Which works of Russian classics are close to the play The Thunderstorm. Which works of Russian classics, touching on the problems of relationships between generations, are close to the play by A.N.

Which works of Russian classics, touching on the problems of relationships between generations, are close to A. N. Ostrovsky’s play and in what ways?

Read the text fragment below and complete tasks B1-B7; C1-C2. ACT 1

Phenomenon 5

Kabanova, Kabanov, Katerina and Varvara

Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.

Kabanov. How can I, Mama, disobey you!

Kabanova. Elders are not very respected these days.

Varvara (About myself). No respect for you, of course!

Kabanov. I, it seems, mummy, don’t take a step out of your will.

Kabanova. I would believe you, my friend, if I hadn’t seen with my own eyes and heard with my own ears what kind of respect children show to their parents now! If only they remembered how many illnesses mothers suffer from their children.

Kabanov. I, mummy...

Kabanova. If a parent ever says something offensive, out of your pride, then, I think, it could be rescheduled! A! How do you think?

Kabanov. But when, Mama, have I ever been unable to bear being away from you?

Kabanova. The mother is old and stupid; Well, you, young people, smart ones, shouldn’t exact it from us fools.

Kabanov (sighing, aside). Oh, my God! (Mother.)

Dare we, Mama, to think!

Kabanova. After all, out of love your parents are strict with you, out of love they scold you, everyone thinks to teach you good. Well, I don’t like it now. And the children will go around praising people that their mother is a grumbler, that their mother does not allow them to pass, that they are squeezing them out of the world. And, God forbid, you can’t please your daughter-in-law with some word, so the conversation started that the mother-in-law was completely fed up.

Kabanov. No, mama, who is talking about you?

Kabanova. I haven’t heard, my friend, I haven’t heard, I don’t want to lie. If only I had heard, I would have spoken to you, my dear, in a different way. (Sighs.) Oh, a grave sin! What a long time to sin! Talk close to heart If you go, you’ll sin and get angry. No, my friend, say what you want about me. You can’t order anyone to speak; If they don’t dare to show you, they will stand behind your back.

Kabanov. Let your tongue dry.

Kabanova. Come on, come on, don't be afraid! Sin! I have seen for a long time that your wife is dearer to you than your mother. Since I got married, I don’t see the same love from you.

Kabanov. How do you see this, Mama?

Kabanova. Yes in everything, my friend! What a mother doesn’t see with her eyes, she has a prophetic heart; she can feel with her heart. Or maybe your wife is taking you away from me, I don’t know.

Kabanov. No, mama! what are you saying, have mercy!

Katerina. For me, Mama, it’s all the same birth mother, that you, and Tikhon loves you too.

Kabanova. It seems like you could keep quiet if they don’t ask you. Don’t intercede, mother, I won’t offend you, I suppose! After all, he is also my son; don't forget this! Why did you jump out in front of your eyes to make jokes! So that they can see how much you love your husband? So we know, we know, in your eyes you prove it to everyone.

Varvara (About myself). I found a place for instructions to read.

Katerina. You are in vain saying this about me, Mama. Whether in front of people or without people, I’m still alone, I don’t prove anything of myself.

Kabanova. Yes, I didn’t even want to talk about you; and so, by the way, I had to.

A. N. Ostrovsky “Thunderstorm”

Explanation.

In the drama N.A. Ostrovsky's "Thunderstorm" house-building is gradually being destroyed by the reluctance of the "children" to submit to the tyranny of the older generation. Varvara snaps at her mother, Tikhon timidly contradicts. The main character Katerina does not fit into the rules " dark kingdom" Despite Kabanova’s politeness and outward submission, Katerina does not want and cannot live as is customary in Kalinov: with lies, deception, submitting to the undivided power of tyrants. This is precisely what caused Katerina’s protest.

The topic of fathers and children was raised by I.S. Turgenev in the novel “Fathers and Sons”. Considering himself a liberal aristocrat, Pavel Petrovich is proud of his “principles”, but this pride is empty, because his “principles” are just words. He is completely unadapted to new living conditions, which are a direct threat to his calm existence. He treats with disdain ordinary people, an angry protest evokes everything new and democratic in him. The Kirsanovs do not want to accept the fact that their lives are gradually becoming a thing of the past, and they are being replaced by Bazarov, personifying a new generation with his own views.

In Sholokhov's novel "Quiet Don" the Melekhov house rests on the primacy of the elders. Panteley Prokofich is a hardworking owner, he can be quick-tempered, but at heart he is kind and sensitive. Despite the intra-family split, Panteley Prokofich tries to unite the pieces of the old way of life into one whole - at least for the sake of his grandchildren and children. To save the family, he forbids Grigory to see Aksinya. However, the son, although he does not openly protest to his father, does not listen to him, and decides to do as he wants.

Thus, the problem of “fathers and sons” is traditional for Russian classical literature, and sometimes goes beyond everyday boundaries, becoming a social conflict.

The problem of relationships between generations is reflected in many works of Russian classical literature. In the drama “The Thunderstorm” by A. N. Ostrovsky, the older generation is people who live according to the strict laws of Domostroy and demand the same from others, and the new generation is the victims of old people, dreaming of freedom.

In the play, just as in A. S. Griboedov’s comedy “Woe from Wit,” “the present century and the past century” confront each other. And Katerina, in my opinion, has similar features with A. Chatsky, who, like Kabanikha’s daughter-in-law, is also a “ray of light.” Only Katerina does not accept the foundations of the “dark kingdom,” and A. Chatsky does not accept the foundations of Famus society.

