Is Turgenev’s story “first love” modern? Mind and Feelings
Lesson summary for 7th grade on the topic “I.S. Turgenenv. "First love". Moral issues of the story. Meaning of the title. Autobiographical basis of the text."
1 . Guys, I have prepared for you several statements by Ivan Sergeevich about love:
Without ardent love, without deep and strong faith, life is not worth living.
In love, one person is a slave, and the other is a master, and it is not for nothing that poets talk about the chains imposed by love. Yes, love is a chain, and the heaviest one.
Love for every age has its suffering.
Nothing could be worse and more offensive than happiness that came too late.
Every love is happy, as well as unhappy, a real disaster when you give yourself completely to it.
We will return to these statements as the lesson progresses.
2. This text is also about love. Please note that this word is included in the title, and this, we remember, is a strong position of the text. The reader's first impression of a literary work is formed preciselytitle.
3. Guys, I would like to note that Turgenev himself loved this story very much. This is how he spoke about this work:“This is the only thing that still gives me pleasure, because it is life itself, it is not composed...” Guys, what impression did this text make on you?
4. The text was written approximately 150 years ago. A long time ago. Do you think it has retained its relevance? Why?
(Here the teacher should draw the students’ attention to the fact that the text is relevant for everyone and always, because it is about love - a feeling that not only worried writers and artists at all times and occupies a huge place in the soul, the inner world of every person. In addition , you can point out that the main character Volodya is almost the same age as the guys).
5. So, let's turn to the story itself. Let's start with dedication. The story is dedicated to P.V. Annenkov. We have a message about him.
Sample message text
The story is dedicated to a close friend I.S. Turgenev to Pavel Vasilievich Annenkov. Annenkov is a literary critic, memoirist, prose writer, biographer and publisher of the collected works of A.S. Pushkin.
Friendship with N.V. Gogol and V.G. Belinsky determined the future literary fate of Annenkov. Annenkov lived abroad for a long time, visited Germany, Austria, Italy, Switzerland, France, Belgium, Denmark, and England. He reflected his impressions vividly and interestingly in “Letters from Abroad” and “Travel Notes.”
Having met I.S. Turgenev, Annenkov became his friend and literary adviser until the end of the writer’s life.
An important place in the memoirs of P.V. Annenkov is occupied by the memoirs “The Youth of I.S. Turgenev. 1840-1856" (1884). In addition, Pavel Vasilyevich Annenkov is the first publisher of Turgenev’s letters.
After the message, the teacher summarizes that Annenkov -close friend of I.S. Turgenev, literary critic, memoirist, prose writer, biographer, was friends with Gogol and Belinsky. In addition, Annenkov, the author of the memoirs “The Youth of I.S. Turgenev,” published his personal letters for the first time.
Here the teacher writes the word “memoirs” on the board, students write the definition in their notebooks (memoirs are notes, diaries, the author’s memories of any events in which he was a participant and great people whom he personally knew).
6 . Guys, when we talk about any text, we are always interested in the opinion of our contemporaries about it. After all, 150 years later, we judge the story following the critics and millions of readers. How did contemporaries see the text? Of course, we will not be able to cover all the diversity of points of view on the story within the framework of the lesson, so I will tell you about the opinions of those people to whom Turgenev himself listened. The first person is Louis Viardot, a French critic and writer. But is this name already familiar to us?
So, this is what Viardot wrote about the story to Turgenev: “My dear friend, I want to speak frankly to you about your “First Love”. Frankly, if I were the editor of the Revue des Deux Mondes, I would also reject this little novel and for the same reasons. I am afraid that, whether you like it or not, it should be classified in the category of that literature that is rightly called unhealthy. All his characters reek of odiousness.
Guys, who knows the meaning of the word “odious”? Let's write it down. (odious - unpleasant, causing an extremely negative attitude towards oneself).
However, Turgenev's friend, writer Gustave Flaubert, a classic of French literature, evaluates “First Love” differently. In March 1863, he wrote to Turgenev: “... I understood this thing especially well... This whole story and even the whole book is illuminated by the following two lines: “I didn’t have any bad feelings against my father. On the contrary: he seemed to have grown up in my eyes.” This, in my opinion, is an amazingly deep thought. Will it be noticed? Don't know. This is the pinnacle for me."
Guys, which opinion are you more inclined to? Who is right?Why do you think Viardot called the story “unhealthy literature”?
Here the guys will most likely find it difficult to answer. Let's move on to the guiding questions:
Let's talk about the main character. What is she like? What do you like about her and what is unpleasant?
The teacher should draw the students' attention to the fact that it is the princess's liveliness, her spontaneity, and sincerity that make her attractive in the eyes of others. This contrasts her with the other heroes who are trying to maintain secular decency. Children, as a rule, say themselves that a young girl should not enter into a relationship with a married man.
Why does none of the men around her find a place in her heart?
Through this question we come to the conclusion that her surroundings are ordinary and uninteresting to her. It can be noted that Malevsky is a scoundrel, Belovzorov is stupid, etc. She is taller and stronger than each of these men.
Why did Zina fall in love with Pyotr Vasilyevich.
Let's analyze the image of Volodya's father. We focus on the contradictory nature of the image. Sophistication, intelligence, charm, mystery, strength - this is what attracts Zina to him.
Do you condemn this hero? Neglects the feelings of his wife, son, Zina.
Why do you think Volodya said this about his father:“I didn’t have any bad feelings against my father. On the contrary: he seemed to have grown up in my eyes.”
The father is cold and indifferent to his wife and son, but then Volodya saw love in his heart. It was this feeling that elevated the father in the eyes of his son.
Here we can return to Turgenev’s statements. Draw students' attention to the fact that love is both happiness and torment at the same time.
We conclude that it is precisely because the characters violate moral standards that Viardot calls the story “unhealthy literature,” and Flaubert, apparently, is ready to justify a lot of things with love.
7 . Guys, let's look at the title. Why is the text called this?
Here the guys always say that the text is about Volodya’s first love. Sometimes they say it’s about Zaretskaya’s first love. We need to bring the guys to the idea that the story is about Pyotr Vasilyevich’s first love.
8 .This story touches the reader to the core. But it becomes even more interesting if the reader knows that the text is autobiographical.
