The Turbine House in the novel The White Guard. Philological sciences

ANALYSIS OF THE THEME OF FAMILY VALUES IN THE NOVEL BY M.A. BULGAKOV "WHITE GUARD"

ANALYSIS OF THE INTERIOR OF THE TURBINE HOUSE IN THE NOVEL “THE WHITE GUARD”

The interior of the Turbins' house appears in Bulgakov's novel on the very first pages and will be reproduced by the author many times throughout the novel. Historical time and the events taking place, great, close in scale to the biblical ones, are already comprehended by the author in the first sentence of the work: “Great and terrible was the year after the birth of Christ 1918, from the beginning of the second revolution.” History is inscribed in this tragic union of the era and world events. ordinary family Turbins, whose existence becomes the focus of all the key problems and characteristic features of the time and is divided by a milestone revolutionary year into 2 stages: BEFORE and AFTER. The death of the head of the family - the mother, the center of the entire former Turbino “cosmos” - also occurred in terrible year, the first “from the beginning of the revolution”: the coincidence of family and historical catastrophes becomes for Bulgakov a great omen of future sad events. And the only protection, “a life-saving ship in a terrible sea of ​​disasters” becomes for the Turbins their home, left to them by their parents as a special spiritual world, an ark storing lasting, eternal values.

Let's look at the first picture of the Turbino house. By drawing it, the author emphasizes antiquity - tradition (the word translated means “transmission”), habitability, the long-established way of life and family relations. The atmosphere of the house is shrouded in childhood impressions, preserved by memory, strengthened by habits that have become part of the character of the Turbin family itself. The center of the interior - and the whole house - is a “blazing hot” tiled stove, a legendary hearth, a “wise rock”, a symbol of comfort and well-being, tranquility and inviolability family traditions. She's the keeper family history: inscriptions different years, made by the children's hands of the little Turbins, and by guests of the house, and by gentlemen in love with Elena - this is an “album”-chronicle, a Book from which you can “read” how the family lived in this house. Warmth, happiness and wise carelessness emanate from these tiles.

From the same home stove a person “dances” in life, Bulgakov believes: what he was taught at home, what he remembered and learned from his parents, in the family, will determine him moral character, his destiny, his purpose.

And the Turbins learn from their home: their life is subordinated to the order that, according to Bulgakov, was given to man from time immemorial by his ancestors; This is how their house is built. Each room has its own purpose: the dining room, the children’s room, the parents’ bedroom, “all seven dusty and full rooms that raised the young Turbins” - these are special microworlds, necessary components big world The family, shown through the eyes of not only the author, who recreated the world of his own childhood in this interior, but also the adult Turbins: “this tile, and the furniture of old red velvet, and beds with shiny cones, the best cabinets in the world with books that smell of mysterious ancient chocolate ..." - all these are his memories and everlasting memory his heroes.

The image of this particular collective hero - the Turbin family, which formerly included the elders, the founders, the creators of the tradition, and is now beheaded, but still living and preserving its world - is interesting to the author. But not so much social status The Turbins (a family of intellectuals) worries the author how many there are spiritual state, brought up, “grown” within the walls of this house. Not only the material wealth of a wealthy family (“gilded cups, silverware”), but also spiritual treasures fill him: “as one often read at ... the tiled square “The Carpenter of Saardam” (a book about Peter I), the historical figures of Alexei Mikhailovich are well known to Turbin, Louis XIV (even if at first the acquaintance took place on the patterns of worn carpets); The characters of Russian literature became almost like family (“cabinets with books (...), with Natasha Rostova, Captain's daughter..."). Pushkin’s “Take care of honor from a young age,” learned by the Turbins from childhood, will be constantly felt in every action of each of them.

The entire interior is based on personification: the hot tiles, the lights of Christmas candles, and vintage photographs, made back then, “when women wore funny sleeves with bubbles at the shoulders,” and the hero of the children’s book, the Saardam Carpenter, and even beds with shiny cones... As in Andersen’s fairy tales, these things live their own special life, accessible only to children’s understanding, and respond to our every call inner voice. The author's ability to verbally reproduce the perception of the world that distinguishes a child from an adult is amazing.

special, distinctive feature Bulgakov's signature style is his careful and close attention to detail, which makes his style similar to the creative style of his beloved Gogol and is clearly manifested in this interior. The smell of pine needles from a festive tree and “mysterious ancient chocolate” emanating from books, a bronze lamp under a lampshade (another eternal symbol of the integrity and eternity of home comfort), “wonderful curls” on Turkish carpets and music, the “native voice” of a clock - this is it a unique and fragile world that the Turbines will protect from the terrible destructive misfortunes that surge in waves civil war.