Also close to “The Thunderstorm” in its own way ideological content I. S. Turgenev’s novel “Fathers and Sons,” which has its own “new man,” the nihilist Yevgeny Bazarov, a representative of the generation of “children,” an opponent of the liberal nobility. Being a democratic revolutionary, he opposes the “present century,” generally accepted morality and the autocratic serfdom system.

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The essence and origins of the problem

Today, in our fast-paced world, in the conditions of total intergenerational relationships, it becomes noticeably acute. It seems that children move away from their parents not by one, but by several steps at once.

The peculiarity of the struggle between the new and the old is that the former does not always emerge victorious. Adults have more leverage, confidence in their unshakable rightness, and the need to be an authority and leader for the child.

Next, we will look at this problem from the point of view of psychological scientists, and also find out how writers in the nineteenth and twentieth centuries saw it. The material will be especially interesting for schoolchildren who are preparing for exams. Often one of the topics is the following: “Problems of relationships between generations.” You can easily write an essay on this task after reading this article.

Today, the emphasis has shifted from the experience of older generations to the achievements of peers. The child receives almost all knowledge from his parents in an “outdated” form. These days, the lifespan of an innovation sometimes varies within a few days or hours.

In adolescence, boys and girls are forced to go through a kind of initiation stage. They need to learn to control their emotions, become reasonable and wise. This is called "growing up." The difficulty is that with the acceleration of the pace of life, parents themselves have often not yet fully formed into a holistic, mature personality. Or their image is only suitable for the heroes of a nineteenth-century novel.

The problem is that often parents cannot even tell their offspring what to do correctly in a given situation. After all, they never spent their youth in the conditions of the present time. What was previously considered revolutionary, today young people attribute to the Stone Age.

Let's look at the issue of disagreements between parents and children. How do psychologists and writers see it?

What psychologists say

If the task concerns the problem of relationships between generations, the essay can begin with the opinion of experts on this topic.

Now we will talk about some studies conducted by scientists to study the psychology of the adult generation. They believe that the main problem lies in the inability of elders to understand their failure in matters of education.

It turns out that complacency and the belief that past life experiences are the standard by which a child’s “correctness” should be measured serves as the foundation for discord. It turns out that adults speak one language, and children speak a completely different one.

Moreover, from the point of view of psychologists, the problem of intergenerational relationships often comes from the parents. The most common complaint from children is: “They don’t want to hear me.”

Experiments were conducted to confirm this hypothesis. We will provide a description and results of one of them.

The school asked tenth grade students to rate themselves on a five-point scale. It was necessary to measure internal qualities, such as kindness, sociability, initiative and others. The second task was to determine how their parents would evaluate these same qualities. Older generation asked to rate their children and then predict their self-esteem.

As a result, it turned out that children understand exactly what their parents think about them, and fathers and mothers, in turn, know absolutely nothing about their offspring.
Other studies have proven, in addition to this point, a number of difficulties in relationships between children and adults. Thus, it was found that the child is more frank with his mother than with his father. The second unpleasant point is that many things that interest a teenager are not usually discussed in our society.

Themes of feelings, openness, and sexuality create an insurmountable barrier between generations in the family. This turn of events leads to formal communication and routinization of relationships.

Turgenev, "Fathers and Sons"

According to many critics, the problem of relationships between generations is most fully illuminated in the novel “Fathers and Sons.” In principle, here it is given greatest attention, but you will soon see that there are other works that touch on this issue.

Ivan Sergeevich in his novel shows not just the confrontation between father and son in a single family. This depicts the problem of relationships between generations, since Kirsanov and Bazarov are not relatives.

The first is young, nihilist, democrat and revolutionary. Pavel Petrovich is shown to be a monarchist and an aristocrat to the core. The clash of their worldviews forms the basis of the plot.

We see that Evgeny Bazarov is inclined to deny everything, putting science above all other values. The image of the landscape of Switzerland, for example, is interesting to him only from a geological point of view. He is pragmatic, trying to prove the advantage of new views. However, in the end, Evgeniy dies with the thought that Russia did not accept him.

Bazarov's antagonist is Kirsanov. He loves to talk about the “Russian idea”, the simplicity of peasant life. But in reality, all his words turn out to be an illusion. He is inclined to only talk about it, but by his actions he shows the opposite.

Like many other writers of the nineteenth century, Ivan Sergeevich Turgenev finds himself on the side younger generation. Through the prism of the novel, he shows the agony of the old worldview and the birth in the throes of a new philosophy of society.

Tolstoy, "War and Peace"

Next, we will consider the problem of relationships between generations in the novel “War and Peace.” Here Tolstoy, being a subtle connoisseur human souls and motives of behavior, shows three different families. They have different social status, values and traditions. Using the example of the Bolkonskys, Kuragins and Rostovs, we see almost the entire palette of Russian townspeople of the nineteenth century.

However, the novel shows not only the relationships between different generations, but also friction between different sectors of society. Bolkonsky, for example, raises children as part of serving the Fatherland. He places honor and benefit for other people above all else. This is how Andrei and Maria grow up. However old prince He often went too far in his upbringing, which he laments on his deathbed.

Kuragins are shown as the complete opposite of Bolkonsky. These are careerists who put social position above all else. Their example illustrates the cold attitude of parents towards children. The lack of sensuality and trust becomes natural for Helen and Anatole.

