soul him..." (F. F. Vigel from "Notes")
Egor Ivanovich Geitman
Pushkin. 1822
The first image of Pushkin that his contemporary readers saw was an engraving made by E. I. Geitman for the frontispiece in the first edition of the poem “Prisoner of the Caucasus.” Its publisher, poet and translator N.I. Gnedich, placed a note at the end of the book: “The publishers are adding a portrait of the Author, drawn from him in his youth. They think it’s nice to preserve the youthful features of a poet whose first works were marked by an extraordinary gift.”
The book was published in St. Petersburg at the end of August 1822. Having received it, Pushkin wrote to Gnedich from Chisinau: “Alexander Pushkin is masterfully lithographed, but I don’t know if it’s similar, the publishers’ note is very flattering - I don’t know if it’s fair”... “I wrote to my brother so that he begged S. Lenin not to print my portrait, if my consent is needed, then I do not agree.”
"..He knew how to be completely young in his youth, that is, constantly cheerful and carefree<...>This ebullient creature, in the most ebullient years of her life, one might say, plunged into her pleasures. Who was there to stop him and protect him? Is it his weak father, who only knew how to admire him? Are they young friends, mostly military men, intoxicated by the charms of his mind and imagination, and who, in turn, tried to intoxicate him with incense of praise and champagne wine? Was it the theatrical goddesses with whom he spent most of his time? He was saved from delusions and troubles by his own strong reason, constantly awakening in him, by the sense of honor with which he was full..." (F. F. Wigel from "Notes")
Joseph Eustathius Vivienne de Chateaubrun
Pushkin. 1826
“Among many, my attention was especially drawn to the young man who entered, of small stature, but rather broad-shouldered and strong, with a quick and observant gaze, unusually lively in his techniques, often laughing in an excess of spontaneous gaiety and suddenly suddenly turning to thought, arousing participation. Sketches of the face his were incorrect and ugly, but the expression of his thoughts was so captivating that one would involuntarily want to ask: what sadness is darkening your soul? The stranger’s clothes were a black tailcoat, buttoned up with all the buttons, and trousers of the same color... Pushkin? He constantly blushed and laughed; his beautiful teeth showed in all their brilliance, his smile did not fade." (V.P. Gorchakov. Excerpts from the diary about A.S. Pushkin)
“What a lucky man Pushkin is! He laughs so much that it’s as if his guts are visible” (artist Karl Bryullov)
“Short in stature, thick lips and shaggy... He seemed very ugly to me.” (Gypsy Tanya)
“... Pushkin dressed, although, apparently, casually, imitating in this, as in many other ways, his prototype - Byron, but this carelessness was apparent: Pushkin was very scrupulous regarding the toilet...” (A.N. .Wulf. Stories about Pushkin, recorded by M. I. Semevsky)
"...in 1822 there was a strong earthquake in Chisinau; the walls of the house cracked and shook in several places; General Inzov was forced to leave the house, but Pushkin remained on the lower floor. Then there were several more oddities in Pushkin, perhaps inevitable companions genius youth. He wore nails longer than the nails of Chinese scientists. Waking up from sleep, he sat naked in bed and fired a pistol at the wall." (A.F. VELTMAN "Memories of Bessarabia")
"...A. S. Pushkin usually wrote his poems in the morning, lying on his bed, putting the paper on his bent knees. In bed, he also drank coffee. Alexander Sergeevich wrote his works here more than once, but he never liked to read them out loud, for others..." (N.I.Wulf. Stories about Pushkin, recorded by V. Kolosov)
"...As a poet, he considered it his duty to be in love with all the pretty women and young girls he met<...>In essence, he adored only his muse and poeticized everything he saw...." (M.N. Volkonskaya. From "Notes")
I.E. Vivien. "Portrait of Pushkin". 1826
A gouache miniature on an ivory plate and an Italian pencil drawing of the Russified Frenchman J. Vivien. Pushkin ordered him two copies, one he gave to P. A. Osipova, the second to the poet E. A. Baratynsky. This is a small intimate portrait, made simply, without any pretensions, in order to capture the poet’s features as a keepsake for his close friends - the image played the role of a current photograph. 