An important item in Turbino’s home world is the clock: “bronze, with gavotte” - in the mother’s bedroom, “black wall” with a tower strike - in the dining room. The symbolism of watches is one of the most “talking” in world art. In Bulgakov, it takes on new meanings: if in the period before the start of the revolution, clocks playing their music were a sign of habitation, movement, seething life within these walls, but now, after the death of their father and mother, their hands are counting last hours a beautiful but fading former life. But the author does not believe in the possibility of the death of this house. And even in the style of this fragment, in the use of repetitions (the refrain is “beaten with a tower battle” twice), he asserts eternity, the inviolability of both material symbols (a clock and a bronze lamp) and spiritual ones, because “the clock, fortunately, is completely immortal, immortal and the Saardam Carpenter, and the Dutch tile, like a wise rock, life-giving and hot in the most difficult times.” This is the main goal of creating the interior of the Turbins’ house.

The theme of the House is one of the main ones in the work of Mikhail Afanasyevich Bulgakov. The writer’s view of the house is not limited to the role of the interior. This is a place where you can hide from the storms of life, where you are loved and waited for. Bulgakov's heroes have to search for and defend their home, the embodiment of strength, reliability, and life itself. Preserving home, family, and peace is very important. The loss of Home is a tragedy.

The theme of Home and homelessness is common to his novels The White Guard and The Master and Margarita. "The White Guard" is Bulgakov's first novel. In the house of the Turbin family he captured native home on Andreevsky Spusk. In the writer’s memory the image of a lamp under a green lampshade and his father, who stayed late working in his office, remained forever. Warm comfort, friendly understanding, and an atmosphere of high intelligence reigned in his childhood home. “A clock playing a gavotte”, “a lamp under a green lampshade”, “cream curtains”, “a tiled stove” create a feeling of coziness and warmth. The preservation of the home, the hearth in all the vicissitudes of the revolution and civil war became the leitmotif of the novel. According to Yu.M. Lotman, “history passes through the House of man, through his privacy" The Turbins' house, like Noah's Ark, saves everyone who crosses its threshold from the turmoil reigning outside the windows. But “the walls will fall,” “the fire in the bronze lamp will go out...” The writer sees the greatest catastrophe in the accomplished revolution. And the City itself in the novel is essentially an image of the Motherland, which finds itself in the center of large-scale historical events that destroy it.

Bulgakov’s favorite hero, the Master, passes through the path from anti-home to home. The Master's path in the novel lasts from a room in the basement to an eternal home. The writer contrasts the House with an antidote: communal apartment, Griboedov's house, madhouse. The core idea of ​​the novel “The Master and Margarita” is the idea of ​​the inner freedom of a person who, under any external circumstances, can act as he finds the only possible for himself. And the most sublime ideas do not die, but live in successors, students. The Master has such a follower. What is the point of replacing the name of Ivan Bezdomny with the name of Ivan Nikolaevich Ponyrev? Leaving this world, the master leaves in it a man who left poetry (remember the oath in the “House of Sorrow”!), became an employee of the Institute of History and Philosophy and does not cease to turn now, in reality and in dreams, to that strange period of his life that completely changed him. The surname of the young poet - Bezdomny - is symbolic; it speaks of the restlessness of his soul, the lack of his own outlook on life, and ignorance. The meeting with the devil, being in the “house of sorrow”, and meeting the Master reborn this man. It is he who can now, albeit in a dream, see the scene last explanation Pilate with Yeshua. It is he who can carry the word of truth further into the world. The last, 32nd chapter of the novel is called “Forgiveness and Eternal Shelter.” Woland utters the phrase: “Everything will be right, the world is built on this.” With Margarita, the Master finds peace in his “eternal home.”

Yu.M. Lotman in the article “The House in The Master and Margarita” writes: “Bulgakov makes the House the center of spirituality, which finds expression in the wealth of internal culture, creativity and love.”

Unbreakable connection the fate of a house and a person in V.G. Rasputin’s story “Farewell to Matera.”

One of the main themes of Russian literature is the theme of Home and homelessness. For A.S. Pushkin, love for the “native ashes”, home, is the basis of human independence. Happy, perfect world At home, I.S. opens for us. Shmelev in the story “The Summer of the Lord”: “Happy is the house where peace dwells. Where brother loves brother, parents take care of their children, children honor their parents! There is the grace of the Lord." Woe to the one who lost his Home. In the play by A.P. Chekhov “ The Cherry Orchard“The loss of a home for its owners is a farewell to the past and nothing in return. Heroes are at a crossroads, with homelessness ahead. The image of the House is a cross-cutting, symbolic one in B.L. Pasternak’s novel “Doctor Zhivago”. Inextricable

connection between the fate of a house and a person. The wide world of lies and injustice is contrasted with Matryona’s house and yard in A.I. Solzhenitsyn’s story “Matryona’s Yard.” The death of her house acquires symbolic meaning: this is the loss of a special world, the center of which she was, entailing the death of the mistress. Daria Pinegina, the heroine of V.G. Rasputin’s story “Farewell to Matera,” also has her own home, not a common one. And she has to part with him forever.