In fact, Tolstoy shows with the help of empty people who are interested exclusively in material values and external splendor.

The Rostovs are the complete opposite. The parents are shown here fully supporting Nikolai and Natasha. Children can always turn to them for help when they need it. This family is completely different from the aristocratic Bolkonskys and the careerists Kuragins.

Thus, in the first two works we mentioned, the problem of relationships between generations is most fully revealed. It would be best to write an essay (Unified State Exam) based on these novels.

Paustovsky, “Telegram”

When discussing the problem of relationships between generations, arguments from real life will be the best. The story will touch the most painful strings of the human soul. It highlights the situation when children forget their parents.

This is the second extreme to which a family can go. Often the reason is not so much as harmful moments of social influence.

Sometimes unprepared for aggression real world teenagers find themselves in a whirlpool of other people's goals. They live by other people's ideals and lose themselves. If parents have failed since childhood to accustom their child to the fact that he will be accepted at home in any condition, then the young man will distance himself.

Thus, we are faced with a multifaceted problem of intergenerational relationships. Arguments in favor of proper education and others can be made, but it is better to show the terrible consequences of the deepening abyss.

It is precisely such examples that we see in the works of many writers. In Telegram, in particular, the daughter was late. When the girl came to her senses and came to visit her mother in the village, she found only a grave mound and a simple tombstone.

Paustovsky shows that pride, hidden anger and other barriers that prevent warm relations between relatives always lead to the tragedy of the “offended”. That's why the best way solutions to the problem of relationships between generations will be forgiveness and sincere desire understand your interlocutor.

Gogol, Taras Bulba

The problem of relationships between generations in Russian literature also arises quite acutely in Gogol’s work. He addresses the unexpected and terrible side of the realization of this moment.

The story illustrates the father's murder of his child for the sake of his own sense of honor and pride. Taras Bulba could not forgive and survive the betrayal of ideals on the part of Andrei. He takes revenge on him for the fact that the young man did not grow up to be the person he was raised to be.

On the other hand, he punishes the Poles for the death of their youngest son, Ostap.

Thus, in this work we see the bitter truth of reality. Fathers rarely strive to understand their children. They just want to realize their concept of an “ideal life” in them.

That is why it is eternal problem relationships between generations. You will find the arguments of Russian writers in favor of the impossibility of solving it in our article. Next we will look at different areas this question.

But after reading most of the works and studies, the impression remains that along with age, the ideals of house-building awaken at the genetic level in people.

"Eldest Son" - play and film

We are currently discussing the problem of relationships between generations (the Unified State Exam often includes it in the list of tasks). Let's look at Vampilov's comedy "The Eldest Son". It was written in the late sixties of the twentieth century.

The significance of the work is that several generations are intertwined here. We see relationships between three: fathers, adults and younger children.

The essence of the comedy lies in an innocent joke that develops into a significant stage in the life of an entire family. Two friends (Busygin and Silva) stay late in a strange city and are late for transport. They are looking for a place to stay for the night.

In the city they meet Sarafanov's family. Silva tells their new acquaintance that Busygin is his son. The man takes the message at face value because he “had a sin of his youth.”

The essence of the work is that Busygin has to become a link between his father and children, who do not value their parent at all.

We see the already quite mature “youngest” Vasenka, who burns Natalya’s house out of jealousy. Nina, Busygin's sworn sister, wants to run away with her fiancé Far East, but her new brother holds her back.

Obeying an impulse of feelings, the deceiver confesses everything. Everything in the story ends well. But the main emphasis is still set. The situation is created in a comic form for easy perception and a comfortable introduction of the “family friend” into the comedy.

It is through the prism of an outsider’s view of the family that the problem of intergenerational relationships is revealed. Vampilov’s work is fundamentally different from similar works of the nineteenth and eighteenth centuries. It is here that we see the picture that exists in our time.

The traditions of home building have actually become obsolete, but the gentleness and thoughtless love of many parents plays with them cruel joke when children grow up.

Griboedov and Fonvizin

The problem of relationships between generations in “Woe from Wit” is revealed through the example of Famusov and Chatsky. Let's take a closer look at these symbolic images.

The old generation is characterized by worship of rank, wealth and position in society. It is afraid, does not understand and hates new trends. Famusov was stuck in the petty-bourgeois worldview of the last century. His only desire is to find a son-in-law for his daughter with ranks and stars on his chest.

Chatsky is the complete opposite of Pavel Afanasyevich. He not only verbally denounces the Domostroevsky foundations of the past, but with all his behavior he shows the depravity of the old and the power of the new worldview.

Molchalin is Chatsky’s peer, but contrasts with him in thoughts, goals and behavior. He is pragmatic, two-faced and hypocritical. Above all for him is a warm and financial place. That is why the young man pleases Famusov in everything, is quiet and modest with Sophia.

Chatsky has drama in his personal life. The girl he loves calls him crazy and pushes him away, preferring a “servant with rank.” But, despite this, the outcome of the comedy is shown openly to readers. It is the “carbonaris” and rebels who will replace the traditional servility and mossy behavior of the old nobles.

“Nedorosl” also highlights the problem of intergenerational relationships. The essay is a stunning decoding of the saying: “The apple doesn’t fall far from the tree.” Here we see a separate aspect of the relationship between parents and children. Education, which is not intended to help the child find himself in life and realize himself, but to reflect the mother’s outdated picture of the world.

