“The story of how one man fed two generals,” analysis. Research work “the language of the heroes of the work as a means of understanding their character
Satirical image heroes of the fairy tale by M. E. Saltykov-Shchedrin “The Tale of How One Man Fed Two Generals” “Fairy tales are one of the most striking creations of the great Russian satirist M. E. Saltykov-Shchedrin. The fairy tale genre helped the writer to speak in an atmosphere of fierce government reaction about the most pressing problems of the era, to show those aspects of reality to which the satirist was irreconcilable. “The story of how one man fed two generals is one of Shchedrin’s most vivid and memorable tales. At its center are two generals who find themselves on a desert island. Living in St. Petersburg, the generals did not know any difficulties.
They went to serve in the registry, and this service formed in them only one skill - to say - “Accept the assurance of my complete respect and devotion. Nevertheless, the generals deserved a pension, and a personal cook, and everything that allowed their old age to be well-fed and serene. Waking up one morning in the middle of the island, they experienced a real shock, because it turned out that without outside help these adult men could neither get food for themselves nor cook it. When creating images of generals, Saltykov-Shchedrin actively uses. A huge discovery for heroes is that “human food in its original form flies, swims and grows on trees. According to them, “the rolls will be born in the same form as they are served with coffee in the morning. The inability to serve themselves in generals awakens animal instincts: one bites off another’s order and immediately swallows it. Generals only know how to write reports and read “Moskovskie Vedomosti.”
They cannot bring any other benefit to society. A fantastic plot helps the satirist show the heroes of the fairy tale in the most unsightly form. The heroes appear before the reader as stupid, helpless, pitiful creatures. The only salvation for them is a simple man. Frightened to death by their position, the generals attack him with anger: “You’re sleeping, you couch potato! condemns him for his humility, for his ability to forget himself for the sake of satisfying the whims of his master.
Having picked apples for the generals, the man takes one for himself, but it’s sour. He is a great craftsman: “He can make fire and cook food, he knows how to survive on a desert island. This, of course, is what the author appreciates in his hero. Emphasizing his talents, Shchedrin uses hyperbole: boiling a handful of soup is not a problem for a man. He doesn’t care at all. , and it’s not for nothing that the writer calls him “a man.” However, all the man’s efforts are aimed at the benefit of the generals. He even covers the bottom of the boat with swan's down for them, and Saltykov and Shchedrin cannot agree with this behavior of his. The man demonstrates ignorance, a habit of servitude, lack of self-respect, and servile devotion.
“And the man began to gamble on how to please his generals for the fact that they, a parasite, favored him and did not disdain his peasant labor,” writes the author. The generals are ungrateful: their savior for everything receives a glass of vodka and a nickel of silver . But the saddest thing is that he doesn’t demand more. The author speaks sarcastically about the general’s remuneration: “However, they didn’t forget about the peasant... In “The Tale of How One Man Fed Two Generals” Saltykov-Shchedrin showed not just the relationship of individual generals and peasants - he described in an allegorical form the relations between the authorities and the people in Russia. The satirist contrasted the ruling elite of society with the powerless the masses. Shchedrin's tales are living picture Russian society, torn apart by contradictions. I admire the skill of the satirist with which he was able to approach the most complex, pressing problems of his time and which he showed in miniature paintings.
Saltykov-Shchedrin, Essay
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1. Genre of the work: a) memoirs; b) story; c) story.
2. The title of the work suggests that we have before us: a) the history of additional classes in the French language; b) a story about the lessons of morality and kindness; c) story young hero about favorite lessons French.
3. The action in the work takes place: a) before the Great Patriotic War; b) during the Great Patriotic War; c) after the Great Patriotic War;
4. “Big-headed, crew-cut, stocky guy” is: a) Bird; b) Vadik; c) Fedka.
5. The character of the work about which the hero says: “They were all about the same age as me, except for one - a tall and strong guy, noticeable for his strength and power, a guy with long red bangs”: a) Bird; b) Vadik; c) Fedka.
6. The narrator, who was not friends with anyone, believed that main reason his loneliness is: a) pride; b) homesickness; c) stinginess.