Vasily Andreevich Tropinin. Pushkin. 1827
“Pushkin himself secretly ordered the portrait of Tropinin and presented it to me as a surprise with various farces” (S.A. Sobolevsky from a letter to M.P. Pogodin, 1868)
“The Russian painter Tropinin recently completed a portrait of Pushkin. Pushkin is depicted en trois quart in a dressing gown, sitting near a table. The similarity of the portrait to the original is striking, although it seems to us that the artist could not completely capture the quickness of his gaze and the lively expression of the poet’s face. However, Pushkin’s physiognomy is so definite and expressive that any painter can capture it, but at the same time it is so changeable and unsteady that it is difficult to imagine that one portrait of Pushkin could give a true idea of it. Indeed: a fiery genius, animated by every new impression, must change the expression of his face, which constitutes the soul of his face... The portrait of Pushkin... will be sent to St. Petersburg for exhibition at the Academy. We hope that connoisseurs will appreciate the excellent work of this portrait” (note by publisher N.A. Polevoy in his magazine “Moscow Telegraph”)
Orest Adamovich Kiprensky - Portrait of A.S. Pushkin
Russia/Moscow/Tretyakov Gallery 1827 Oil on canvas
The portrait of 28-year-old Pushkin was created by order of his friend A. Delvig. “Artists’ friend and advisor,” as Alexander Sergeevich called him, Delvig foresaw that the portrait would become important event in Russian cultural life, and it was no coincidence that he chose the already famous painter. Although Pushkin did not like to pose, he obeyed his friend’s wishes unquestioningly. In July 1827, Kiprensky wrote it in Sheremetyev’s house on the Fontanka. The poet responded to the finished portrait with an impromptu response:
Light-winged fashion favorite,
Although not British, not French,
You created again, dear wizard,
Me, the pet of pure muses,
- And I laugh at the grave,
Left forever from mortal bonds.
I see myself as in a mirror,
But this mirror flatters me.
It says that I will not humiliate
Predilections of important Aonides.
So to Rome, Dresden, Paris
From now on my appearance will be known.
“Kiprensky copied a portrait from Pushkin, which is unusually similar” (in a letter to N.A. Mukhanov’s brother, July 15, 1827)
“Here is the poet Pushkin. Don’t look at the signature: having seen him alive at least once, you will immediately recognize his penetrating eyes and mouth, which lacks only an incessant twitching: this portrait was painted by Kiprensky. (the exhibition opened on September 1)
Nikolai Ivanovich Utkin
Pushkin. 1827
Utkin’s engraving was used for the frontispiece in the almanac “Northern Flowers for 1828” published by Delvig, and was also sold as separate prints on large-format Chinese silk paper. However, the engraving was not just a mechanical reproduction from a pictorial original. In Utkin’s engraving there is no symbolic figure of the muse, no arms crossed on the chest, no highlighted background around the head, and the romantic cloak is almost invisible. In Utkin's engraving, the image of the poet is simpler and more humane. It is probably these qualities that explain the opinion of the poet’s father and his lyceum friends, who considered Utkin’s engraving to be the best portrait of Pushkin.
“Here’s our dear, kind Pushkin, love him! I recommend it to you. His portrait is strikingly similar - as if you see him himself. How you would love him, Sasha, if you saw him like I did every day. This is a man who wins when you get to know him.” (Delviga’s wife Sofya Mikhailovna in a letter to her friend A.N. Semenova when sending the engraving. February 9, 1828)
"At first glance, his appearance seemed inconspicuous. Of average height, thin, with small features of a dark face. Only when you look closely into his eyes, you see a thoughtful depth and some kind of nobility in these eyes, which you will not forget later. In his pose, in his gestures, accompanying his speech was the restraint of a secular, well-bred man. The best thing, in my opinion, is Utkin’s engraving from Kiprensky’s portrait. In all other copies, his eyes are made too open, almost protruding, his nose is prominent - this is not true. face and a beautiful head, proportional to the face, with sparse, curly hair (I.A. Goncharov “From University Memoirs”).