So, in the comedy “The Minor” we see the result that Mrs. Prostakova received. She did her best to protect the child from the “hateful” world and a corrupt society. Teachers were hired for him only because Peter the Great “bequeathed it so.” And Mitrofanushka’s teachers were not distinguished by their learning.

The comedy is written in the vein of classicism, so all the names in it speak. Teachers Tsifirkin, Kuteikin, Vralman. Son Mitrofan, which in Greek means “resembling a mother,” and Prostakova herself.

We see the disappointing results of blindly following dead dogmas without the slightest attempt to comprehend them.

Starodum, Pravdin and some other characters oppose the old traditions. They reflect the desire of the new society to see a soul in a person, and not an empty gilded shell.

As a result of the conflict, we get a completely merciless, greedy and stupid “undergrowth”. “I don’t want to study, but I want to get married,” this is the most accurate reflection of his essence.

Coverage of the problem in the works of Pushkin

One of the eternal moral issues is the problem of relationships between generations. Arguments from the life of modern society rarely fully correspond literary images. The closest situation is mentioned in "The Eldest Son", which we talked about earlier.

The works of the classics of the nineteenth century are often useful to young people only in a global sense. The general ethical and moral themes raised in them will be relevant for centuries to come.

Problems of relationships between generations are highlighted many times in Pushkin’s works. Examples include the following: “The Captain’s Daughter”, “Station Warden”, “Boris Godunov”, “ Stingy Knight" and some others.

Alexander Sergeevich, most likely, did not set himself the goal of reflecting precisely this conflict, like Tolstoy and Turgenev. The clash of generations has been part of everyday life since the days of primitive people. It’s just that over time the gap between parents and children becomes wider. This is affected by progress, change social values, globalization and many other factors.

In particular, in " Stationmaster“The situation is similar to the one that Paustovsky subsequently illuminated (we talked about this above). Here Samson's daughter Vyrina escapes from her father's house with a hussar. She finds herself in city society and becomes a rich and respectable lady.

When her father finds her, he does not recognize her and does not want to accept his daughter’s new image. Samson returns to the station, where he becomes an alcoholic and dies. Here the conflict is formed due to the different meanings that the characters attach to the concept of “happiness”.

IN " The captain's daughter“We see a completely different picture. Here Pyotr Grinev firmly remembered the traditional teachings of his father. Following these rules helped him save face and honor in difficult situations.

The old baron in The Miserly Knight loses his own son because he is committed to the old bourgeois principles. He does not want to change his ossified worldview, feudal views. In this essay we see too great a gap between father and son. As a result, the final severance of ties occurs.

Ostrovsky, "The Thunderstorm"

As you have already seen, if the essay should touch on the problem of relationships between generations, arguments (literary, life and others) can easily help to do this.

To conclude our article, we will give one more example, which perfectly corresponds to the task at hand. Now we will talk about Ostrovsky’s drama “The Thunderstorm”.

This stunning work very clearly shows the collision of the old Domostroevsky and Of all characters Only the main character, Katerina, decides to resist the ossified tyranny of her elders.

There is a saying that Russia is a country of facades. It is in this play this phrase and is deciphered in frightening nakedness. Behind the apparent prosperity and piety of an ordinary Volga town, we discover the true evil hidden in the souls of people.

The problem is not only the cruelty, stupidity and hypocrisy of the older generation. Kabanikha and Wild tyrannize young people only when society does not see them. With such actions they are just trying to “guide” their unlucky children on the true path. However, the difficulty is that all the knowledge and traditions inherent in house-building have long ago turned from norms of behavior into an unnecessary burden.

Downside this issue the younger ones become weak-willed, weak and bestial, as well as the indifference of the rest of the townspeople to what is happening before their eyes.

The problems of relationships between generations in the drama are shown in parallel with the approaching storm. Just as nature strives to free itself from what it has accumulated, sending life-giving rain onto the petrified soil, so Katerina’s suicide makes the indifferent souls of people tremble.

Thus, we have examined the relationship between generations using examples from life, the origins and manifestations of this problem. In addition, we became acquainted with the works of many Russian writers who accurately, sharply and frighteningly truthfully illuminated this issue.

Good luck to you, dear readers! Try to find the strength to be better so as not to become boars, simpletons and other house-builders.

C2. In what works of Russian literature is the theme of friendship heard and in what ways can these works be compared with Pushkin’s “Eugene Onegin”? What works of Russian writers depict pictures of Russian nature?

You need to understand a little about the logic behind the placement of tasks in part C, in particular C1 and C2. Let's look at an example so you don't have any problems. And we see that there are 4 options for this work. What, in your opinion, is the essence of the concept of “evil morality” and what are the forms of its manifestation (based on Fonvizin’s comedy “The Minor”)? C1. Formulate the main theme of the fragment and briefly comment on Griboyedov’s statement: “I hate caricatures, you won’t find a single one in my picture.

DI. Fonvizin, “Undergrowth” 1781

What is hidden behind the phrase of A.I. Goncharova: “The Chatskys live and are not translated in society”? Based on the novel by A.S. Pushkin "Eugene Onegin"). Who is to blame for the fact that Onegin and Lensky meet in a duel to the death (based on the novel by A.S. Pushkin “Eugene Onegin”)? What role did the event described in this episode play in the further fate of the hero? How does this episode relate to the epigraph to the novel: “Take care of honor from a young age”?