7. The narrator played “chika” in order to: a) save money; b) gain authority from the guys; c) buy milk every day.
8. Talking about characteristic features the voices of the teacher and the voices of fellow villagers (“In our village they spoke, tucking the voice deep into the inside, and therefore it was somehow small and light”; “... while I was studying, while I was adapting to someone else’s speech, the voice sat down without freedom, weakened...” ), the narrator used: a) antithesis; b) comparison; c) allegory.
10. Images of a teacher and a student (“She sat in front of me, all neat, smart and beautiful, both in clothes, and in her feminine youth, which I vaguely felt, the smell of perfume from her reached me, which I took for breath itself...” ; “... in front of her, hunched on the desk was a skinny, wild boy with a broken face, unkempt, without a mother and alone, in an old, washed-out jacket on his drooping shoulders... in breeches altered from his father’s... soiled light green pants...") are: a) description ; b) reasoning; c) narration.
11. Verbal portraits The main characters are located nearby in the text. Stylistic device, used by the author in this case: a) comparison; b) irony; c) antithesis.
12. The young hero believed that French words: a) were invented for punishment; b) surprise with their uniqueness; c) are not at all similar to Russian words.
13. In the sentence: “And without that by nature timid and shy, lost from any trifle…” - the highlighted words are: a) epithets; b) constant epithets; c) logical definitions.
14. In the sentence: “Here I was unyielding, I had enough stubbornness for ten people” - the author used: a) hyperbole; b) irony; c) metaphor.
15. According to Lydia Mikhailovna, a person ages when: a) he ceases to be surprised by miracles; b) ceases to be a child; c) lives to an old age.
16. True meaning games of “measuring”: a) teacher’s help to a capable but hungry student; b) the teacher’s desire to remember her childhood; c) the teacher’s desire to interest the student in learning French.
The sharper the satire, the higher the writer's ideal.
M. E. Saltykov-Shchedrin
Goal: by analyzing the system of images of “The Tale...” to characterize the author’s ideal of the satirist M. E. Saltykov-Shchedrin.
Lesson objectives.
Educational (knowledge system):
learning new things:
- comprehension ideological content works by M. E. Saltykov-Shchedrin “The Tale of How One Man Fed Two Generals”;
- formation of an idea of the author’s position, the author’s ideal;
- ways of expressing the author’s attitude towards the depicted (humor, irony, satire, grotesque);
repetition of what has been learned:
- literary fairy tale and its difference from folklore,
- ways to create artistic image character (name, place of service, rank, speech, education, portrait, artistic space, relationships, attitude towards another character, author’s attitude).
Developmental(skill system):
formation of new skills:
- argue for the attitude of the author and reader towards the characters of the work (generals, peasants);
- characterize the author's ideal of a satirist writer;
development of previously acquired skills:
- characterization of heroes and events based on independent search literary facts and author's judgment;
- appropriate and sufficient citation literary text;
- expressive reading fragments of an epic work;
- development of oral monologue speech skills.
Educational(system of value guidelines):
- the formation of students’ value understanding of the world and man from the standpoint of the author’s ideal;
- students' mastery of vocabulary that expresses their attitude to moral values.
Equipment: portrait of the writer, children's drawings of characters, “Dictionary of the Humanities,” cards with tasks for students.
During the classes
I. Checking homework.
What signs of a fairy tale as a genre do you know?
How does a literary fairy tale differ from a folk fairy tale?
Suggested answer: In a literary fairy tale, the author is a specific person, the fairy-tale style is combined with the clerical style and a comic effect is created, hyperbole and grotesque are used to show that there is no ideal and positive hero, satire and evil irony are used.
Define humor, irony, satire and give examples from your reading experience.
Suggested answer: Humor - cheerful, kind laughter . Irony is hidden mockery. Satire is an evil, angry laughter.
Which artistic features images of situations and characters in satirical tale can you name?
Suggested answer: Allegory, irony, sarcasm, hyperbole, grotesque.
What methods do you know of creating a character?