The prototypes of Volodya’s parents were the parents of I.S. Turgenev. The writer paints a vivid and reliable portrait of his father, which he himself repeatedly says. Many condemned him for this, but the writer admired the beauty of his father, his irresistible charm. Turgenev recalled that he, almost a boy, and his father fell in love with the young and amazingly beautiful poetess Ekaterina Shakhovskaya. For my father, this was the last, almost fatal love, which, according to some critics, accelerated his death. The reasons for the death of Sergei Nikolaevich Turgenev are completely unknown. Varvara Petrovna herself (the writer’s mother) hints at this in one of her letters, speaking about the “violent death” of her husband. On the very morning when the father had a stroke, he began a letter to his son in French: “My son, fear a woman’s love, fear this happiness, this poison.” And Ivan Sergeevich himself said about himself: “My whole life is permeated with the feminine principle... I believe that only love causes such a flowering of the whole being that nothing else can be.”
Once, when asked who served as the prototype for the young hero of the story “First Love,” Turgenev answered: “This boy is your humble servant... - How? And you were so in love? - I was. - And ran with a knife? - And ran with a knife.”
We have a message about the prototype of the main character of the story.
Sample message text .
The prototype of Zinaida Zasekina is a real person - Princess Shakhovskaya, poetess. Several poetic excerpts were published under her name in the 1930s. Shakhovskaya's poems make an unusual impression. Especially if you re-read Turgenev’s “First Love” before that. They are unusually light, free and graceful. Shakhovskaya’s poetic experiences are strongly characterized by confessional motives. This is why they are especially valuable to us. With childlike spontaneity, the princess talks about the confusion that love caused her heroine, how great her determination is to defend her feelings against the whole world.
The fate of Shakhovskaya is conveyed by Turgenev in the story to a large extent in accordance with reality. In September 1835, that is, almost a year after the death of S.N. Turgenev, Shakhovskaya got married. The princess's marriage was interpreted by contemporaries as some kind of desperate gesture, a demonstration. On June 22, 1836, Ekaterina Lvovna gave birth to a child. Six days after this, the mother died. In St. Petersburg, at the Volkov cemetery, at the beginning of the last century, a poor tombstone over the grave of Princess Shakhovskaya was still preserved. The epitaph on the monument:
My friend, how terrible, how sweet to love!
The whole world is so beautiful, like the face of perfection.
After the message, the teacher focuses on the fact that both the heroine of the story and Shakhovskaya die young, almost immediately after the death of their loved one. The message contains the words epitaph, writes down the definition (epitaph - words written on the occasion of someone's death, often used as a funeral inscription).
Guys, listen again to how the epitaph on the poetess’s grave sounds. Who wrote these poignant words? Who sent her farewell greetings? Unknown. But we like to think that this is I.S. Turgenev.
9. D/Z Analysis of the story episode in groups.
Igroup:“Game of forfeits” (chapter VII);
IIgroup:“Jump from the Wall” (chap. XII);
IIIgroup:“Explanation of Zinaida and Father” (Chapter XXI).
ANALYSIS PLAN
1/ The place of the episode in the development of the plot and composition of the work. Its conventional name.
2/Speech structure of the episode: dialogue (speech characteristics of the characters, features of the author’s remarks), narration (depiction of events), description (portrait, landscape, psychological state of the characters), author’s reasoning (lyrical digressions).
3/What events take place in the episode, who is involved in them, what aspects of the characters’ character are revealed?
4/What figurative and expressive means of artistic speech does the writer use, for what purpose?
5/What is the significance of the episode for revealing the main idea of the work, expressing the author’s position?
“First Love” - a story by I.S. Turgenev. The concept of the work dates back to the late 1850s, work on it was completed in March 1860. The first publication was made in the journal “Library for Reading” for 1860 (No. 3), subsequent ones reproduced this text with minor copyright edits.
Turgenev’s “First Love,” unlike the simultaneously created novels “On the Eve” and “The Noble Nest,” does not pose or resolve acute social issues of the time. The story is distinguished by its intimate sound, as indicated, in particular, by the framing. Three friends, three no longer young people, get together to fulfill a long-standing intention: each must tell the story of their first love. The content of the story, therefore, is addressed not to the sphere of official relations of the “big world”, but to the deeply personal, intimate side of human existence.
Exploring one of the eternal problems of life, Turgenev achieves a truly symbolic generalization of the material. The key to the content lies in the title. The image of “first love” means, on the one hand, the age of human life, namely the transition from childhood to adolescence and approaching the period of maturity (the hero of the story, sixteen-year-old Vladimir, is preparing to enter university and at this moment experiences his first love feeling). On the other hand, this is a universal image of a spiritual state in which the expectation of happiness, the idolization of a loved one, the willingness to sacrifice life for him are coupled with deep sadness, knowledge of the tragic essence of love, and, finally, sad regret about the impracticability of the wonderful hopes of youth. Such a complex sound of the “first love” motif is achieved by combining two points of view in the narrative: young Vladimir, taking his first steps on the path of life, and the same hero a quarter of a century later - forty-year-old Vladimir Petrovich, acutely aware of the approach of old age.
Turgenev's story "First Love" is constructed as a retrospective - but not in the form of an expected oral story, but as a pre-recorded memory (it turns out that it is easier to describe intimate feelings on paper than to talk about them out loud). Distinguishing the time layers of “past” and “present” allows the narrator to transform the long past and show first love as an exceptional event in human life, one and only in the brightness of experiences, in the prayerful mood of the soul. The state of first love has nothing to do with the routine and vulgarity of everyday life. The festive image of first love is made up of the irresistible charm of female beauty, desire for achievement, romantic inspiration (young Vladimir quotes Pushkin, Lermontov, Khomyakov, Schiller), and finally, amazing landscapes woven from color and light that correspond to the feelings of the hero.
One of Turgenev’s most lyrical works, the story “First Love” is autobiographical. While working on the story, forty-two-year-old Turgenev experienced a deep mental breakdown caused by the experience of the approaching threshold of old age. “Life is all in the past,” he wrote to Countess Lambert, “and the present is only precious, like a reflection of the past. Meanwhile, what was so especially good about the past? Hope, the ability to hope - i.e. future". The idea of the tragedy of life, the impracticability of ideals so intensely experienced in youth - this is the result of understanding the past in the story “First Love”.
In the work of the great Russian writer Ivan Sergeevich Turgenev, the theme of love occupies a special place. Love for women, for nature, for man, for life itself permeates all the writer’s works. For example, the story “First Love”. This is an autobiographical work written in 1860. The work tells how a sixteen-year-old boy falls in love with his dacha neighbor Zinaida, but his main rival turns out to be his own father. Indeed, in the biography of I. S. Turgenev there was a similar case. His father was a flighty man who did not love his wife. This event was taken very hard by the future writer; he never expected this from his father.