What is main topic of the given fragment and what visual arts contribute to its disclosure? In what works of Russian writers can one find heroes thirsting for profit and how do these works relate to Gogol’s poem “Dead Souls”? C5. Why N.V. Did Gogol call “Dead Souls” a poem?

M.E. Saltykov-Shchedrin “The Tale of How One Man Fed Two Generals” 1869Variant 1

As in the poem by N.V. Gogol's "Dead Souls" are the story of the "scoundrel" Chichikov and "The Tale of Captain Kopeikin" connected? C1. What role does a detailed description of the hero play in the composition? Gogol's work? Formulate the main idea of the fragment and briefly comment on the critic’s statement: “The famous Bashmachkin remained, in general, a mystery to the reader.”

What fantastic element and for what purpose does Gogol use in the story and which of the Russians writers of the 19th century-XX centuries resorted to fantasy in his work? How does Lermontov define his main artistic task in the novel “A Hero of Our Time”? In what ways are Pechorin and Werner similar and different? What are the main ways of depicting the character of the hero in the novel by M.Yu. Lermontov’s “Hero of Our Time” and which of the Russian writers of the 19th century continued this tradition?

C1. For what purpose does A.N. Does Ostrovsky include in the text of the play “The Thunderstorm” Kuligin’s story about the city of Kalinov and its inhabitants? C2. In the works of which Russian writers (poets, playwrights) does the theme of the city arise and in what ways are these works consonant with Ostrovsky’s play “The Thunderstorm”? C1. Why is the chapter “Oblomov’s Dream” included in the novel? What is the difference, and what do you think are the similarities between the characters of the servant and the master?

What questions related to the general issues of the work are reflected in this fragment? What theme, important for the entire work, is developed in this fragment of text? How does this episode of “Fathers and Sons” reveal the main conflict of the work? How do the statements and behavior of the characters in this fragment help us understand the essence of their characters?

Is it possible to say that Bazarov became the winner in the conflict between “fathers and sons”? Explain the meaning artistic originality and the role of this episode in the work. Based on the novel by I.S. Turgenev “Fathers and Sons.”) Is it possible to say that in his works I.S. Does Turgenev create images of “superfluous people” (based on the novel “Fathers and Sons”)? What role did this dialogue play in the fate of the main character of the novel? What role did Raskolnikova play in the history of the crime? chance meeting with this person and meeting his family?

What thoughts and feelings did F.M.’s novel awaken in you? Dostoevsky "Crime and Punishment"

C2. Remember what details are constantly repeated in the description of St. Petersburg. What do you think is becoming the main tragedy heroes of the novel “Crime and Punishment”, and which heroes of Russian literature have tragic fates? What are the main features of Dostoevsky’s psychologism and which of the Russian writers of the 19th century can be called psychological writers?

What folklore traditions are represented in the fairy tales of M.E. Saltykova-Shchedrin

What is the meaning of the novel's title? What two “poles” can the heroes of the novel “War and Peace” be divided into and according to what principle? C2. Which works of Russian classics touch upon problems similar to those of the above episode, and how do they resonate with Tolstoy’s “folk thought”? Explain the meaning of the words “war” and “peace” from the point of view of L.N. Tolstoy, which he expressed by calling his novel exactly that. Which artistic technique is the basis for the name?

In which works Russian literature the images of “natural”, “natural” people are revealed and in what ways can these heroes be compared with Gorky’s Izergil? What dramatic means and how do they help the author reveal the characters in the given fragment? What means of psychological characterization are used by Turgenev in this fragment and for what purpose? How does it fit in " Dead souls» N.V. Gogol " visible to the world laughter and invisible... tears"?

In one of the programmatic works of Russian culture - Fonvizin's "Nedorosl" - an idea is voiced that is inherent in many satires and parodies. “I don’t want to study, but I want to get married” traditionally transferred to the plane of criticism of vulgar patriarchal morals, but nevertheless is of interest from the point of view of the conflict of ages. Mitrofanushka’s words are an uncultivated declaration of the desire to move to a new vital status, become a father and teach yourself, and not be the subject of pedagogical violence. The 19th century perceives the hero’s recognition as a slogan of narrow-mindedness, an emblem of “bruising” and in its categoricality does not notice that its own style of behavior is even worse, since it excludes any desires other than sowing enlightenment or preaching Western philosophies to girls in love, and then drawn from unimportant books.

The Russian hero does not want to study or get married. Mitrofanushka’s matrimonial impulses are ostracized and ridiculed, but nothing is offered in return except “Russian blues,” disappointment, reflection, which is not hidden, but splashed out by the pedagogical energy of the heroes of the century.

The predetermined nature of the plot situation—the characters’ absence of a father—implies a certain image their self-realization. They need a stage, a podium, a garden bench, a water society, ballroom, noble estates to proclaim, preach, instruct, teach... The topic is restructured: the son declares his rights to fatherly duties and is so carried away by his own importance that in the heat of polemics and discussions he forgets about the naturalness of marriage and love: “...Who lacked intelligence...”(Chatsky about marriage); “Whenever I wanted to limit my life to my home circle... What could be worse in the world than a family...”(Onegin).

The truncated conflict “fathers – children” in Russian literature has special ideological and aesthetic grounds. The reader knows nothing about the fathers of Evgeny Onegin and Pechorin. The conflicts of the novels themselves deny the possibility of the presence of a parental principle. His non-existence actualizes the motives of the wandering of Onegin and Aleko, the antithesis of Eugene and Bronze Horseman, allegories of Peter’s, state, and domestic aspirations; the idea of self-sufficiency and loneliness of a romantic character who dreams of quiet or real happiness.