Suggested answer: Methods of creating an image - portrait, landscape, actions of the hero, his activities, relationships with other characters, the hero’s speech, the author’s attitude towards the character, my attitude.
II. State the topic and purpose of the lesson.
Dear Guys! Today we will continue working on “The Tale of How One Man Fed Two Generals” by M. Saltykov-Shchedrin. We have to characterize the author's ideal: the writer's attitude to the world and man through the analysis of characters. Let's carefully observe the characters and try to understand the author's intention. Today two groups of students will work: the first group will have to characterize the generals, the second - the peasant. The guys in each group received cards in envelopes with a task that they would have to complete independently. The groups will present the result of their research in the form of a full oral response. Each of your presentations should not exceed 2 minutes. 5 minutes are allotted for independent work. You need to listen carefully to your comrades speaking so as not to repeat what has already been said.
III. Characteristics of generals.
Card No. 1. Character names.
What are the names of the generals?
Suggested answer: The generals do not have names, thereby the author emphasizes the typicality of their images, the lack of individual qualities.
Card No. 2. The characters' place of service.
Where did the generals serve? Reread the required passage.
Find the meaning of the word “reception” in the dictionary.
How does the narrator feel about such “registries”?
Suggested answer: “The generals served all their lives in some kind of registry...” The word “registry” in the dictionary means... It is no coincidence that the author uses the definition “some kind” with the word registry in order to generalize similar institutions, emphasize typicality, refers to similar establishments ironically.
Card number 3. Rank of characters.
Why is it not stated why the heroes received the rank of general?
Where and who else did one of the generals serve? name an artistic technique)
Suggested answer: The author does not say why the generals received their rank, the personal qualities of the heroes are also not indicated, only the rank is indicated. But we understand that they do not give a rank for inactivity, which means that the generals received it under someone’s patronage, since they themselves could not have earned such a high rank. One of the generals was a calligraphy teacher at the school of military cantonists, i.e. at a school for soldiers’ children, which should indicate the hero’s low intellectual level, the other “was smarter.” And where have you seen a general engage in such activities?! Thus, the author satirically portrays the generals.
Card No. 4. Characters' speech.
What expressions do generals use in their speech? Read the fragments.
What is special about how they pronounce words?
How does speech characterize the characters?
The expected answer: “Accept the assurance of my complete respect and devotion” - clericalism, the generals use an official business style in their speech, which characterizes their limitations, the habit of using “s” at the end of words is an expression of respect.
Card No. 5. Education of the characters.
What is the level of education of generals? Explain your conclusion.
What reader impressions about the generals arise based on the analysis of the author’s technique?
Suggested answer: The generals do not know the sides of the horizon, for them “the rolls will be born in the same form as they are served with coffee in the morning” - this hyperbole helps to convey the worthlessness and lack of education of the generals. The author depicts them satirically .
Card number 6. Portrait of characters.
What's special appearance generals?
What substantive details does the author highlight in the description of the generals and why?
How do you feel about generals based on an analysis of their appearance?
The expected answer: “Well-fed, white and cheerful,” says the narrator, “but there are no faces - thus, a generalization is used. The generals are “in nightgowns, and an order hangs on their necks,” the order is perceived as part of the body, grotesque is used. The portrait is satirical, causing a feeling of hostility towards the heroes.
Card No. 7. Art space.
What is so special about the island where the generals end up?
Suggested answer: The author transfers the action to a desert island so that the generals can show themselves, express themselves in actions, it is not for nothing that there is a lot of food and water on the island - it is idealized, it is a paradise, but a paradise, first of all, for the stomach, the island is fantastic, abundance, reigning here is conveyed using hyperbole. The generals were inactive, white-handed, and could not prove themselves.
Card No. 8. Character behavior.
What actions do the generals perform on the island? For what purpose?
How does the behavior of the generals characterize them?
Suggested answer: The generals are trying to climb a tree - but... alas! Inactivity, helplessness, the habit that others do everything for them, the author exposes their vulgarity, unsmoking, the meaninglessness of such an existence.
Card number 9. Character relationships.
What is the relationship between the generals at the beginning of the tale?
How does their relationship change and why?
Please provide an appropriate citation.