First love is something that happens to everyone, but Turgenev's story is truly extraordinary. The prototype of the young hero of the story, as Turgenev said, was himself: “This boy is your humble servant.” The prototype of Zinaida was the poetess Ekaterina Shakhovskaya. She was a neighbor at the dacha of fifteen-year-old Turgenev and it was she who opened up a streak of unrequited love in his life.
In the story “First Love,” the writer very poetically describes this feeling, which brings him both joy and sorrow, but always makes him purer, more sublime. The plot of the story is very simple. The main thing in it is sincerity, emotion and lyricism in expressing feelings. The writer himself spoke about the story like this: “This is the only thing that still gives me pleasure, because it is life itself, it is not composed...” Ivan Sergeevich Turgenev himself was not happy in love and lived all his life like himself he said, “on the edge of someone else’s nest,” because the main love of his life, Pauline Viardot, was married, had children and, of course, could not leave the family. She did not stop communicating with the writer, she was both his friend and support. There is a version that one of the sons of Pauline Viardot was the son of Turgenev, but there is no reliable evidence of this fact. Undoubtedly, Ivan Sergeevich Turgenev knew how to love unselfishly. And, reading his works, we are once again convinced of this, because a person who has never experienced love would hardly be able to write something like that. Later, Dmitry Sergeevich Merezhkovsky will say: “Blessed be the love that is stronger than death.” And if so, then blessed be Turgenev’s love, the one that is stronger than death, and fear, and time.
The history of the creation of N. G. Chernyshevsky’s novel “What to do.”
"What to do?"- a novel by Russian philosopher, journalist and literary critic Nikolai Chernyshevsky, written in December 1862 - April 1863, during his imprisonment in the Peter and Paul Fortress of St. Petersburg. The novel was written partly in response to Ivan Turgenev’s novel “Fathers and Sons.” Chernyshevsky wrote his book while in solitary confinement in the Alekseevsky ravelin of the Peter and Paul Fortress, from December 14, 1862 to April 4, 1863. Since January 1863, the manuscript has been transferred in parts to the investigative commission in the Chernyshevsky case (the last part was transferred on April 6). The commission, and after it the censors, saw only a love story in the novel and gave permission for publication. The censorship oversight was soon noticed, and the responsible censor, Beketov, was removed from office. However, the novel had already been published in the Sovremennik magazine (1863, No. 3-5). Despite the fact that the issues of Sovremennik, in which the novel “What is to be done?” were published, were banned, the text of the novel in handwritten copies was distributed throughout the country and caused a lot of imitations.
Genre originality of fairy tales by M.E. Saltykov-Shchedrin.
Shchedrin's tales are based on folklore form and style, but at the same time they are literary tales that depict the world around them in a fantastic, allegorical or grotesque form. In spirit, they are closest to Pushkin’s literary fairy tales (“The Golden Cockerel”, “The Tale of the Fisherman and the Fish”, “The Tale of the Priest and His Worker Balda”, etc.), in which irony and humor are combined with deep reflections on life. From the point of view of folklore tradition, the tales of Saltykov-Shchedrin can be divided into “tales about animals” (“Eagle the Patron”, “Dried Roach”, “Selfless Hare”), “magic tales” (“Conscience Lost”, “Bogatyr”, “A Christmas Tale”), “everyday tales” (“The Tale of How One Man Fed Two Generals”, “Neighbors”, “Liberal”). All these tales are somewhat similar to folklore ones, but at the same time they are deeply different from them. Firstly, time in a folk tale is indefinable, but in Shchedrin it is historical (in “The Wild Landowner,” for example, the writer’s contemporary newspaper “Vest” is mentioned). Secondly, in a folk tale the very possibility of a miracle is accepted, but the writer sounds bitter irony. But the main thing is that a folk tale always has a happy ending, which is not always observed by Shchedrin. Sometimes they sound piercing despair, as, for example, in “A Christmas Tale,” which is similar to a parable. Thus, Shchedrin transforms the genre of the fairy tale, introducing into it lyrical, philosophical, psychological principles, social satire, even affecting the king (“Eagle the Patron”), which is impossible in a folk fairy tale. All this determines the artistic originality of Saltykov-Shchedrin’s fairy tales. He calls his language - Aesopian language - this is an allegorical, allegorical way of expressing artistic thought. This is a deliberately obscure language, full of omissions and hints.) But the reader-friend easily understood and assimilated these encrypted concepts. (For example, the expressions “ram’s horn”, “hedgehog gloves”, “where Makar never drove his calves”, “quinoa man” talk about arrests, exile without trial for freethinking, about a peasant who eats quinoa.
The city of Foolov and its inhabitants (“The History of a City”).
Starting to write “The History of a City,” Saltykov-Shchedrin set himself the goal of exposing the ugliness, the impossibility of the existence of autocracy with its social vices, laws, morals, and ridiculing all its realities. Foolovites - residents fictional
the city of Foolov, using the example of which the history of the Russian autocracy is considered. Thus, “The History of a City” is a satirical work; the dominant artistic means in depicting the history of the city of Foolov, its inhabitants and mayors is the grotesque, a technique of combining the fantastic and the real, creating absurd situations and comic incongruities. In fact, all the events taking place in the city are grotesque. However, the absurdity reaches its culmination with the appearance of Gloomy-Burcheev, “a scoundrel who planned to embrace the entire universe.” In an effort to realize his “systematic nonsense,” Gloomy-Burcheev is trying to equalize everything in nature, to organize society so that everyone in Foolov lives according to the plan he himself invented, so that the entire structure of the city is created anew according to his design, which leads to the destruction of Foolov by his own residents who unquestioningly carry out the orders of the “scoundrel”, and further - to the death of Ugryum-Burcheev and all Foolovites, consequently, the disappearance of the order established by him, as an unnatural phenomenon, unacceptable by nature itself. Thus, by using the grotesque, Saltykov-Shchedrin creates a logical, on the one hand, and, on the other hand, a comically absurd picture, however, with all its absurdity and fantasticness
“The History of a City” is a realistic work that touches on many pressing issues. The images of the city of Foolov and its mayors are allegorical; they symbolize autocratic-serf Russia, the power that reigns in it, Russian society. Therefore, the grotesque used by Saltykov-Shchedrin in the narrative is also a way to expose the ugly realities of contemporary life that are disgusting for the writer, as well as a means of revealing the author’s position, Saltykov-Shchedrin’s attitude to what is happening in Russia. Describing the fantastic-comic life of the Foolovites, their constant fear, all-forgiving love for their bosses, Saltykov-Shchedrin expresses his contempt for the people, apathetic and submissive-slavish, as the writer believes, by nature. The only time in the work the Foolovites were free - under the mayor with a stuffed head - Pimple. The grotesque image of Gloomy-Burcheev, his “systematic nonsense” (a kind of dystopia), which the mayor decided to bring to life at all costs, and the fantastic end of his reign - the implementation of Saltykov-Shchedrin’s idea of inhumanity, the unnaturalness of absolute power, bordering on tyranny, about the impossibility of its existence. " Cruel exposure of the vices of society, according to Saltykov-Shchedrin, is the only effective means in the fight against the “disease” of Russia. Ridiculing imperfections makes them obvious and understandable to everyone. It would be wrong to say that Saltykov-Shchedrin did not love Russia; he despised the shortcomings and vices of its life and devoted all his creative activity to the fight against them.