In “A Hero of Our Time,” the princess’s mention of Mother Pechorin is limited to plot information about the family that gave birth to the mysterious figure of a man disappointed in life. The genesis of the tragic state of the world in "Hero" goes back to the "Duma", and the very structure of the accusation against "mistakes of the fathers" akin rhetorical exclamation Chatsky “Who are the judges?”. The denial of anyone's paternal function by young subversives is explained by the development of ethical and ideological orientations of Russian culture, when a hero, engaged in accordance with certain concepts, must be free from dogma and illustrate, first of all, an independent philosophical search. This situation leads to the fact that the most lonely character appears pseudo-orphan, a unique option educational foundling. But the vector of his movement in the plot is different; the goal is not identification with a social stratum, but a socially destructive idea.

Broken family ties, relics patriarchal world are represented by a set of disparate relatives (this tendency is also inherent in the Western novel). The uncle is obliged to leave an inheritance or become a model of rationality for the highly emotional neophyte nephew (“ An ordinary story"); he can embody the idea of state paternity (Uncle Nikolai Rostov, threatening Nikolenka in the dream phantasmagoria of the finale of War and Peace). Another image of the uncle-uncle is a mentor-commoner, protecting and loving the undergrowth entrusted to him. In Western literature, this role is played by the nurse, she serves as the heroine’s guardian (“Romeo and Juliet”), and is present in all philosophical and pedagogical treatises, starting with Montaigne.

No less important are the images of aunts, which provide a connection with matriarchal antiquity. They are numerous and favor heroes. Old maids, they completely devote themselves to caring for their nephews. Their function is European culture comes down to meekly listening to the categorical assessments of the youth of the familiar and unchanging world, throwing up one’s hands and leaning toward the correctness of the student’s opinion, but then praying for him, asking God for forgiveness for his daring youth. The images of aunts and mothers intersect in plots that represent an indirect characteristic of the character visiting parents' house passing through for another ideological discussion. Bazarov’s sarcastic mind, the independence of his judgments are hidden, covered with embarrassment when he sees his father and mother - the last reminder of the era of modest heroes who do not spare themselves, like Pushkin’s Mironovs.

Those works of Russian literature of the 19th century, in the plot of which the theme “father - son” is set, are turned to history, so extracting the main element turns out to be impossible: the analogy with the patriotic image of the natural chain of times is destroyed. The murder of Andriy in Taras Bulba, in addition to the meaning of the triumph of patriotism, fidelity to duty and the romantic motive of passion prevailing over blood union, is a ritual punishment for a person who violated the patriarchal paternal law, which cannot be doubted. It is given for unconditional fulfillment, as a command of existence, its violation is punished by the father-law himself. The plot of “Taras Bulba” develops endless European heroic times in Russian literature. Gogol complicates the conflict, the dominant idea of blood solidarity is confirmed by the death of heroes belonging to bygone eras, and by whom the love romantic motivation for Andriy’s actions cannot be understood. The theme of fathers and sons comes into contact with the theme of friendship, but already in the motive of betrayal, and its invariant is characterized by a plot collision of love interests of representatives of different ages connected by family ties (“First Love” by Turgenev, “The Brothers Karamazov” by Dostoevsky).

Literature early XIX century, comprehending the school of romantic individualism, consciously resists the patriarchal integrity of the family, thereby simplifying the author’s task in portraying a hero-ideologist, independent of the locality of family and everyday conflict. The application of the forces of the overthrower of dogmas becomes the usual morality of society, therefore paternal moralizing oversimplifies the universalism of negative intentions. Had Pushkin and Lermontov been introduced into the structure of his father’s narrative, the didactic rhetoric of the patriarchal reasoner would have led to the creation of “War and Peace.” However, the theme of the father is present in the novels of Russian authors in an indirect metaphysical sense: morbidity internal state characters, psychological senility, and omniscience of life are integrated into the self-perception of youth. In this synthesis, a romantic attitude towards unprecedented feeling can be detected, but the mechanisms of its construction are based on the allegorical contamination of various age-related forms of reflection. The intensity of the characters’ living and experience of life testifies to the processual nature of comprehending the world (an attribute of youth) and the constant appeal to their own acquired experience of spiritual old age. Such a solution characterizes first of all "noble" cultural plots when the bearers of original thought come into conflict with traditional ideas about life and role models.

In literature, a catastrophic situation is created: the ancestral connection is interrupted. Taras kills his son, the old-world landowners Korobochka and Sobakevich are childless, the young heroes shun the fair sex, waste themselves in monologues and hopeless love affairs. Lomonosov's hope that the Russian land would give birth to its own Newtons and Platos, grotesquely developed by Mitrofanushka's dream, has lost its relevance. Heroic ideologists do not seek the favor of women, but are carried away by travel, overcoming and re-thinking the path taken by the enlighteners, the ending of which no longer promises unity with the world. The heroines themselves are also not inclined to marry with personalized reflection; their chosen ones are less interesting, but more reliable. The character’s unproductiveness is felt within the culture itself: the potential chosen ones are either disappointed or already married. It is no coincidence that in connection with these processes the appearance in the 50-60s « Turgenev girls», different from their predecessors in that they are prepared for love special people; brought up outside the traditions of house-building, free, sensitive, they await the appearance in the distant nests of the nobility of the only one who would embody the ideal images of culture.