Home is the basis of a person’s ancestral rootedness through the memory of the past, of those “who came before us,” to responsibility to those “who will come after us.” For Daria and other old women, a house is not only a place to live, things are not just things. This is a part of their life animated by their ancestors. “Okazina-chest”, “not adapted for roads, made in the old days to stand in one place without moving forever”, is an image-symbol of settled life. The writer draws our attention to what is an integral part of the house: “For centuries, three masters have been revered in the house - the one who is in charge of the family, the Russian stove and the samovar. They were approached, they were respected, and without them, as a rule, they were not discovered broad daylight, with their order and initiative, all other things were done.” Leaving her home forever, Nastasya takes the samovar with her and carries it in her arms. Without being the master own home, another hero of the story, Petrukha, having set him on fire, he himself realizes the immorality, the meanness of his act. And he pulls out of the fire not a samovar - a symbol family life, and an accordion. This arson is only last point in Petrukha’s destruction of her own house.

Home is unshakable moral positions and commandments. “Conscience used to be in plain sight,” says Daria Vasilievna Pinegina. This heroine lived her life worrying about her home and family. And she says goodbye to the house, as one says goodbye to a loved one, seeing him off to last way. The twentieth chapter of the story, in which Daria forcibly whitewashes her house, already doomed to be burned the next day, decorates it with fir, is an exact reflection of the Christian rites of unction (when before death comes spiritual relief and reconciliation with inevitability), washing the deceased and burying him. And the ending of the story is symbolic: the house perishes, the island of Matera perishes, everything is shrouded in fog, because of which it is impossible to find a way to salvation. And “...as if from an open void, fog rushed in and a distant melancholy howl was heard - that was the Master’s farewell voice.”

Home, finally, is openness to the world, involvement in common life. In “Farewell to Matera,” the Russian idea of ​​conciliarity, the merging of man with the world, the Universe, and his race, which was dear to Rasputin, was most fully embodied.

Taking a closer look at the contradictions modern world, Rasputin sees the origins of lack of spirituality in social reality (a person was deprived of the sense of master, made a cog, an executor of other people’s decisions). The loss of the House, according to the writer, is a national tragedy. His next story “Fire” is dedicated to this, the hero of which realizes that “a person has four supports in life: a house with a family, work, people and the land on which this house stands. And all four - one more important than the other. If someone limps, the whole world is tilted.” Having read the stories of V.P. Rasputin, you will never forget them

Romanova E.N.

Patriot and patriotism.

I love my fatherland, but with a strange love!

My reason will not defeat her.

M.Yu. Lermontov.

IN Lately In connection with the events in Ukraine, the problem of patriotism has become more pressing. All means mass media(and those around us) tell us: we need to be patriots, we need to love our country. But questions immediately arise: who is a patriot? What is it like - the love of a patriot? Let's think about this.

In the Small Academic Dictionary we read: “Patriotism is love for the homeland, devotion to one’s fatherland, one’s people” and “A patriot is one who loves one’s fatherland, is devoted to one’s people, one’s homeland.” We have known these words since school. But, in my opinion, they need a little addition. Patriotism is not just love for one’s Motherland and devotion to it. This is selfless love, as well as a willingness to defend the interests of the country under any circumstances, a willingness to give his life for it. Accordingly, a patriot is selfless loving homeland a person ready to defend his Fatherland in any conditions; This is a person who is capable of sacrificing his life for the good of the country. But you must also pay attention to the fact that multinational state all nations are equal. And this should also be taken into account when defining the concepts of “patriot” and “patriotism”. Unfortunately, it seems to me that now many people forget this; they are capable of simply loving their country. Most people, if something happens, are not ready to sacrifice everything they have for the well-being of their homeland.

But just loving your country is not enough; you need to do it wisely. Otherwise, we will end up with the same situation that is now observed in Ukraine. In a line from the poem “Motherland” by M.Yu. Lermontov - “I love my fatherland, but with a strange love!” - we see that the poet’s love for his country is “strange.” This is due to the fact that this love is twofold: on the one hand, the poet passionately loves his Fatherland, but at the same time despises his home as “a country of slaves, a country of masters.” In the poem "Borodino" an old warrior tells young soldiers about terrible events Patriotic War 1812. He calls the people of that time heroes, because in a terrible hour they did not betray their Motherland, did not violate the oath of allegiance, and sacrificed themselves to save the Fatherland. The sacrificial heroism of the soldiers in this work is due, of course, to selfless love for the Motherland. And even in exile, people continue to love their Motherland. An example of this is Sergei Dovlatov. In the work “Letter from There” (from the “Invisible Newspaper” series) he writes: “The Motherland is ourselves. Our first toys. Older brothers' altered jackets. Sandwiches wrapped in newspaper. Girls in strict brown skirts. Change from my father's pocket. Exams, cheat sheets... Ridiculous, terrifying poems...<…>A daughter, mittens, leggings, the turned up heel of a tiny shoe... Crossed lines askew... Manuscripts, police, OVIR... Everything that happened to us was our homeland. And everything that happened will remain forever...” The writer is sure that condemning the Motherland is an ignoble matter, because it, like parents, is not chosen.