Life and creative path of N.A. Nekrasova.
Born on November 28 (December 10), 1821 in Ukraine in the town of Nemirov, Podolsk province, into the noble family of retired lieutenant Alexei Sergeevich and Elena Andreevna Nekrasov.
1824–1832 – life in the village of Greshnevo, Yaroslavl province
1838 - leaves his father's estate Greshnevo in order to, by his will, enter the St. Petersburg noble regiment, but, contrary to his wishes, decides to enter St. Petersburg University. His father deprives him of his livelihood.
1840 - the first imitative collection of poems, “Dreams and Sounds.”
1843 - acquaintance with the critic V. G. Belinsky.
1845 – poem “On the Road”. Enthusiastic review by V.G. Belinsky.
1845–1846 – publisher of two collections of writers of the natural school – “Physiology of St. Petersburg” and “Petersburg Collection”.
1847–1865 – editor and publisher of the Sovremennik magazine.
1853 – cycle “Last Elegies”.
1856 – the first collection of “Poems by N. Nekrasov”.
1861 – poem “Peddlers”. Release of the second edition of "Poems by N. Nekrasov".
1862 – poem “A Knight for an Hour”, poems “Green Noise”, “Village suffering is in full swing”.
Acquisition of the Karabikha estate near Yaroslavl.
1863–1864 – poem “Frost, Red Nose”, poems “Orina, the Soldier’s Mother”, “In Memory of Dobrolyubov”, “Railroad”.
1865 – the first part of the poem “Who Lives Well in Rus'” is published.
1868 – publication of the first issue of N.A. Nekrasov’s new magazine “Notes of the Fatherland” with the poem “Who Lives Well in Rus'.”
1868–1877 – together with M.E. Saltykov-Shchedrin, edits the journal “Domestic Notes”.
1870 – poem “Grandfather”.
1871–1872 - poems "Princess Trubetskaya" and "Princess Volkonskaya".
1876 - work on the fourth part of the poem “Who Lives Well in Rus'.”
1877 – the book “Last Songs” is published.
He died on December 27, 1877 (January 8, 1878) in St. Petersburg. He was buried in the cemetery of the Novodevichy Convent.
Poem “Who Lives Well in Rus'.” History of creation.
“Who lives well in Rus'”- poem by N. A. Nekrasov. It tells the story of the journey of seven men throughout Rus' in order to find a happy person. N. A. Nekrasov began work on the poem “Who Lives Well in Rus'” in the first half of the 60s of the 19th century. The mention of the exiled Poles in the first part, in the chapter “The Landowner,” suggests that work on the poem began no earlier than 1863. But sketches of the work could have appeared earlier, since Nekrasov had been collecting material for a long time. The manuscript of the first part of the poem is marked 1865, however, it is possible that this is the date of completion of work on this part.
Soon after finishing work on the first part, the prologue of the poem was published in the January issue of Sovremennik magazine for 1866. Printing lasted for four years and was accompanied, like all of Nekrasov’s publishing activities, by censorship persecution.
The writer began to continue working on the poem only in the 1870s, writing three more parts of the work: “The Last One” (1872), “Peasant Woman” (1873), “A Feast for the Whole World” (1876). The poet did not intend to limit himself to the written chapters; three or four more parts were planned. However, a developing illness interfered with the author's plans. Nekrasov, feeling the approach of death, tried to give some “completeness” to the last part, “A feast for the whole world.”
The poem “Who Lives Well in Rus'” was published in the following sequence: “Prologue. Part one", "Last One", "Peasant Woman".
“Who Lives Well in Rus'” is Nekrasov’s final work, in which the poet wanted to present everything he knew about the people, to combine the experience of all his previous poems and poems. As the author himself said, he collected his “main book” “word by word for 20 years.” Nekrasov began creating this work in 1863, shortly after the peasant reform in an atmosphere of restructuring of all aspects of the country's life. Work on the poem went on for a long time - almost until the end of the poet's life, but was not completed. According to the plan, it was supposed to tell about the meetings of wanderers with officials, merchants, ministers and the tsar; pictures of St. Petersburg life were to appear. Those parts of the poem that were completed were printed separately, and the last part, “A Feast for the Whole World,” was forbidden by censorship to be printed. As a result, it remained unknown in what sequence the author intended to place the parts of the poem, and the fate of Grisha Dobrosklonov - the hero of the last part - turned out to be not so much shown as told. Subsequently, it was possible to establish the sequence of parts of the poem, which is also observed in modern editions. Despite all this, the poem looks like a completely finished work, which has become a true epic of people's life.
Pages of the life of F.I. Tyutcheva.
1803, November 23 (December 5). Born on the Tyutchev estate Fedor Ivanovich Tyutchev.
1813-1818. Receives home education under the guidance of S. E. Raich (1792-1855) - poet, translator. 12-year-old Tyutchev was awarded the title of “employee” by the Society of Lovers of Russian Literature for his ode to Horace “For the New Year 1816.”
1819. The first appearance in print is a free adaptation of the "Epistle of Horace to Maecenas."
1819, autumn. Enters Moscow University to study literature.
1821. He graduated from the university with a candidate's (the highest possible) degree.
1822. Appointed to serve at the Collegium of Foreign Affairs in St. Petersburg. Soon he receives a place in the Russian diplomatic mission in Bavaria and goes to Munich. Tyutchev will spend 22 years abroad (he came to Russia four times for short periods), 17 of them in the diplomatic service.