Gustav Adolf Gippius
Pushkin. 1827-1828
G. A. Gippius, a native of Revel, educated at the Vienna Academy of Arts, who established himself as a lithographer and portrait painter in Germany and Italy, came to Russia in 1819. Pushkin in the Gippius lithograph is deprived of a romantic aura. This is a look at Pushkin from an outsider who does not feel sacred awe of the Russian national genius.
“God, having given him the only genius, did not reward him with an attractive appearance. His face was expressive, of course, but a certain anger and mockery overshadowed the intelligence that was visible in his blue or, better to say, glass eyes... And add to this the terrible sideburns, disheveled hair, nails like claws, short stature, affectation in manners, a daring look at women... the strangeness of the natural and forced disposition and unlimited pride - these are all the physical and mental advantages that the world gave to the Russian to the poet XIX centuries." (diary entry by A. A. Olenina June 18, 1828)
“...His secular brilliant mind is very pleasant in society, especially women. With him I entered into a defensive and offensive alliance against beauties, which is why the sisters nicknamed him Mephistopheles, and me Faust...” (A.N.Wulf. From "Diary" February 6, 1829)
Unknown artist
A.S. Pushkin. 1831
"... My sister tells me interesting news, namely two weddings: brother Alexander Yakovlevich and Pushkin to Goncharova, a first-class Moscow beauty. I wish him to be happy, but I don’t know if it’s possible to hope for this with his morals and his way of thinking. If Mutual responsibility is in the order of things, then no matter how much he, the poor man, wears horns, it is all the more likely that his first thing will be to corrupt his wife. I wish I was wrong about everything...” (A.N. Wulf. From “The Diary.” "June 28, 1830)
"Natalya Ivanovna<Гончарова>She was quite smart and somewhat well-read, but had bad, rude manners and some vulgarity in her rules. She had several sons and three daughters, Katerina, Alexandra and Natalya. There were about two thousand souls in Yaropolets, but despite this, she never had money and her business was in constant disorder. In Moscow she lived almost in poverty, and when Pushkin came to her house as a groom, she always tried to send him out before dinner or breakfast. She hit her daughters on the cheeks. They sometimes came to balls in tattered shoes and old gloves. Dolgorukaya remembers how at one ball Natalya Nikolaevna was taken to another room and Dolgorukaya gave her her new shoes, because she had to dance with Pushkin.
Pushkin remained the groom for almost a whole year before the wedding. When he lived in the village, Natalya Ivanovna did not allow her daughter to write letters to him herself, but ordered her to write all sorts of nonsense and, among other things, give him instructions so that he would observe fasts, pray to God, etc. Natalya Nikolaevna cried because of this.
Pushkin insisted that they get married as soon as possible. But Natalya Ivanovna bluntly told him that she had no money. Then Pushkin mortgaged the estate, brought money and asked for a dowry..." (E.A. Dolgorukova. Stories about Pushkin, recorded by P.I. Bartenev) 
P.F.Sokolov
Portrait of Pushkin. 1836
Sokolov depicted Pushkin in his favorite pose with his arms crossed on his chest.
“His slightly dark face was original, but ugly: a large open forehead, a long nose, thick lips - generally irregular features. But what was magnificent about him was his dark gray eyes with a bluish tint - large, clear. It is impossible to convey the expression of these eyes : something burning, and at the same time caressing, pleasant. I have never seen a more expressive face: smart, kind, energetic." (L. P. Nikolskaya, who met Pushkin at a dinner with the Nizhny Novgorod governor in 1833) 
Thomas Wright
Pushkin. 1837
The first mention in print of Pushkin’s portrait is found in the newspaper “Northern Bee” dated March 17, 1837: “The portrait of Alexander Sergeevich Pushkin is engraved by a member Imperial Academy art by T. Royt with a photograph (meaning a death plaster mask) of his face and will be made at the end of this March.”