Thus, patriotism is one of best qualities person. It says that a person is able to think sensibly in situations when the country needs the help and support of its people, its citizens. Perhaps I’ll repeat myself, but I’ll still say: a feeling of patriotism needs to be cultivated not only in yourself, but also in the people around you, it doesn’t appear out of nowhere. And, of course, like many other things, patriotism is good in moderation. Despite the fact that love for the Motherland may be “strange,” it is still invincible. This must always be remembered.

Romanova E.A.

II. Conversation

Teacher's word.

The main theme of the novel is tragic fate Russian intelligentsia during the years of the revolution and the Civil War on the example of Russian officers - the White Guard, and in connection with this the problem of preserving the cultural heritage of the past, issues of duty, honor, human dignity.

Let us remember the best representatives of the Russian intelligentsia - poets and writers. Many of them had ambivalent attitudes towards the revolution. It was difficult to figure out whose side the truth, the historical truth, was on.

How did Blok, Gorky, Bulgakov, Pasternak relate to the intelligentsia?

(They considered the intelligentsia the guardian of Russian culture, the best social stratum. And they themselves were its brightest representatives. M. A. Bulgakov in the novel “The White Guard” through the fate of the Turbin family showed us the tragedy and horror of the fratricidal war).

What moral laws do Turbines live by?

(The cult of high Russian culture, spirituality, and intelligence reigns in the family. Russian literature is present in the novel as a full-fledged hero. Every now and then in “The White Guard” the names of Pushkin, Gogol, Dostoevsky, Tolstoy, the names of their heroes are mentioned: Lisa from “ Queen of Spades", Taras Bulba, witch - pannochka (Yavdokha), Natasha Rostova, heroine of "The Captain's Daughter". Demons from Dostoevsky’s novel, Lermontov’s demon, burst into the Turbins’ dreams.

In the Turbins’ house, “despite the guns,” there is a starched and snow-white tablecloth. “The floors are shiny, and in December... On the table there are blue hydrangeas and two gloomy and sultry roses, Bulgakov writes, affirming the beauty and strength of life. Here a woman is worshiped as a goddess, and honor lies in loyalty not only to the king, the white banner, but also to comradeship, duty to the younger and weaker).

What is the attitude of the Turbins towards the intelligentsia?

(Turbines consider the intelligentsia to be the salt of the earth, they are afraid of revolution because they are afraid of the destruction of culture, family, way of life, they are afraid that “the fire in the bronze lamp will go out” and the “Captain’s Daughter” will be burned in the oven.” The old peaceful way of life seems inexpressibly beautiful to them. The most important thing for them is the concept of honor. They do not change their convictions, they cannot betray.)

Is history friendly to the Turbins?

(History appears as something hostile to the private life of people. But you cannot sit out the revolution by closing yourself off from it, like Vasilisa. In the noisy, cheerful life of the Turbins there is a note of doom. Parting with the past is inevitable, revolutionary defeats and explosions are inevitable.)

Let's talk about the fate of the main characters: Alexei, Elena and Nikolka. What can you tell us about the fate of Alexey?

(Alexey Turbin, the elder brother, is one of those lost in this revolutionary snowstorm: “That’s why I’m tormented because I don’t understand where the fate of events is taking us,” he could subscribe to Yesenin’s phrase. In the first chapters of the novel, Alexey is a convinced monarchist and a White Guard, a determined opponent of the Bolsheviks. Considers it his duty to defend the City from the Petliurists, voluntarily enlisting in the squad as a doctor. Mortally wounded, at the end of the novel Turbin painfully experiences the collapse of his faith.

A. Turbin, deluded and doubtful, comes to the conviction: it is necessary to rebuild ordinary human life and not fight, flooding our native land with blood. Much brings the author closer to his hero: calm courage, faith in old Russia, and the dream of peaceful life, and pain from the loss of spiritual values.)

Has Nikolka Turbin stood the test of time?

(Nikolai is the most young hero White Guard he is seventeen and a half years old. The dream of a feat lives in his heart (one can compare his image with the image of Tolstoy’s Petya Rostov). He is also a man of honor. (The episode is analyzed - Nikolka in battle.) The younger Turbin owns the words: (“... not a single person should break the words, because it will be impossible to live in the world Nikolka rushes through the bullet-ridden streets of the city, looking for Nai-Turs’s loved ones to inform them about his heroic death and bury him with dignity.)

What is Elena's tragedy? What ideological load does this carry? central image in the novel?

(Elena is the keeper of the family hearth and family traditions of the Turbins. She radiates love, light and kindness. This is indicated by synonymous epithets: “red-haired, red-haired, reddish, golden, beautiful. Her tragedy lies in the betrayal of her husband, in the fact that family ties are collapsing She tries with all her might to preserve the warmth of the home. It is through her lips that Bulgakov expresses his cherished thoughts: “Never pull the lampshade off the lamp... Doze by the lampshade, read - let the blizzard howl. Wait until they come to you.”

It also embodies the religious principle. She asks in her prayers for the salvation of Alexei: “... we are all guilty of blood, but you do not punish. Don't punish")

Which of the characters, besides the Turbins, preserved their honor, preserved their humanity and sense of duty during this Time of Troubles?