1822-1837. Supernumerary official and second secretary of the Russian mission in Munich.
1826. Marries Eleanor Peterson (née Countess Bothmer).
1836. In the journal Pushkin Sovremennik published 24 poems by Tyutchev.
1837-1839. First secretary and chargé d'affaires in Turin.
1838. The death of his wife leaves three daughters in the poet’s arms.
1839. Marries Ernestine Dernberg (née Baroness Pfeffel), whom he met in 1833.
1843-1850. He writes political articles “Russia and Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question”, etc.
1844. Return to Russia.
1845. Enlisted as a senior censor at the Special Chancellery of the Ministry of Foreign Affairs; from 1858 until his death - chairman of the "foreign censorship committee."
1850.
Meets Elena Alexandrovna Deniseva (1826-1864).
An article by N.A. appears in the January issue of Sovremennik magazine. Nekrasova(who was then editor) "Russian minor poets". Nekrasov reminded the reading public about Tyutchev’s poetry and put him on a par with Pushkin and Lermontov: “Despite the title... we decisively classify Mr. F. T.’s talent as one of the top Russian poetic talents.”
1854. As a supplement to Sovremennik, Tyutchev’s first collection is published in St. Petersburg (on the initiative and under the supervision of I.S. Turgenev).
1864. The death of E. A. Denisyeva, which was extremely difficult for the poet and opened a streak of losses in his life: the death of Denisyeva’s son and daughter; mother, son Dmitry, daughter Maria, brother Nikolai, many acquaintances. “The days are numbered, the losses cannot be counted, / Living life is long behind us...”
1868. Tyutchev's second collection is published, which did not evoke such a lively response from readers in comparison with the first.
1868, July 15 (27). Fyodor Ivanovich Tyutchev died in Tsarskoye Selo. He was buried in St. Petersburg at the Novodevichy Convent cemetery.
Poetry F.I. Tyutcheva about love. Reading one poem by heart.
One of the central themes in Tyutchev’s work was the theme of love. Tyutchev is a poet of sublime love, he reveals it as a feeling that brings a person both joy and suffering, “both bliss and hopelessness.” The theme of love and passion is revealed with particular drama in a cycle of poems dedicated to E. A. Denisieva
(“0, how murderously we love...”, “I knew the eyes, - oh, these eyes!..”, “Last love”, “There is also in my suffering stagnation...”, etc.). The poems in this cycle are dramatic in plot and in the nature of the speech composition. Often they represent a hidden dialogue between two interlocutors, with one of them present as if in silence:
Oh, don’t bother me with a fair reproach! Believe me, yours is the more enviable of the two of us; You love sincerely and passionately, and I - I look at you with jealous annoyance...
In general, these poems are imbued with painful melancholy, despair, and memories of past happiness:
Oh, how murderously we love, We most certainly destroy what is dear to our hearts!
Tyutchev's love is similar to the natural world in its sublimity and detachment from everyday life. Often these topics are intertwined. For example, night is for the poet a time of love revelation, when the depth of feelings is revealed. Love becomes especially spiritual:
In a crowd of people, in the immodest noise of the day, Sometimes my gaze, movements, feelings, speech do not dare to rejoice at meeting you - My Soul! Oh, don’t blame me!.. Look how foggy and white during the day the shining moon barely glimmers in the sky, Night will come - and oil, fragrant and amber, will flow into the clean glass!
Tyutchev’s work is dominated by the understanding of love as a symbol of human existence in general. This is a “blissfully fatal” feeling that requires a person to fully surrender his mental strength. Tyutchev's poems about love are of a psychological and philosophical nature, about which, in particular, V. Gippius wrote: “Tyutchev raises love lyrics to the same height of generalization to which his nature lyrics were raised.”
Oh, how murderously we love,
As in the violent blindness of passions
We are most likely to destroy,
What is dear to our hearts!
Fate's terrible sentence
Your love was for her
And undeserved shame
She laid down her life!
And on earth she felt wild,
The charm is gone...
The crowd surged and trampled into the mud
What bloomed in her soul.
And what about the long torment?
How did she manage to save the ashes?
Pain, the evil pain of bitterness,
Pain without joy and without tears!
Oh, how murderously we love,
As in the violent blindness of passions
We are most likely to destroy,
What is dear to our hearts!
Man and nature in the lyrics of A. Fet. Reading one poem by heart.
Most of the works of Afanasy Afanasyevich Fet are devoted to the description of nature. “The world is equally beautiful in all its parts. Beauty is spread throughout the entire universe...”, said the poet. For Fet, nature becomes a means of expressing a lyrical feeling of delight, pleasure, joy: “I love it,” “I am glad.” Poem “Whisper, timid breathing...” caused a literary scandal. However, this poem by Fet was highly appreciated by Turgenev, Druzhinin and Dostoevsky.
The poem has two levels: the first is nature, the second is the mental state of a person. The second plane is private, intimately human. The poem is verbless, there are no predicates in it, only nominative sentences, one exclamatory sentence. Fet in the poem depicts not so much objects, phenomena, shades, shadows, vague emotions. Love and landscape lyrics merge into one whole. Verbs convey movement. There are none here, but there is a feeling of movement. Every movement is a painting. We have a love date before dawn. The first stanza is the beginning. Evening - she came on a date; night - passes in the ecstasy of love; morning - tears of happiness and parting. The world of nature and the world of man, the feeling of love, the most subtle feeling, inexpressibly strong, you cannot say about such a feeling in words. Nobody talked about love like that before Fet. The poem is written in the style of impressionism (impressionism in poetry is the image of objects not in their integrity, but in moments, in random snapshots of memory; the object is not depicted, but is recorded in fragments, and they form a whole picture). Fet is called the singer of beauty. He loved and knew how to appreciate music, nature, and beautiful people. Saltykov-Shchedrin wrote: “Fet’s poems breathe the most sincere freshness, and almost all of Russia sings his romances.”
Whisper, timid breathing.
The trill of a nightingale,
Silver and sway
Sleepy stream.
Night light, night shadows,
Endless shadows
A series of magical changes
Sweet face
There are purple roses in the smoky clouds,
The reflection of amber
And kisses and tears,
And dawn, dawn!..
The meaning of Raskolnikov's theory in the novel by F.M. Dostoevsky "Crime and Punishment".