“...drawn and engraved by G. Wright. We probably don’t know whether this portrait was drawn from life; it is likely that it was produced for a collection of famous contemporaries, the publication of which had long been begun by G. Wright. The elegant taste in decoration characteristic of this Artist is a distinctive advantage of the portrait. Below is a fac-simile with Pushkin’s signature.” (N.V. Kukolnik in the article “Letter to Paris”, giving an overview of the surviving portraits of Pushkin known to him)
“Please note that Pushkin’s appearance was noted by the Englishman. The head of a social man, the forehead of a thinker. The state mind is visible." The portrait is supplemented by a facsimile reproduction of the signature: “A. Pushkin." The signature gives the sheet graphic completeness and solemnity." (I. E. Repin)
Ivan Loginovich Linev. "Portrait of Pushkin". 1836-37 Oil on canvas.
“...I will tell you as I heard from Pushkin himself: in 1817 or 1818, that is, soon after graduating from the Lyceum, Pushkin met one of his friends, the captain of the Life Guards Izmailovsky Regiment (I forgot his last name). The captain invited the poet to visit a fortune teller who was famous at that time in St. Petersburg: this lady skillfully predicted the faces coming to her from the lines on her palms. She looked at Pushkin’s hand and noticed that he had features that formed a figure known in palmistry as a table. , usually converging to one side of the palm, Pushkin turned out to be completely parallel to each other... Vorozheya examined them carefully and for a long time and finally announced that the owner of this palm would die violent death, he will be killed because of a woman by a blond young man...
Pushkin<...>believed in the ominous prophecy of the sorceress to such an extent that when, subsequently, preparing for a duel with the famous American gr. Tolstoy, he shot at the target with me, then repeated more than once: “This one will not kill me, but the blond one will kill, so the witch prophesied,” and sure enough, Dantes was blond<...>Before the duel, Pushkin did not seek death; on the contrary, hoping to shoot Dantes, the poet had to pay for this only with a new exile to Mikhailovskoye, where he would take his wife, and there, in freedom, he planned to start compiling the history of Peter the Great..." (A.N. Wulf. Stories about Pushkin, recorded by M. I. Semevsky)
There is also a mystical version that the prototype for Linev’s portrait of the living poet was the image of Pushkin, already lying in a coffin. It is based on an attempt to reconstruct the events of January 29-30, 1837. It is reliably known that I. S. Turgenev brought a lock of hair, cut by Nikita Kozlov from the head of the deceased poet, to Linev’s house. Then there are speculations... Perhaps, having learned about the death of the poet, I. L. Linev went to the house on the Moika embankment to say goodbye to him and there he stood at the coffin, “absorbing” the image of the poet’s already dead face. Then he “revitalized” this image in the picture, but at the same time retained the features of the dead face he remembered - flattened, with a sunken chin, narrow and not prominent lips.
Fedor Antonovich Bruni
Pushkin (in the coffin). 1837
"... I knew the Russian poet quite closely and for quite a long time; I found in him a character too impressionable, and sometimes frivolous, but always sincere, noble and capable of heartfelt outpourings. His errors seemed to be the fruits of the circumstances among which he lived: everything, what was good in him flowed from his heart. He died for 38 years..." (P.Ya. Vyazemsky. Mitskevich about Pushkin)
"The tragic death of Pushkin awakened St. Petersburg from apathy. All of St. Petersburg was alarmed. There was an extraordinary movement in the city. On the Moika near the Pevchesky Bridge... there was no passage or passage. Crowds of people and carriages besieged the house from morning to night; cab drivers were hired simply to say : “To Pushkin,” and the cab drivers drove straight there.” (I. I. Panaev “Literary Memoirs”)
“We found a dark purple velvet coffin with Pushkin’s body in a semi-dark room, illuminated only by a reddish flickering fire from several dozen wax church candles. The coffin stood on a hearse with two steps, upholstered in black cloth with silver braid... The face of the deceased was unusually calm and very seriously, but not at all gloomy. Magnificent curly dark hair was spread out on the satin pillow, and thick sideburns bordered his sunken cheeks to his chin, protruding from under a high-knotted black wide tie. Pushkin was wearing his favorite dark brown frock coat with a shimmer." (V.P. Burnashev.)