What associations and analogies do you have when analyzing the behavior of generals (who are they like when they attack each other)? (name the artistic technique used)
Suggested answer: As soon as the generals feel very hungry, their respect disappears. Officials lose their human appearance and, like predators, pounce on each other. “Suddenly both generals looked at each other: an ominous fire shone in their eyes, their teeth chattered, and a dull growl came out of their chests. They began to slowly crawl towards each other and in the blink of an eye they became frantic. Shreds flew, squeals and groans were heard; the general, who was a teacher of calligraphy, bit off the order from his comrade and immediately swallowed it.” The frenzy of the generals is conveyed by the author using the grotesque.
Card number 10. The attitude of the generals towards the peasant.
How did the generals react to their find, man?
Find quotes and explain their meaning.
What thought came to the generals when they saw the different provisions?
Find the quote and explain the attitude of the generals towards the peasant.
Why do the generals tie up a man?
How did the generals “thank” the man?
Express your attitude towards the generals.
Suggested answer: “A man stood up: he saw that the generals were strict. I wanted to give them a scolding, but they just froze, clinging to him.” The man is the salvation of the generals, he is the one whom they can dispose of as their property, he is their salvation. But as soon as, thanks to the efforts and skill of the peasant, various provisions appeared, instead of gratitude, the generals disparagingly said: “Shouldn’t we give the parasite a piece?” The word “parasite” expresses irony here: who is the true parasite? But the main “gratitude” is ahead: the generals tie the man so that he does not run away. There is cruelty, rudeness, violence of the generals against those who obey them.
What kind of image appears before us in the face of the generals?
IV. Characteristics of a man.
Card No. 1. Character `s name.
What is the guy's name?
What are your reader thoughts on this?
Card No. 2. Character portrait.
What does the man look like?
Why is he called “the most enormous man” in the work?
Why was a man included in the image system?
What properties is a man endowed with in fairy tales?
Suggested answer: The author calls his hero “a huge man,” because... This is the person who can do everything, is capable of any work, strong, powerful, dexterous (this is how a man is always presented in Russian folk tales). The man was not introduced into the system of images by chance: he is opposed to inactive and useless generals.
Card number 3. Character behavior.
What can a man do?
How does he perform the work he undertakes?
Do you like all the man's actions?
Explain the reasons for your attitude towards the man.
Suggested answer: The guy knows how to do everything, does the work quickly and conscientiously. The author admires his dexterity and hard work; hyperbole helps convey the ingenuity and imagination of the people.
Card No. 4. A man's attitude towards generals.
How does a man feel about generals?
Why does a man obey the generals? Please provide an appropriate citation.
What did the “man” do to help the generals out of trouble and bring them home?
What character qualities did you show?
Suggested answer: The man meekly submits to the generals. The rank, it turns out, is enough to push the man around. “The generals looked at these peasant efforts, and their hearts played merrily. They had already forgotten that yesterday they almost died of hunger, but they thought: “It’s so good to be generals - you won’t get lost anywhere!” A man builds a ship, showing resourcefulness and ingenuity.
Card No. 5. Character Speech
How does a man's speech characterize him?
Suggested answer: The peasant’s speech reflected the eternal habit of the Russian people - to meekly please the master.
V. Generalization.
In relation to which characters does Saltykov-Shchedrin use humor and irony, and in relation to whom does he use satire? Why?
How does the man in Saltykov-Shchedrin’s fairy tale differ from a folklore character?
What in a man’s behavior causes admiration, and what causes the author’s condemnation?
What is the meaning of the ending of “The Tale...”?
VI. Summing up the results of the analytical conversation.
Generalization of the teacher: “The Tale...” is built on an allegory, ridicules the vices of the author’s contemporary society, exposes the stupidity and inability of generals to live, the humility, slavish obedience of a man who can do everything. These are the questions of national importance, the well-being of Russia depends on the attitude of state power to these vices.
Why did Saltykov-Shchedrin deliberately use the word “story” in the title of the fairy tale?