Fyodor Mikhailovich Dostoevsky is the greatest master of the psychological novel not only in Russian, but also in world literature. His socio-philosophical, psychological novel “Crime and Punishment” (1866) presents various philosophical theories, compares ideals and life values.
Rodion Romanovich Raskolnikov is the main character of the novel. He is a “former student”, forced to leave his studies due to lack of money, living in the poorest quarter of St. Petersburg in a closet that looks more like a closet. But he is an intelligent person, a person capable of assessing the reality around him. It was in such an environment where the hero was forced to live that his inhuman theory could arise.
Raskolnikov published an article in the magazine in which he reflected that all people are divided into “those who have the right,” who can cross a certain moral line, and “trembling creatures,” who must obey the strongest. Ordinary people are only creatures designed to reproduce their own kind. “Extraordinary” are those people who rule the world, reach heights in science, technology, and religion. They not only can, but are obliged to destroy everything and everyone on their way to achieving the goal necessary for all of humanity. These, according to Raskolnikov, include Mohammed, Newton, and Napoleon. The main character himself, being in the grip of the Napoleonic complex, is trying to find out who he is: “a trembling creature” or “one who has the right.” To test his theory, Raskolnikov decides to commit a crime - to kill the old pawnbroker in order to make life easier for many other people: his mother, sister, the Marmeladovs, Lizaveta, the pawnbroker's sister. He plans to use the money he took from the old woman to help the disadvantaged. “One death and a hundred lives in return,” he reasons, comparing his plans with arithmetic. When putting theory into practice, everything turns out to be much more complicated. Having killed the old woman, he also kills Lizaveta. He doesn't need extra witnesses. But human nature failed him. Raskolnikov in a hurry takes only trinkets. And he forgets about money. Raskolnikov hides even what he took, fearing a search. He does not use anything taken on himself to alleviate his financial situation. Everything seems to be going well, but another person is accused of the crime. But Raskolnikov’s conscience torments him, he becomes suspicious, irritable, and shrinks from every cry. The death of the old woman not only does not bring happiness to him or his loved ones, but cuts him off from the world of people. According to his idea, he was supposed to hate everyone he loved. Raskolnikov's theory separates him from people. For a criminal, the pangs of conscience become more severe than any legal punishment. The inhuman idea-passion, having acquired terrible forms, slowly kills the hero himself.
The collapse of Raskolnikov's theory, his spiritual revival occurs for many reasons, but the main one is his meeting with Sonya Marmeladova. After the murder of the old woman, his entire essence, all his good feelings such as compassion, kindness, concern for his neighbor, generosity, protest against the calculations of his mind. Proud, arrogant, cut off from the world of people, Raskolnikov goes to someone to whom he can entrust his secret. In the end, he opens up to Sonya, a harlot who also committed a crime, only a crime against herself. Sonya is spiritually much higher than Raskolnikov. She is the bearer of the author's Christian ideas of forgiveness and humility. It is she who convinces Raskolnikov to confess. The hero theory fails. He can no longer follow her. The final collapse of the idea occurs in the hero’s dreams, which refute the very idea of dividing people into two categories. In his last dream, he sees trichinae, which, like the people from his theory, destroy themselves.
The criminal himself goes to the police station and confesses to his crime. He is sent to hard labor. “Eternal” Sonechka follows him. In penal servitude the moral rebirth of the hero takes place. He abandons his theory, comes to Christian values, worldview, and reads the Gospel. He understands that happiness cannot be built on crime.
In his novel, Dostoevsky wanted to show not the banal story of murder, but the origins and reasons for it. He created a picture of the experiences and torment of the criminal. The author, unlike Tolstoy, who shows his heroes in development, in a constant search for the meaning of life, strives to find the source of the origin of the inhumane, inhuman theory, to show all its harmful effects on people.
Petersburg by Dostoevsky.
The image of St. Petersburg occupies a prominent place in the works of Russian writers.
In the novel “Crime and Punishment” we meet not with the front side of this beautiful city, but with black staircases doused in slop, courtyards-wells reminiscent of a gas chamber - a city of peeling walls, unbearable stuffiness and stench. This is a city in which it is impossible to be healthy, vigorous, and full of energy. He suffocates and crushes. He is an accomplice to crimes, an accomplice to delusional ideas and theories. He is a witness to nightmares and human tragedies.
Dostoevsky pays special attention not only to describing the squalid interiors of furnished rooms, but also draws our attention to smells and symbolic colors.
So, his yellow color is a symbol of illness, poverty, and the squalor of life. Yellow wallpaper and yellow furniture in the room of the old pawnbroker, Marmeladov’s face is yellow from constant drunkenness, Raskolnikov’s yellow closet “looks like a closet or a chest,” the houses are painted yellow-gray, Sonya Marmeladova went “on a yellow ticket,” a woman - a suicide with a yellow, worn-out face, yellowish wallpaper in Sonya’s room, “furniture of yellow polished wood” in Porfiry Petrovich’s office, a ring with a yellow stone on Luzhin’s hand.
These details reflect the hopeless atmosphere of the existence of the main characters of the work and are harbingers of bad events.
However, in the novel we also find the color green, the color of Marmelad’s “family” scarf. This scarf, like a cross, is worn by Katerina Ivanovna, followed by Sonya Marmeladova. The scarf represents both the suffering that befalls its owners and the redemptive power of this suffering. Dying, Katerina Ivanovna says: “God himself knows how I suffered...” Going after Raskolnikov, who is going to confess to a crime, Sonya puts this scarf on her head. She is ready to accept suffering and thereby atone for Raskolnikov’s guilt. In the epilogue, in the scene of the rebirth, the resurrection of Raskolnikov, Sonya appears in the same scarf, haggard after illness. At this moment, the green color of suffering and hope of the main characters of the work “overwhelms” the yellow color of sick Petersburg. The “dawn of a renewed future” shone on their sick faces; they were ready to embrace a new life.
So, the image of St. Petersburg in F. M. Dostoevsky’s novel “Crime and Punishment” is deeply symbolic. He is, on the one hand, the social background against which the events of the work unfold, on the other hand, he himself acts as a character, an accomplice in Raskolnikov’s terrible crime, as well as his repentance and return to the world of people.
The Marmeladov family in the novel “Crime and Punishment.”