(Doomed to defeat, caught in a tragic situation, best heroes Bulgakov retain human courage, officer's honor, a high sense of duty, camaraderie, the desire for normal - human life, to love.)

(Students talk about Nai-Tours, Myshlaevsky, Malyshev).

Which of the heroes did not retain these qualities?

(First of all, Talberg, the husband of Elena Turbina. The author despises him for his unscrupulousness, weakness, betrayal: “A damn doll, devoid of the slightest concept of honor!” Talberg is the “color” of the White Army, he graduated military academy. All the more bitter is the disappointment in him. The calculating, cynical Thalberg, with his “double-layered eyes,” is not burdened by the concept of honor: he considers whose side is strong and makes a career for sure. During the revolution, he is the first to go out onto the street with a red bow and then the first to shout in favor of the hetman in the elections. He is fine under any power. According to the author, the “rat at a run” from Talberg’s house is not just Elena’s misfortune, it is a shame, dishonor and infamy of the White Guard.

The landlord Lisovich (they call him female name Vasilisa) - “an engineer and a coward, a bourgeois and unsympathetic.” He counts and hides the coupons, hiding in silence behind the shutters. Everything that happens around him does not concern him, just to survive the storm.)

IV. Teacher's comment

Being an irreconcilable opponent of violence, Bulgakov makes an exception in relation to those who show neither honor, nor conscience, nor basic human decency. He punishes Lisovich severely; the janitor trying to detain Nikolka for cowardly anger; the poet Rusakov - for spiritual decay; another poet, Gorbolaz, for denunciation. The nature of each punishment corresponds, according to the will of the author, to the nature of the Fall. Lisovich is punished by deprivation of “treasures”, the janitor Nero - by Nikolka’s reciprocal anger, Rusakov for mental rot - by physical rot, syphilis, Gorbolaz - by what he wished for the Bolshevik agitator whom he tried to extradite.

The storms of civil war capture people, drag them along, controlling their destinies. The heroes became toys in the hands of elemental forces; they were whirled around by a blizzard, a blizzard, symbolically foreshadowed by the epigraph from “The Captain’s Daughter.” Let us recall the image of Blok from “The Twelve” - revolution as an element. On the surface of life, political temporary workers and adventurers flicker, replacing each other, and in the depths the rebellious mass of the people wanders.

V. Lesson summary

We find the episode of escape to the City (part 1, chapter 4)

The death of the white movement is inevitable, and the fall of the kingdom of the hetman, elected ruler of Ukraine, is also inevitable. at the circus. Let us pay attention to this symbolic detail.

Romay is filled with a cruel consciousness of the inevitability of the judgment of history, a Blok-like sense of retribution.

What moral values ​​does the writer affirm in the novel?

(Both at the beginning of the novel and in its epilogue, the author makes you think about eternity, the life of future generations, about the responsibility of people before history, before each other. Everything will pass, everything will disappear, “but the stars will remain...” (addressing epigraph). Stars are the eternity of life, these are eternal moral values: goodness, books, family, home, love. Love will conquer everything, love is life. Death was chasing Alexei Turbin, but love caught up with it in the form of Julia Reiss. Nikolka comes to the house Nai-Tursov is a messenger of death, brings grief, and takes away with him the love of the hero's sister. Elena's heart was won by Shervinsky. Love cannot be killed, just as life cannot be killed. Like "The Captain's Daughter," "The White Guard" is not only a historical novel, but also a unique novel - education, where, in the words of L. Tolstoy, family thought is combined with national thought).

Homework

According to options: analyze two key scenes of the novel - a party at the Turbins (chasty, chapter 3) and a scene in the gymnasium (part 1, chapters 6, 7).

Lesson 5 (66). The image of the house in the novel “The White Guard”

The purpose of the lesson: understand how the writer creates the image of the House, identify the role of this image in the system of life values.

Methodical techniques: repetition, work on the text, analysis of episodes.

During the classes

I. Teacher's word

The house in Bulgakov’s view is not limited to the auxiliary role, the role of the interior. This is a place where you can hide from the storms of life, where you are loved and waited for. In the novel, Bulgakov recreates the atmosphere of his native house No. 13 on Alekseevsky Spusk, where comfort, mutual understanding, and an atmosphere of high intelligence reigned. Let us remember the Rostov house from War and Peace.

What do the Rostov house and the Turbin house have in common?

(Autobiographical. An atmosphere of trust and love, simplicity and mutual respect. There is a “stranger” in the house: Tolstoy has Berg, Vera’s husband, Bulgakov has Talberg, Elena’s husband (note the similarity of surnames.)

II. Conversation

The image of the House is also created in contrast to the rest, the outside world. One of the epigraphs, from “The Captain’s Daughter,” reads: “Fine snow began to fall and suddenly fell in flakes. The wind howled and there was a blizzard. In an instant, the dark sky mixed with the snowy sea. Everything has disappeared.

Well, master,” the coachman shouted, “trouble: a snowstorm!”

Let us remember from there: “God forbid that we see a Russian rebellion, senseless and merciless.”