The mask is the only documentary evidence of the structure of Pushkin's face. This is the most precious Pushkin relic. A plaster cast of the poet’s face was made by molder P. Balin under the direction of the best master sculptural portrait of that time S.I. Galberga.
“Before the moment when he had to close his eyes forever, I rushed to him. There were Zhukovsky and Mikhail Vielgorsky, Dal (doctor and writer), and I don’t remember who yet. I had never imagined such a peaceful death before. Immediately went to Galberg. They removed the mask from the deceased, from which a beautiful bust was now prepared."
(from a letter from P. A. Pletnev to V. G. Teplyakov)
“It’s all over! Alexander Sergeevich ordered you to live long!” he [Pletnev] said barely audibly, wiping away a tear with his glove... Please, Count, quickly send him to take off the mask! Yes, come! - Pletnev almost shouted and, turning the cab, somewhere He rode off. And my father ran across the Neva home with me, and immediately sent for the foundry worker Balin, who lived opposite the gates of the Academy on the fourth line, and sent him to remove the mask from Pushkin. Balin removed it surprisingly successfully.”
(Maria Kamenskaya, daughter of Count F. P. Tolstoy, remembering the day of Pushkin’s death
according to M. A. Rybakov)
First mention death mask Pushkin with hair is found in N.V. Kukolnik’s 1837 article “Letter to Paris,” where he, answering the question “is there a true image of the late Pushkin left,” lists everything he knows: “Sculptural images: 1) mask A . S. Pushkin; Palazzi also attached hair to half of her head; in a smaller thickness, but in his case, on a blue background, it is framed.” In 1890, literally quoting Kukolnik, S. Librovich stated: “Soon after Pushkin’s death, plaster photographs of the poet’s death mask, with hair attached to half of the head, works by Palazzi, which were sold for 15 rubles, and similar things were put on sale replica masks, also plaster, framed under glass, on a blue background. Both those and other photographs from the mask are now very rare and, as far as we know, are no longer in any of the known Pushkin collections.” 
"...In April 1848, I once had the good fortune to dine with the Emperor. At the table, where the only strangers besides me were Counts Orlov and Vronchenko, the conversation turned to the Lyceum and from there - about Pushkin. "I saw Pushkin for the first time, - His Majesty told us, - after the coronation, in Moscow, when he was brought to me from his imprisonment, completely sick and in wounds... “What would you have done if you had been in St. Petersburg on December 14?” - I asked him casually. “I would be in the ranks of the rebels,” he answered without hesitating.” (M. A. KORF Note about Pushkin)
Notes:
Nikolai Vasilievich Berg(1823-1884) - poet and translator of German, English and Slavic poets
"Arzamas"(1815-1818) - the name of the literary circle. "This was a new consolidation of literary and friendly ties that had already existed between friends. Further, it was a school of mutual literary education, literary camaraderie. And most importantly, the meetings of "Arzamas" were a gathering place where people different ages, sometimes even with different views and opinions on other extraneous issues, came together to talk about literature, tell each other their works and experiences, and have witty fun and fool around." P.A. Vyazemsky.
"Moscow Telegraph"- Russian magazine published in Moscow in 1825-1834. N. Polevoy once every two weeks. Closed by censorship decision.
Alexander Fomich Veltman(1800-1870) - writer
Philip Philipovich Vigel(1786-1856) - famous memoirist, “a slanderous, proud, touchy, caustic and intelligent man” (according to Herzen’s correct description), member of “Arzamas”
Maria Nikolaevna Volkonskaya(1805-1863) - daughter of N. N. Raevsky, from January 1825 the wife of S. G. Volkonsky, who followed him to Siberia.
Vladimir Petrovich Gorchakov(1800-1867) - 1820 divisional quartermaster at the headquarters of the 16th division, from May 1822 participant in the topographic survey of Bessarabia, one of Pushkin’s closest friends in Chisinau
Nikolai Ivanovich Wulf(1815-1889) - son of I. I. and N. G. Vulf, owners of the village. Bernova, Tver province, - as a child I saw Pushkin several times visiting the estate of his parents, his memories of the poet were recorded by V. Kolosov.