Turgenevskaya "bride fair" is a literary necessity. Previously, the characters of Pushkin and Lermontov were asked to travel all over Russia in order to return, make their choice, or explore villages, small southern cities to make sure that the love of a mountain woman is no different from feeling socialite. But representatives of the generation of the 20s and 30s leave the main plot, and Turgenev’s young ladies have a painful meeting with a man who, by inertia, follows the already archaic "superfluous" ideals (Rudin), progressively thinking, but burdened with the love burden of the past (Lavretsky), in feverish doom, leading to change (Insarov). The life-giving potential of female images remains unclaimed. The chosen ones are already betrothed to death by all sorts of tragic circumstances or are unable to bear responsibility for themselves, let alone their loved ones. Philosophical underground the possibility of escaping from the world of the demands of feeling begins to emerge before the hero, but he does not yet know the road to it. Male types Russian literature are in a state of evolution from abstract ideas to effective self-realization, which explains the impossibility of their harmonization with the already established female myth of culture.

The theme of the education of feelings is not limited to textual intuition and is expressed not only in limiting or expanding the functions of the plot spaces of the characters. In the 60s, it was expressed by the clash of life and ideological concepts in Turgenev’s novel “Fathers and Sons.” The dispute between Pavel Petrovich and Bazarov is a symptomatic phenomenon for the cultural situation in Russia and the moralizing genre itself. Turgenev is making another attempt (after Pushkin and Gogol) to create a kind of encyclopedia of ideas and test their practicality and metaphysical character in a dialogical form. The main antagonists are deliberately removed from the framework of family relationships, which excludes the possibility of natural sympathy and the possibility of an alternative outcome. The logic of opponents is categorical, the evidence is vulnerable, the arguments are subjective; reified ideas are opposed to the abstraction of universals. Victory in this dispute can only belong to a third party, not bound by obligations to share anyone's position, accepting all points of view with due caution and moderation. There is a need for an arbitrator with a code unified system criteria. The author plays this role; the image of nature is offered by him as an emblem of self-sufficient existence, leveling the polemical fervor of the participants in the dispute with the idea of emancipation from current social needs and the eternal layers of multiplicity of meanings.

Another tool for neutralizing positions that are convincing in their own way and alarming with their frank declarativeness is the novel’s system of images, which somewhat compensates for the violation of genre tradition. The plot activity of Arkady, Nikolai Petrovich, it would seem, creates the illusion of proper conclusions to the dispute, but the quiet transformative activity is not entirely convincing. The struggle was too emotional to end with a picture of economic innovations and unchanged everyday life that was dear to the heart of the author and reader. We need stronger consequences of the dispute between fathers and children, a more convincing resolution of the conflict.

In the image of Odintsova, Turgenev offers an example of reasonable behavior. The heroine's remarks are restrained, her emotions are spare, her position illustrates the resolution of the conflict stated in the title. Loyalty to everything that does not concern the specific facts of existence, a reasonable balance between the actual and the ideal, acceptance and adaptation to circumstances - Turgenev’s position, personified in the heroine’s worldview. Odintsova’s alternative plot position, her balance psychological state reflected in the surname, personifying the task of relieving the conflict between sentimental old age and the wisdom of children. In Dostoevsky and Tolstoy, a similar solution is realized in the dialogism of the internal distortions of the heroes, in the motive of the philosophical duality of the character, in the polyphonic structure of the novels. The boundaries of the classical dispute will be expanded to categorical oppositions (“Crime and Punishment”, “War and Peace”).

In the 60s, another metamorphosis took place with the theme of fathers and sons, and the range of motifs associated with it expanded.

European literature of the 19th century is largely influenced by the ideas of the Enlightenment, when any form of protest of youth is perceived as an attack against patriarchal dogmas; romantic subjectivism and egocentrism are elevated a priori into filial rebellion, destroying the dualistic tension between apparent mechanical vacuity and the illusion of super-existence. The titanic impulse of the romantics led to the alienation of the sphere of ideas from the world of archaic signs and provokes the reader to a non-trivial understanding of the individualistic search. However, philosophical escapism from reality, marked by the deliberate conventionality of what is happening, framed in exotic passions, incredible adventures and fatal accidents become predictable. This prepares the basis for saturating the artificial antinomy “present – past” with the attributes of a new system that predicts the behavior of heirs and the functioning of relapse processes.

The description of restless youth in the passive voice no longer satisfies philosophical and aesthetic reality. A person suddenly feels that he belongs to something that has always been on the periphery of thinking. Free will, the life-creative impulse, glorified by culture, reveal stronger motivation. The ethical tautology of the theme of children and parents is rethought by naturalism. Physiological formulas serve E. Zola to study the phenomenon of social heredity. He's writing "biological and public history one family""Rougon-Macquart", removing the literary modesty of abstract romantic aesthetics. Blood, death, and decay become powerful spectacular gestures in creating images of people and families physiologically degraded and doomed.

The motive of the hero’s farewell to his native lands is becoming a thing of the past; dreams of conquering capitals and the task of making sure of own capabilities or to test the truth of an idea. The purpose of the new fugitives is unclear, the future is depicted in the most foggy colors. The story of the daughter’s escape in Pushkin’s “Station Warden” appears as a model for the behavior of the heirs of Plyushkin and Golovlev. Half-mad fathers curse, search, die. The theme of hatred for the father permeates plots that exclude maternal kindness and care, and characterizes the behavior of Tolstoy’s Princess Marya, Rogozhin, Smerdyakov, Ivan Karamazov from Dostoevsky’s novels, Sonya from Chekhov’s play “Uncle Vanya”.