Which other writer of the 20th century uses the image of a snowstorm?

(The image of a snowstorm, a blizzard, foreshadowing the storms of life, is one of the main ones in Blok.)

Bulgakov's heroes manage to defend themselves for some time and defend their Home, the embodiment of strength, reliability, and life itself. Things for the Turbins are not material values, but special signs familiarity, hope, security.

What items are truly valuable to the Turbins?

(Books: Treasures stood in close formation on open multi-shelf cabinets. Green, red, embossed with gold and yellow covers and black folders from all four walls... books looked at them" (part 3, chapter 12).)

What books are mentioned in the novel? In what context?

(First of all, let’s remember the Captain’s Daughter. The title of Pushkin’s novel is given without quotation marks. This is no longer just a book image, it is a member of the family, just like Natasha Rostova. Elena reads “The Gentleman from San Francisco” by Bunin. Let us remember the epigraph to the story: “ Woe to you, Babylon, a strong city," which echoes the idea of ​​the "White Guard." Note that the symbolism of the story intensifies and becomes concrete in the context of Bulgakov's novel. The names of books and literary images: Faust, “The Queen of Spades”, Onegin, poems by Nekrasov, “Demons” by Dostoevsky, futurists contemporary to Bulgakov. Classic works, eternal images and the plots are given as an integral part of life, part of a culture that is in mortal danger.)

What does the destruction of the House portend?

(The favorite blue set, warmed by the mother’s hands, is broken by the clumsy Lariosik. And this foreshadows misfortune. “It’s a great pity for the set,” says Elena.)

How does the writer warn against destruction?

(Bulgakov breaks the fabric of the narrative with the exclamation: “Never. Never pull the lampshade off the lamp! The lampshade is sacred. Never run like a rat into the unknown from danger. Doze by the lampshade, read - let the blizzard howl - wait until they come to you.”)

The Turbins' house, like Noah's Ark, saves from the turmoil reigning outside the windows, saves everyone who crosses its threshold.

II. Implementation of homework: analysis of key episodes

1. Let us pay attention to the apartment of the Lisovichs, the homeowners, which is more like a hole in which only a mouse feels comfortable (contrasting technique).

(Sounds and smells complement the image of the House, fill it with life: the smell of books and the rustle of pages, the smell of pine needles, the measured chiming of clocks (“tonk-tank”) songs and Nikolka’s guitar.)

What atmosphere reigns in the Turbins' house?

(The Turbins’ house is cozy, warm, and there is an atmosphere of love and care for each other, high culture and spirituality. The atmosphere of the house described in the novel resembles that of the writer’s family. Intellectual interests dominated in the Bulgakovs’ house: everyone was fond of poetry, literature, theater.

We constantly see members of the Turbin family with books: Alexey reads Dostoevsky's Besov, Elena is passionate about Bunin.

Myshlaevsky, Shervinsky, Karas find warmth, understanding and support in the Turbins’ house.)

For what purpose does the writer make a contrast with the House?

(The peace, joy and sense of security of the Turbino house is contrasted with the dead, empty house - the gymnasium. It becomes a symbol of war, death. There is dead peace, “complete and gloomy peace.” There they burn books in the stoves to keep warm, they burn desks (part 1, Chapter 6). Alexei Turbin “suddenly thought that a black cloud had obscured the sky, that some kind of whirlwind had flown in and washed away his whole life, like a terrible wave washes away a pier.”)

In the scene in the gymnasium, the action of the novel reaches its greatest drama.

2. Analyze the behavior of the heroes.

How do the characters in the novel behave?

How is the idea of ​​honor changing?

(The main value turns out to be human life. Colonel Malyshev, in a moment of crisis, takes responsibility and disbands the cadets, saving them. There is no one and nothing to defend “to the last bullet.” All that remains is an attempt to start a peaceful civilian life in this chaos.)

IV. Lesson summary

The novel ends seemingly calmly. The heroes sleep and dream. Hope for the future is in the simple and joyful dream of Petka Shcheglov, a boy from the outbuilding (also House). The writer’s “camera” rises up to the stars: “The sword will disappear, but the stars will remain, when even the shadow of our bodies and deeds will not remain on the earth. There is not a single person who does not know this. So why don't we want to turn our gaze to them? Why?"

Explanatory note The work program is compiled on the basis of the Federal component of the state standard of secondary (complete) education: basic level (2004) and the Literature Program for grades 5-11 (authors V.

... Lesson development. - M.: Enlightenment. 3. Zolotareva I.V., Mikhailova T.I. Lesson development By Russian literature XIX century. 10 Class. 1st half of the year. - M.: Vako, 2003. 4. Zolotareva I.V., Mikhailova T.I. Lesson development By Russian literature ...

Composition

Civil war... Chaos... Shots... Bad weather...

City. A feeling of anxiety that everyone experiences. Fear is in the souls of people. Where can I find peace?