Teacher's summary: Using fairy-tale techniques, fantasy and hyperbole, the writer creates an unusual situation that captivates us, the readers. But he skillfully interweaves fiction and reality to explore the essence of the relationship between those in power and the people, the immorality of the authorities and the servility of the peasant. Thus, through the reflection of vices, the satirist’s pain for the smart, hard-working Russian people is manifested.
Let's turn to the epigraph of our lesson. M.E. Saltykov-Shchedrin wrote: “The sharper the satire, the higher the writer’s ideal.” How do you understand his words?
Teacher's summary : Saltykov-Shchedrin believed that satire should not destroy, but create, and the writer should explore life more fully in order to understand how to arrange it better.
Which moral values states the satirist Saltykov-Shchedrin?
VII. Homework.
Write an essay characterizing one of the heroes (group 1 - characteristics of a man, group 2 - characteristics of generals).
Municipal educational institution
"Average comprehensive school №12
workers' village (urban settlement) Progress, Amur Region"
RESEARCH
“The language of the heroes of the work as a means of understanding their character”
Nomination: First steps into science
Participants: Alena Evgenievna Soklakova, 10th grade
Ruban Daria Valerienva, 10th grade
Head: Petrochenko Olga,
teacher of Russian language and literature,
Progress
2011
Introduction………………………………………………………………………………..3
Main part………………………………………………………………………………5
Conclusion……………………………………………………………………………………….13
List of used literature………………………………………………………………. 15
INTRODUCTION
The study of literature cannot be considered a process aimed only at obtaining specific knowledge, educating the soul and expanding the reader’s horizons - it is, first of all, penetrating into the depths and ascending to the heights of language - “one of the greatest creations of mankind.” According to L. Novikov, language is “ the most important means communication, a subtle and flexible instrument with the help of which human thought is formed and expressed.” The question of studying the language of artistic and literarywork involves, first of all, determining the principlewriter selection principles speech means. This selection is motivatedis determined by those specific tasks that it solves poorlyfeminine literature as special shape public consciousness.
A. Tolstoy, in his demands for complete individualization of a character’s speech in a work, spoke about the need for a writer to see the character’s gesture accompanying his speech in order to correctly construct each of his phrases in accordance with what he feels and does at a given moment. The hero’s speech connects him with the entire world around him and can be understood precisely in this connection as a phenomenon not only of language as such, but precisely as one or another aspect of his character on a broader scale. Completeness of transmission of all colors and shades of living individual speech, reproducing the most different sides human character, which consolidates the real life process of verbal communication, is the most essential feature of the language of fiction.
Just as a character in a work is not a simple copy of this or that person, but a generalization of the properties and qualities of people of a certain type, so his speech is a generalized, characteristic speech, a kind of quotation from the language of the area of life that the writer depicts.
Studying the speech of the heroes of a work is one of the means of revealing the artistic content of the work. Artistic content the work is revealed in the study of its poetic forms. Scientific novelty The proposed work is to identify new facets of the characters’ character, and the language of the characters in the work allows us to take a fresh look at their actions.
Observing the language of the characters from the point of view of identifying their characters determines the relevance of this work.
The fact is that each work “teaches itself to read”; our task is to catch the “signals” that the work sends to the reader with its title and unique style. The writer not only counts on a responsive reader, but educates him, leads him unnoticed and unobtrusively, “suggesting” what to look at closely, what to think about, what to compare with what, what impression to return to. You just have to try to hear the writer.
How to do it? Let's try to find the answer by turning to I.S. Turgenev's novel “Fathers and Sons.” The methodology used in this work can be useful in analyzing the work for both teachers and students.
Target: Trace how studying the language of the characters in the work helps to understand their character.
Tasks:
Get acquainted with the text of I.S. Turgenev’s novel “Fathers and Sons.”
Study the speech of the characters in the work.
Analyze the relationship between language and characters.
When starting the analysis, it is necessary to accept the following thought as an axiom: reading is unraveling the secret, striving for understanding, becoming familiar with the author’s “I”. Careful reading allows each participant in this process to make their own little “discoveries.”
Hypothesis work is the following proposition: if a person’s language can tell about his intellect, his mind, his culture, then speech reveals the person’s character, his mood, his attitude towards people.