The Marmeladov family are minor, but very bright heroes of the novel “Crime and Punishment”, without whom it is impossible to imagine this work. Semyon Zakharovich Marmeladov, his wife and children is a collective image of a Russian family of the 19th century. At the time of meeting readers in the novel “Crime and Punishment,” the Marmeladov family consists of the following characters: Semyon Zakharovich Marmeladov (father of the family) Katerina Ivanovna Marmeladova (his wife, a woman of about 30) Sofya Semenovna Marmeladova (Marmeladov’s daughter from his first marriage, a girl of about 18 ) three children of Katerina Ivanovna from her first marriage: daughter 10 years old - Polenka, son 7 years old - Kolenka, daughter 6 years old - Lidochka (also called Lenechka) Semyon Zakharovich Marmeladov is the father of the Marmeladov family. Unfortunately, he has not been able to cope with the role of breadwinner and breadwinner for a long time. Marmeladov is a drunken titular councilor who, due to alcohol, cannot lead a decent life. Semyon Zakharovich married Katerina Ivanovna about 4 years ago, not out of great love, but out of compassion and pity for her miserable situation. He took her with three small children. Their own daughter Sonya also lived with them until recently. About 1.5 years ago the Marmeladov family moved to St. Petersburg. Marmeladov found a decent job. But due to drunkenness, he lost his job, which could have fed his entire family. Katerina Ivanovna- This is an educated and intelligent woman, from a good family. She loved her first husband, Mikhail, an infantry officer, and ran away with him from her parental home. Unfortunately, he was fond of cards, was put on trial and died. Katerina Ivanovna remained a widow with three children, and her relatives also abandoned her. She found herself in terrible poverty. It was then that Marmeladov proposed marriage to her - out of pity for her difficult and beggarly situation. Native daughter Semyon Zakharovich Marmeladov - Sophia Semyonovna Marmeladova (also - Sonechka or Sonya). This is a girl of about 18. Kind, sympathetic, honest, sincere. she was 14 years old when her father married Katerina Ivanovna. Sonechka was not able to receive a decent education, but by nature she was a smart and deep girl. Due to poverty and lack of money, as well as due to her father’s drunkenness, Sonya was forced to first earn extra money here and there. Unfortunately, the family was sorely short of money, and Sonya had to go “with a yellow ticket.” (work as a prostitute) Katerina Ivanovna had three children from her first marriage. This is how the author describes her little children: “...The smallest girl, about six years old, was sleeping on the floor, somehow sitting, huddled and with her head buried in the sofa. A boy, a year older than her, was trembling all over in the corner and crying. probably just scolded. The eldest girl, about nine, tall and thin as a matchstick.
Semyon Zakharovich Marmeladov met Raskolnikov in one of the taverns. There he told his whole story. From Marmeladov's story, Raskolnikov learned about Sonya and her difficult fate. The tragic death of Marmeladov : Due to drunkenness, Marmeladov was run over by a horse on the street. Due to his injuries, he died in the arms of his family in the apartment where they managed to bring him. Death of Katerina Ivanovna :Having run in the street after her youngest children, Katerina Ivanovna fell and suffered from consumptive bleeding. She died that same day. The fate of the three orphans and Sonya Katerina Ivanovna's three children were left orphans. But, fortunately, Mr. Svidrigailov decided to intervene for their fate. He volunteered to help place orphans in an orphanage all together and put some capital in their name. Thus, the children were assigned to an orphanage and their maintenance was guaranteed. Due to this Sonya no longer had any reason to engage in prostitution, to feed the kids. Sonya subsequently followed Raskolnikov to Siberia after his sentence was announced. Sonechka lived there, visiting and supporting Raskolnikov at his hard labor. The story of the Marmeladov family is a tragic story of a Russian family.
Personality L.N. Tolstoy, the main stages of his life and work.
Russian writer and philosopher Leo Tolstoy was born in Yasnaya Polyana, Tula province, the fourth child in a rich aristocratic family. Tolstoy lost his parents early; his further upbringing was carried out by his distant relative T. A. Ergolskaya. In 1844, Tolstoy entered Kazan University at the Department of Oriental Languages of the Faculty of Philosophy, but because... classes did not arouse any interest in him, in 1847. submitted his resignation from the university. At the age of 23, Tolstoy, together with his older brother Nikolai, left for the Caucasus, where he took part in hostilities. These years of the writer's life were reflected in the autobiographical story "Cossacks" (1852-63), in the stories "Raid" (1853), "Cutting Wood" (1855), as well as in the later story "Hadji Murat" (1896-1904, published in 1912). In the Caucasus, Tolstoy began to write the trilogy “Childhood”, “Adolescence”, “Youth”.
During the Crimean War he went to Sevastopol, where he continued to fight. After the end of the war, he left for St. Petersburg and immediately joined the Sovremennik circle (N. A. Nekrasov, I. S. Turgenev, A. N. Ostrovsky, I. A. Goncharov, etc.), where he was greeted as " the great hope of Russian literature" (Nekrasov), published "Sevastopol Stories", which clearly reflected his outstanding writing talent. In 1857, Tolstoy went on a trip to Europe, which he was later disappointed with.
In the fall of 1856, Tolstoy, having retired, decided to interrupt his literary activity and become a landowner, went to Yasnaya Polyana, where he was engaged in educational work, opened a school, and created his own system of pedagogy. This activity fascinated Tolstoy so much that in 1860 he even went abroad to get acquainted with the schools of Europe.
In September 1862, Tolstoy married the eighteen-year-old daughter of a doctor, Sofya Andreevna Bers, and immediately after the wedding, he took his wife from Moscow to Yasnaya Polyana, where he completely devoted himself to family life and household concerns, but by the fall of 1863 he was captured by a new literary plan, as a result of which the world was born. the fundamental work “War and Peace” appeared. In 1873-1877 created the novel Anna Karenina. During these same years, the writer’s worldview, known as Tolstoyism, was fully formed, the essence of which is visible in the works: “Confession”, “What is my faith?”, “The Kreutzer Sonata”.
Admirers of the writer’s work came to Yasnaya Polyana from all over Russia and the world, whom they treated as a spiritual mentor. In 1899, the novel “Resurrection” was published.
The writer’s latest works were the stories “Father Sergius”, “After the Ball”, “Posthumous Notes of Elder Fyodor Kuzmich” and the drama “The Living Corpse”.
In the late autumn of 1910, at night, secretly from his family, 82-year-old Tolstoy, accompanied only by his personal doctor D.P. Makovitsky, left Yasnaya Polyana, fell ill on the road and was forced to get off the train at the small Astapovo railway station of the Ryazan-Ural Railway. Here, in the house of the station chief, he spent the last seven days of his life. November 7 (20) Lev Nikolaevich Tolstoy died.