Alexey Nikolaevich Wulf(1805-1881) - memoirist, author of “The Diary”, close friend of A. S. Pushkin; occupies a prominent place in the biography of Pushkin
Sergei Aleksandrovich Sobolevsky(1803-1870) - Russian bibliophile and bibliographer, author of epigrams and other comic poems, friend of Pushkin, Lermontov and many other writers of the Golden Age of Russian literature, Prosper Merimee and many other European writers
Ivan Aleksandrovich Goncharov(1812-1891) - famous writer
Petr Andreevich Vyazemsky(1792-1878) - poet, literary critic
Natalya Ivanovna Goncharova, nee Zagryazhskaya (1785-1848) - mother of the poet’s wife Natalya Nikolaevna.
Ekaterina Alekseevna Dolgorukova, princess, born Malinovskaya (1811-1872) - daughter of the director of the Moscow Archive of the College of Foreign Affairs A.F. Malinovsky, since 1834 the wife of the officer of the Life Hussar Regiment R.A. Dolgorukov. Her mother A.P. Malinovskaya took part in Pushkin’s matchmaking with Goncharova and was the bride’s estranged mother.
Pyotr Aleksandrovich Pletnev(1791-1865) - critic, poet of the Pushkin era. Pletnev was a faithful and caring friend, to whom Zhukovsky, Pushkin, and Gogol turned; Pletnev served all of them both in action and in advice; They valued his opinion very much.
Vladimir Petrovich Burnashev(1812-1888) - writer and agronomist
Ivan Ivanovich Panaev(1812-1862) - Russian writer, literary critic, journalist.
Korf Modest Andreevich(1800-1876) - baron, since 1872 count, Pushkin’s comrade at the Lyceum, who quickly made a bureaucratic career
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 own attitude to the poser and capture 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 in his estate and posed for portraits for 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 in serious condition, he wrote to the critic Stasov: “I read again in the newspaper that Mussorgsky is very sick. 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 the 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 a very reserved and reserved 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 tragic circumstances 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
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 eternal struggle old and new, oh careful attitude To 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 this 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 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”, devastated 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 corvee to quitrent, takes good lands for himself, uses the labor of civilians workers, cuts down the forest, which should go to the peasants, does everything to protect their interests. The peasants resist in their own way - they refuse to perform 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 origins 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. What social conflict is at the heart 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 Bazarov's political views? 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 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 hero sees trouble in all areas of Bazarov. 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 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; to reveal (in the clash between Bazarov and Odintsova) Bazarov’s superiority over the nobles in the sphere of feelings.
Lesson progress
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..." Bazarov says to Arkady). Arkady, Bazarov's temporary travel companion, Arkady Kirsanov was 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 carry herself with dignity. But true 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. social status Bazarov is a poor man, a future doctor, in 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 plunges into 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 appeared in the last hours of his 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 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 the positive qualities of Bazarov, which manifested themselves with particular force in the last hours of his life (courage, willpower, loyalty to his convictions, love of life, woman, parents, mysterious Motherland).
Lesson progress
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. 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.
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 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 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 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 cowardly is a matter of 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, 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 answer (individual assignment): 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.
Lesson progress
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,” he wanted to leave literary activity forever 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 “to outline Bazarov’s personality,” to show his strong, honest and stern character, and to protect 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 Bazarov’s rudeness and harshness 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 resolved by the novel.
And we exclaimed in enthusiasm:
“Who can stand in an unequal dispute?”
Which of the two?
Who 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 is 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 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 lives, but begin to coldly reason with them or, more precisely, follow their reasoning... This shows that the new work of Mr. Turgenev is extremely unsatisfactory in artistic terms... in the new work there is no... psychological analysis, no... artistic images of nature paintings...
...in the novel... there is not a single living person 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...
There is nothing to say about the moral character and moral qualities of 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 kind parents, whom he cannot stand, to the frogs, whom 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" V XIX literature 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.