MAIN PART
In Turgenev's novel, each, even episodic, character speaks in his own “special” language. At the same time, the speech of each character reveals his character with maximum completeness, so that even lines taken from the text allow one to draw correct conclusions about the speaker.
The speech of the heroes occupies almost the first place in the characteristics of Turgenev’s heroes. As if emphasizing this, Turgenev very often characterizes his manner of speaking “on his own.”
Turgenev’s statements about Pavel Petrovich’s speech are especially expressive. “Pavel Petrovich,” writes the author, “when he was angry, he said with intention: “eftim” and “efto,” although he knew very well that grammar does not allow such words. This quirk hid the rest of the legends of Alexander's time. The then aces, in in rare cases when they spoke native language, some used efto, others used ehto; We are, they say, native Russians, and at the same time we are nobles who are allowed to neglect school rules.”
This remark not only characterizes Pavel Petrovich’s speech, but also deepens our understanding of him as a person of a certain social group and a certain worldview.
The writer’s other statements about the characters’ speech are also expressive.
About Bazarov he says: “This doctor’s son was not only not timid, he even answered abruptly and reluctantly, and there was something rude, almost impudent in the sound of his voice.”
It is said about Odintsova that she “expressed herself in correct Russian.” The remark is by no means accidental; many aristocrats did not speak “correct” Russian speech.
Kukshina’s characterization is satirically sharpened. The “emancipated” lady “dropped her questions one after another with pampered carelessness, without waiting for answers: spoiled children talk like that to their nannies.”
Also interesting is the cursory description of the speech of the valet Peter (in the epilogue), who is “numb with stupidity” and “pronounces all E as Y: tyupure, obuspyuchun.”
However, let us dwell in more detail on the language of Evgeny Bazarov.
The speech of Bazarov, the future medical scientist and revolutionary, is simple, clear, usually laconic, exceptionally rich in vocabulary and variety of syntactic forms. This is the speech of a man standing at the height of his contemporary culture - a speech in which we will meet scientific terms(ditiscus marinatus beetle), and the names of scientists (Liebig, Rademacher, Peluz), and words of the language public figure(doctrinaireism, parliamentarism), but first of all, this is the speech of a Russian person, a democrat, who loves and appreciates the Russian language and has an excellent command of it.
Bazarov’s attraction to the people is especially noticeable, because his speech is full of sayings and proverbs, replete with idioms, phraseological units, characteristic of Russian vernacular (the lip is not a fool; his song is sung; what a desire; to sing Lazarus; you will shake the old days; the devil pulled me; no, these are pipes, I’ve seen them all; what a binding, just think, etc.); such colloquial words as wave, chat, tea, wander around, stuffed, plopped, plop, etc., aphorisms, sometimes slightly altered: “I got burned on my own milk, but I’m blowing someone else’s water”; “...was everywhere, both in the sieve and in the sieve”; "murder will out"; “grandmother said it in two”; “From a penny candle... Moscow burned down”; “It is not for gods to burn pots”; “It’s good where we are not”; "Poverty is not a vice".
At the same time, Bazarov resolutely rebels against the foreign words that littered the Russian language in his time. noble intelligentsia. He does not use them at all in his speech. Exceptions are Latin words that are natural in the speech of a scientist and physician (utile dulci, pater familias, the Latin name for a swimming beetle), but do not at all clog Bazarov’s speech.
Bazarov’s strong, sharp mind is reflected in his “own” Bazarov’s aphorisms, expressive and apt. For example: “A decent chemist is twenty times more useful than any poet”; “Nature is not a temple, but a workshop, and man is a worker in it”; “If you decide to mow everything down, kick yourself too”; " Real man the one... whom one must obey or hate”; “The old joke is death, but a new one for everyone.”
IN literary language included some phrases of Bazarov, which in form cannot be classified as aphorisms, but which are distinguished by great expressiveness. Bazarov’s words are used: “Oh, my friend, Arkady Nikolaevich!.. I ask you one thing: don’t speak beautifully.” Bazarov’s meaningful phrases such as “I want to mess with people” are very expressive; “...Your brother, a nobleman, cannot go further than noble humility or noble boiling”; “...and we (that is, nihilists, revolutionaries) want to fight.”