M. Bulgakov brings his heroes into the family. It is she, the Turbin family, who resists the nightmare and horror that reigns in the City. The city is fear. Home is cream curtains and a starched tablecloth. These are the Turbines themselves. Only here, where there are roses on the table, where the woman is a demigod, do people warm up from the cold of the City and find peace and peace of mind.

For Bulgakov, both in life and in books, family is sacred, it is a place where a person finds peace, which he so lacks outside the home. The law of this family is honor. Honor lies not only in loyalty to the fatherland and oath, but also in loyalty and devotion to all family members. And in this Family there is a cult of decency. Decency in everything: both in relation to each other and in relation to those who come to the Turbins’ house.

“The White Guard” is a novel about a terrible storm of civil war that shakes the Turbins’ house, where “the best cabinets in the world are filled with books that smell of mysterious, ancient chocolate, with Natasha Rostova, “The Captain’s Daughter.” Books that raised the young Turbins. Comfort, poetry of home, warmth of family... The tiled stove in the dining room becomes almost a symbol of the stability and indestructibility of this family.

At the beginning of the novel, the Turbins suffered grief - their mother died: “Why such an insult? Injustice?" This death is terrible for children, but it is not related to war. Life is death, there’s no escape. But it’s insulting and unfair when the death is absurd and violent. The Turbins’ house survived, although it had cracked: “For many years before his death, in house No. 13 on Aleksandrovsky Spusk, the tiled stove in the dining room warmed and raised little Elenka, Alexey the elder and very tiny Nikolka. ... But the clock, fortunately, is completely immortal, the Saardam Carpenter is immortal, and the Dutch tile, like a wise rock, is life-giving and hot in the most difficult times.”

Talberg, Elena's husband, a man alien to the Turbins (just as Berg and Vera herself are alien to the Rostovs), flees the City. Talberg left home and family, but childhood friends came to the house - Myshlaevsky, Shervinsky, Karas. They love this house, they live up to the spirit of this house, they are defenders of the City.

Bulgakov's "White Guard" is full of everyday details, objects that surround the heroes. These are the same “talking” objects as the “book shelf” in village house Larins for Tatiana, “Lord Byron’s portrait” in Onegin’s office, the nanny’s chest on which the girls of the Rostov family confided their secrets to each other. These things enter into the spiritual world of the heroes, but the things seem to have absorbed their mysterious and poetic world. Everyday details are especially important, because any home, any family contains trinkets beloved by each family member, some dear to his heart.

Young Turbin’s life “was interrupted at dawn.” And yet they resisted, withstood internally, preserved what they absorbed into themselves in this house, the house that became Noah's Ark during the flood.

The Turbins’ dying mother, Anna Vladimirovna, bequeathed: “Amicably... live.” And they lived together. They loved each other, loved their home and took care of it. When Elena finally decided to leave the city with her husband (he’s a husband!), she, “thinner and strict,” instantly began packing her suitcase, and the room became “disgusting, like in any room, where packing is chaos, and even worse, when the shade is pulled off the lamp!” The lampshade becomes in the novel a symbol not only of the House, but also of the Soul, human decency, conscience, and honor. Bulgakov writes: “Never run like a rat into the unknown from danger. Doze by the lampshade, read - let the blizzard howl, wait until they come to you.”

What was cursed for decades, ridiculed as philistinism, was contemptuously called “everyday life”, for Bulgakov - the foundation of life, something that cannot be destroyed. Therefore, in the Turbins’ house “the tablecloth, despite the guns and nonsense, is white and starchy.” This is from Elena, who cannot do otherwise, this is from Anyuta, who grew up in the Turbins’ house... In the vase there are blue hydrangeas and two gloomy and sultry roses, “affirming the beauty and strength of life, despite the fact that on the approaches to the City - treacherous enemy, which, perhaps, can break the snowy, beautiful City and trample the fragments of peace with his heels.”

House. Family. "The beauty and strength of life." Behind the cream curtains the world is "dirty, bloody and meaningless." But here they know how to live: dream, read, have fun, make jokes. This House is contrasted with the apartment of engineer Lisovich, in which the silence of the night was disturbed by a mouse. She “gnawed and gnawed, annoyingly and busily, an old rind of cheese in the buffet, cursing the stinginess of the engineer’s wife, Vanda Mikhailovna.” The cursed Wanda was fast asleep in her cool and damp apartment. Lisovich himself was hiding money in secret places at that time.

In the description of this “house” everything has a minus sign, everything from the apartment to its owners. The bedroom “smelled of mice, mold, and grumpy, sleepy boredom.” This silence of “sleepy boredom” is broken from above from the Turbins’ apartment by “laughter and vague voices” and the sounds of a guitar. The Lisovichs have duplicity and cowardice, cowardice and readiness to betray... But also a readiness to seek salvation from “these” who are from the apartment on the floor above, which means the conviction that “these” will not sell.

It is no coincidence that it was to the Turbins, who personified family peace and comfort, that Lariosik settled in, this little funny man, almost a boy.

There, beyond the threshold of the House, the Family is “alarming.” The author constantly uses this word: “it’s alarming in the City.” Elena's gaze is alarmed, and Thalberg's favor is alarming. And this anxiety goes away only when a person comes home. This is why childhood friends Myshlaevsky and Shervinsky appear so often in the Turbins’ house.