"Random Families" Dostoevsky, illegitimate children, discord in the family - a consequence of poverty and debauchery - culminate the conflicts of the beginning of the century, selfless manifestos of new thought and protective views still full of conviction. Relations between generations acquire a metaphysical character. Children inherit the wisdom of old age, fathers, having forgotten Pushkin's “...the flighty old man is funny and the sedate young man is funny”, suddenly discover a craving for pranks and love activity. Debauchery, mistresses, lust organize the destructive world of fathers who select sophisticated intellectual explanations for the entropy of spirituality. Physical doom "boys" Dostoevsky is prepared by the expansion of the bodily volume of senile voluptuousness, claiming dominance.

The disruption of the natural balance of ages was prepared by the entire course of development XIX culture century, the struggle of ideas led to the formal triumph of innovation. The hero-ideologists, having sowed doubt, left, solemnly contemplating the scale of what they had done, demonstrating the universality of methods of struggle that would soon be turned against their followers, more intimate and psychologically subtle. Ballroom discussions have lost their relevance, the boundaries of the plot have closed, leaving the doubts of youth and old age alone, seeking revenge at any cost.

The female theme in Russian literature does not remain indifferent to this conflict. Emerging feminist trends require a more frank and radical solution. The ideal of the patriarchal family does not meet the new tasks of suffragist ideology. More representative is the clash between daughter and mother, which recodes the matriarchal nature with new material. personal relationships. The grotesque transmission of everyday experience is demonstrated by Chernyshevsky’s plots and the motif of secular education in Tolstoy’s novels. The way the heroine of “What is to be done?” is becoming symptomatic of cultural trends. The naming of the first name and patronymic with the truncation of the sentimental surname, in addition to the respectful admiration of the author, is explained by the independence and “self-construction” of Vera Pavlovna, translating theory into everyday practice. Since truly masculine energy it transforms ideas into vital material. The unfeminine nature of her behavior is alarming; calculation, principles are elevated to the rank of ethical categories, which cuts off from the heroine a number of motives that traditionally accompany the female image. A man begins to be interpreted as a colleague in aspirations, an object of feelings, temporarily free from creative activity. In such a plot there is no possibility of developing and reconstructing the theme of father, mother and child. Social creativity is perceived as so exciting that children who are able to evaluate its results are not taken into account.

In Russian literature, unlike, for example, French literature, women almost never give birth. The exception is Turgenev's Fenechka, Tolstoy's little princess... There are many children in works from folk life and autobiographical trilogies, but they either do not belong to the main characters, or are more interesting as exponents of age-related psychology. Marriage and childbearing are not part of the characters' plot responsibilities. Men preach, women listen with interest, and then run to get carried away by universal human problems, suffer and repent. In Chekhov's "Woman's Kingdom" a total matriarchal situation is set. Anna Akimovna is perhaps one of the few heroines who admits to wanting to have a child, but there are almost no men around. The childlessness of Gogol's characters is conveyed by the tragedy of Leskov's Savely Tuberozov and Natalya, to whom God did not give children. In France, Maupassant will be horrified "mothers of freaks", and the heroines, not yet poisoned by the thirst for profit or suffragism, get married and have children. In Russian literature, new superfluous people find solace in simplification and protest against the lives of their fathers (Misail - “My Life”), mourn their parents (“Three Sisters”), are afraid to start a family (“Ionych”), and play dirty tricks (“Ionych”). Little devil" F. Sologuba), perceive their suffering and triumph as evidence, humbling themselves and not accepting them. Prodigal son only makes it to his father's grave, and the image of the Madonna and Child shines through as a grotesque allegory in the plot of the lady with the dog.

QUESTIONS FOR CONSIDERATION AND DISCUSSION

"DRAMA OF RUSSIAN LIFE" A. N. OSTROVSKY

Russian human comedy from Gogol to Ostrovsky: a) attention to a person who is identical with the sensible vulgarity of the surrounding society; b) rejection of the demonic personality of the ideological hero, interest in typical figures of reality; c) the theme of marriage intentions and the motive for the destruction of the social hierarchy; farcical logic of love claims, images of matchmakers, monetary relations in the plays of Gogol and Ostrovsky.
The poetics of Ostrovsky's dramas: a) the use of fable formulas in the titles of works: a visual designation of the main theme; b) endowing the characters with folklore, non-academic forms of speech behavior, the originality of the merchant language; V) compositional structure plays: slow exposition, creation of situations with potential conflict; dynamic character conversations; instant metamorphoses of the heroes’ states of existence; d) characters: between the temptation of freedom and the obligatory nature of patriarchal rules; conflict between fathers and children; self-interest as a hidden and obvious leitmotif of actions; e) genre of family drama: elements of moral descriptive essay; the role of melodramatic monologues and self-confession of characters; tragicomic pathos of endings; techniques of narrative prose in monologues-memoirs of characters.

Lakshin V. Ya. Alexander Nikolaevich Ostrovsky. – M., 1976
Zhuravleva A.I.A.N. Ostrovsky is a comedian. – M., 1981
Lotman L. Ya. Drama by A. N. Ostrovsky / History of Russian drama. – L., 1987