The epithets, brief, varied assessments given by Bazarov to the people with whom he communicates are surprisingly apt, expressive, and sometimes figurative. These assessments contain Bazarov’s attitude towards the character, and those traits of him that anyone recognizes. Let us give examples: an archaic phenomenon (about Pavel Petrovich); nice guy, kind guy, ladybug(about Nikolai Petrovich); a woman with a brain, well, she’s seen the world, a grated roll (about Odintsova); it’s fresh, and untouched, and timid, and silent, and everything you want (about Katya, Odintsova’s sister); soft liberal gentleman; chick (about Arcadia).
The comparisons found in Bazarov’s remarks are interesting, indicating a great ability to imaginative thinking, observation, sharp and courageous mind and breadth of outlook. He says to Odintsova: “Flying fish can stay in the air for a while, but soon they must plop into the water, let me plop into my element.”
Bazarov very aptly characterized the measured, somewhat solemn regularity of life in Odintsova’s house: “It’s like you’re rolling on rails,” he assured...”
He characterizes his mood to Arkady this way: “Since I’ve been here, I’ve been feeling really bad, as if I’ve read too many letters from Gogol to the Kaluga governor.” After an explanation with Pavel Petrovich, which led to a duel, Bazarov exclaims: “You damn thing! How beautiful and how stupid! What a comedy we pulled off! Scientific dogs are so on hind legs dancing."
Expressive and figurative, but at the same time clear, clear, simple speech of Bazarov never turns into “ beautiful words"; It is no coincidence that he reproaches Arkady for speaking “beautifully.” Both proverbs and sayings, as well as comparisons in the speech of a “nihilist” always pursue the main goal: to make more clear and convincing the thought that he strives to express. To Pavel Petrovich’s question: “Don’t you talk like everyone else?” - Bazarov replies: “They are not sinners than other sins.” And this is deeply true. A fighter, a revolutionary, Bazarov must have a good command of words because in his future activities he will have to convince, prove the correctness of his point of view, and refute the arguments of his ideological enemies.
Bazarov knows how to do all this. In disputes with Pavel Petrovich, he was sometimes careless, did not develop a coherent logical system of evidence, replacing it with a series of sarcastic, contemptuous remarks addressed to the enemy. He sometimes seemed to brush aside his opponent, whom he primarily despises. This does not mean that Evgeny Bazarov does not know how to argue in a businesslike manner, strictly logically developing his thoughts. This is evidenced by his sharp remarks in a dispute with Odintsova, showing his ability to clearly, accurately, directly, and reasonably object to the arguments of his interlocutor.
We are referring to Bazarov’s dispute with Odintsova, which began with Bazarov’s phrase: “I was looking at the views of Saxon Switzerland in your album, and you noticed to me that this cannot occupy me.”
But Bazarov not only argues. Turgenev puts him in various positions, brings him together with various people, forces him to speak out on a wide variety of occasions and express a wide variety of feelings. The richness and variety of intonations of Bazarov’s speech are absolutely exceptional and reflect the breadth and depth of the speaker and the complexity of his character.
Bazarov's speech changes noticeably depending on who he is talking to. The style of speech, vocabulary, its syntactic structure, the predominance of certain intonations in a larger or to a lesser extent reflect Bazarov's attitude towards the speaker. An excellent example of a dialogue between Bazarov and Pavel Petrovich, reflecting with utmost clarity the attitude of a commoner democrat towards his ideological enemy who does not deserve respect, can be the conversation between Bazarov and Kirsanov, the eldest, before the duel.
The opponents' remarks are of a directly opposite nature and reflect two completely opposite world attitudes.
Pavel Petrovich, who decided to “fight seriously,” speaks very seriously. His speech is full of verbal formulas, which a secular person is accustomed to using not to clarify and clarify his thoughts, but to give his speech “pleasant in society” a decent form.