Why are heroes so drawn to the Turbin family? Yes, because the basis of family is love. Love for each other, from which grew love for each person. Beneficial family love, which made the house a Home, the family a Family. This is the most important idea in Bulgakov’s novel “The White Guard”.

Other works on this work

Protasova A. I.

Lesosibirsky pedagogical institute– branch of the Siberian Federal University, Russia

The image-motive of the house in M. Bulgakov’s novel “The White Guard”

In the mythopoetic context of M.A.’s creativity. Bulgakov, the main element is the archetype image. Archetypicality acts not only as a content-semantic sphere of artistic generalization of reality, but also as a special form of myth-thinking of the writer, who reflected in his works a unique spiritual experience Russian people.

One of the main images in the novel by M.A. Bulgakov's "White Guard" is an image of a house. In the first part of the novel, the author emphasizes the traditions of the family, the long-established way of life and family relationships: “... in house number 13 on Alekseevsky Spusk, the tiled stove in the dining room raised little Elena, Alexey the elder and very tiny Nikolka. As I often read “The Carpenter of Saardam” near the glowing tiled square, the clock played the gavotte, and always at the end of December there was the smell of pine needles, and multi-colored paraffin burned on the green branches...” The atmosphere of the house is shrouded in childhood impressions, which were forever preserved in memory, strengthened by habits and became part of the character of the Turbin family itself.

The epithet “bright queen”, which appears at the very beginning of “The White Guard”, speaks of the Turbins’ attitude towards mother Elena, the keeper of the home. Elena supervised the upbringing of children and took care of their education. She devoted a lot of effort to maintaining an atmosphere of friendship in the family. It was the friendship that gave such stability to the Turbin family that enlightened many pages of M. Bulgakov’s novel.

The writer describes with extraordinary accuracy the interior that surrounds the Turbin family: “... this tile, and the furniture of old red velvet, and beds with shiny knobs, worn carpets, colorful and crimson, with a falcon on the hand of Alexei Mikhailovich, with Louis XIV ... the best cabinets in the world with books that smell of mysterious ancient chocolate, with Natasha Rostova, the Captain’s Daughter, gilded cups, silver, portraits, curtains...”

The center of the interior - and the whole house - is a “blazing hot” tiled stove, a legendary hearth, a symbol of comfort and well-being, tranquility and the inviolability of family traditions.

M.A. Bulgakov shows us the atmosphere of a way of life that has evolved over decades, firmly based on the Orthodox worldview, which formed and nourished the best qualities of national consciousness, the best qualities of the soul of the Russian person.

The Turbin family does not isolate itself in its own world, does not lose touch with the outside world, being in the thick of things. And in no situation does he lose the concept of honor.

The entire interior of the house is filled with personification: hot tiles, the lights of Christmas candles, old photographs, and the hero of the children's book, the Saardam Carpenter, seem alive. …As in Andersen’s fairy tales, these things live their own special life, accessible only to a child’s comprehension, and respond to every call of our inner voice.

Turbines for M. Bulgakov are the ideal of a family. They reflected everything necessary for strong family human qualities: kindness, honesty, mutual understanding, love. But heroes are dear to M. Bulgakov also because, under any conditions, they are ready to defend not only their cozy home, but also their native City.

House and City are the two main inanimate characters of the book. The Turbins' house on Alekseevsky Spusk, depicted with all the features of a family idyll, lives, breathes, suffers like a living being. It’s as if you feel the warmth from the tiles of the stove when it’s frosty outside, you hear the tower clock striking in the dining room, the strumming of a guitar and the familiar sweet voices of Nikolka, Elena, Alexey, their noisy cheerful guests... And the City is immensely beautiful on its hills even in winter, snow-covered and flooded with electricity in the evenings. The Eternal City, tormented by shelling, street fighting, disgraced by crowds of foreign soldiers, temporary workers who seized its squares and streets.

For the Turbins, the house is a fortress, which they protect and defend only together. In the novel “The White Guard,” the family’s connection with the church is clearly visible: Alexei Turbin turns to Father Alexander for help; Elena, when asking God for help, bows down in front of " Old icon in a heavy frame” on their knees, removing the carpet from under them (this detail is considered accepted in Orthodox practice), etc. This suggests that the Turbin children grew up and were raised in a family that believed in God.

Bibliography

1. I. F. Belza. Bulgakov M. A. White Guard. The life of Mister de Molière. Stories. M.: Pravda, 1989. – 576 p.

2. A. Karaganov, V. Lakshin. Bulgakov M. A. Collected Works. In 5 volumes. T.1 Notes of a young doctor; White Guard; Stories; Notes on cuffs / Intro. article by V. Lakshin; Prepare text by M. Chudakova. – M.: Fiction, 1992. 623 p.

3. V. V. Petelina. Bulgakov M. A. Letters. Biography in documents. – M.: Sovremennik, 1989. – 576 p.