The path of quest of Andrei Bolkonsky and Pierre Bezukhov.
The main problem, it seems to me, that the writer poses in his novel is the problem of human happiness, the problem of searching for the meaning of life. To pass the laws of moral existence through your heart, mind and soul is the highest goal, the highest purpose of man.
To this highest price
Having a symbolic name - “First Love”, is one of the most unusual lyric-epic works of Russian classical literature in terms of plot and design. It was written in 1860, when the writer was 42 years old and he was comprehending his past from the height of his years.
Composition of the story
The work consists of 20 chapters, in which the main character’s memories of his youth are sequentially presented in the first person. The story begins with a prologue - the background of memories. The same main character - Vladimir Petrovich, already aged, is in a company where everyone tells each other about their first love. He refuses to tell his unusual story verbally and promises his friends that he will write it and read it the next time they meet. Which it does. Next comes the story itself.
The plot and its basis
Despite the fact that the heroes, as in other works of Turgenev, have fictitious names, the writer’s contemporaries immediately recognized them as real people: Ivan Sergeevich himself, his mother, father and the object of his first passionate and unrequited love. In the story this is Princess Zinaida Aleksandrovna Zasekina, in life it is Ekaterina Lvovna Shakhovskaya.
Ivan Sergeevich Turgenev’s father did not marry for love, which subsequently affected his family life with his wife. She was much older than him, stood firmly on her feet, independently taking care of the housework on the estate. The husband lived as he wanted and had little to do with any family issues. He was good-looking, charming and popular in the eyes of the ladies.
In the story we also meet a married couple, where the wife is older than her husband and lives in constant, difficult to hide irritability due to lack of attention from her husband. In the image of their son Vladimir, we recognize young Turgenev. We find him at the moment when he is preparing for exams to enter the university at his dacha in the Moscow region. The hero’s thoughts are far from his studies, young blood excites the imagination and awakens fantasies about beautiful strangers. Soon he actually meets a stranger - his neighbor at the dacha, Princess Zasekina. This is a real beauty, a girl of rare charm and a unique - magnetic character.
At the time of meeting the main character, she is already surrounded by many fans, amused by communicating with them and her power over everyone. He also draws Volodya into his circle. He falls passionately in love, forgetting about books, studies and walks around the neighborhood and finds himself completely attached to his beloved.
Many pages in the story are devoted to depicting the turbulent and constantly changing experiences of the young man. And more often he is happy, despite Zinaida’s capricious and mocking behavior. But behind all this there is a growing anxiety. The hero understands that the girl has her own secret life and love for an unknown person...
As soon as the reader, together with the main character, begins to guess who Zinaida is in love with, the tone of the story changes. A completely different level of understanding of the word “love” comes to the surface. The girl’s feelings for Volodya’s father, Pyotr Vasilyevich, in comparison with the romantic passion of the young man, turn out to be deeper, more serious and more piercing. And Volodya is struck by the realization that this is true love. Here the author’s position is guessed: first love can be different, and the one that cannot be explained is the real one.
To understand this problem, the scene towards the end of the story is important: the young man accidentally witnesses a secret conversation between his father and Zinaida, which takes place after their separation. Pyotr Vasilyevich suddenly hits the girl’s hand with a whip, and she, with an expression of humility and devotion, brings the scarlet mark of the blow to her lips. What he sees shocks Volodya. Some time after the incident, the hero's father dies from a blow. Zinaida Zasekina marries another man and dies four years later during childbirth.
It is amazing that in the hero’s heart there was no resentment towards his father and girlfriend. He realizes how majestic and inexplicably strong the love that was between them is.
Turgenev's biographers proved that all the events described in the story happened in exactly the same way with its prototypes. Many contemporaries condemned the writer for openly demonstrating family secrets on the pages of the story. But the writer did not think that he was doing anything reprehensible. On the contrary, it seemed extremely important to him to relive and artistically rethink what happened to him in his youth and influenced him as a creative person. Depicting the beauty, complexity and versatility of the feeling of first love is what the writer strived for.
- “First Love”, a summary of the chapters of Turgenev’s story
- “Fathers and Sons”, a summary of the chapters of Turgenev’s novel
Feelings and reason... Two mutually generating elements, yin and yang of human consciousness. Happy is the person in whom the ardent movement of feelings and the cold breath of reason mutually complement each other, promote and harmonize with each other. But what can contribute to the loss of this balance? When does conflict arise between feelings and reason? The answer is quite simple - this happens when a person faces a difficult moral choice, each option of which requires sacrifice, courage and inner strength from the person.
It is the heart and mind in this case that fight to make a choice, to show the right path. The classics of Russian literature contain many examples confirming this point of view - such may be “Fathers and Sons” by Ivan Sergeevich Turgenev and “About Love” by Anton Pavlovich Chekhov.
What, if not love, can serve as such a moral choice between feelings and reason? It is this situation that A.P. Chekhov examines in his story “About Love.” The main character of this work, Alekhine, a poor landowner, is brought together by fate with Anna Alekseevna, the wife of the chairman of the court. From the very first meeting, they felt an irresistible attraction and interest in each other - these were young, but already forming shoots of love. Sprouts that were destined to bloom in the cage of the mind...
An insoluble internal conflict torments both heroes throughout their acquaintance, but neither Alekhine nor Anna are able to give vent to their feelings - imprisoned in their uncertainty, fear of the future and cold reasoning, as if in chains, they continue to live their measured lives, ruining their great love ... And only at the last moment, on the train, do feelings finally take over, and the characters realize how pitiful and petty it was that prevented them from loving.
A similar problem is touched upon by I.S. Turgenev in his work “Fathers and Sons,” revealing it through the example of the main character Yevgeny Bazarov, an unprincipled and convinced nihilist, whose ideology lies entirely in the power of cold reason. Bazarov denies all generally accepted human feelings - love, friendship, honor, nobility... However, during the course of the work, the hero is faced with circumstances that gradually destroy all his theories and life position - didn’t Bazarov show nobility in his duel with Kirsanov? And didn’t he experience genuine, great love for Anna Sergeevna Odintsova? Feelings, previously protected by an impenetrable wall of reason, make a hole in it and come out - this is the internal conflict of Evgeny Bazarov.
The example of the heroes above shows us that love can serve as a source of conflict between feelings and reason, since it is one of the most difficult moral choices that can befall a person.
Updated: 2018-02-05
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