Bazarov, on the contrary, emphasizes his frivolous attitude towards the duel, which he theoretically denies. He either simply and directly says what he thinks, or he contemptuously and ironically lowers the “high” tone of his opponent’s speech.
In conversations with Nikolai Petrovich, Bazarov’s condescending and respectful intonations predominate; with Arkady, his speech is often didactic in nature; in conversations with his father, condescending and good-natured intonations are heard, often breaking through the feigned dryness and coldness.
The rudeness of Bazarov’s speech is usually emphasized, often reaching the point of cynicism. Meanwhile, Bazarov sometimes puts a lot into his remarks, sincere feeling and expresses it without unnecessary words, simple, strong. No long tirades can so express Bazarov’s great, sincere love for his parents as his short, simple answer to Arkady’s question whether he loves them: “I love them, Arkady.”
The words of the terminally ill Bazarov addressed to his father are imbued with love and tenderness. To the words of Vasily Ivanovich, full of boundless love and sorrow: “Evgeny!... my son, my dear, dear son!” - Bazarov replies: “What, my father?”
Getting acquainted with the image of Bazarov, giving him a characterization, one can be mistaken in asserting that Bazarov “does not recognize nature as an object of admiration,” that he “denies nature,” based on Bazarov’s well-known aphorism. Meanwhile, reading into some of Bazarov’s remarks, we come to the conclusion that he loves nature and only denies the aesthetic, abstract contemplation of it.
“The gazebo over there went well... because the acacia and lilac are good guys and don’t require any maintenance.” This is Bazarov speaking to Arkady.
“As I drove up here, I was glad to see your birch grove, it stretched out nicely.” This is what he says to his father.
In the above statements by Bazarov, the words “good guys,” referring to the acacia and lilac, “stretched out nicely,” referring to the grove, directly say that Bazarov loves nature the way people who work in agriculture love it, and admires it, but does not pour out his feelings in “beautiful” words.
Speech ideological opponent Bazarov - Pavel Petrovich - first of all, the speech of an aristocratic master. Anglomaniac Kirsanov idealizes the English conservative aristocracy, but his speech is peppered with French words and expressions, since it was the French language that was adopted in secular society. Pavel Kirsanov resorts to French most often when he does not find the exact words in his language to express his thoughts in Russian.
Pavel Petrovich’s secularism is also indicated by the usual verbal formulas in his speech, adopted in “society” to emphasize respect (even if external and covering up contempt and hatred) for the interlocutor: I dare say; I consider it my duty to announce to you; For this, dear sir, I can only thank you; you find my habits funny; you want to joke; I am deeply obliged to you... Pavel Kirsanov uses similar expressions mainly in conversations and in disputes with Bazarov; this is natural, because the latter is the only stranger with whom the master communicates in the novel.
Being an aristocrat, Pavel Petrovich characterizes himself as “a liberal man who loves progress.” He is not averse to emphasizing this in a conversation, which is reflected in the use of terms and phrases characteristic of the language of the then progressive and conservative noble intelligentsia: “Personality, dear sir, is the main thing... for everything is built on it”; “logic of history”, “materialism”, “civilization”. Pavel Petrovich’s favorite word: “princip” (principle), which he pronounces in the French style, but sometimes he is not averse to using vernacular words and expressions of “low style”: “It is very necessary trudge you can eat jelly for fifty miles”, “ to hell with it!», « pull this stupid strap», « in the bag", "How many, I mean, is he months old?” Pavel Petrovich’s penchant for rounded, harmonious and beautiful effective phrases (“No, the Russian people are not what you imagine them to be. They sacredly honor traditions, they are patriarchal, they cannot live without faith...”) does not hinder him in the heat of argument allow yourself to be rude to Bazarov and his like-minded people, calling them idiots.
Let us briefly dwell on the characteristic features of the speech of other characters in the novel.
The speech of Nikolai Petrovich Kirsanov reflects the features of a gentle liberal master. Uncertainty, caution, vagueness, and sometimes verbosity are qualities that are decisively opposite qualities Bazarova, in highest degree characteristic of Nikolai Petrovich’s speech. For example: " Well? Maybe Bazarov is right; but to me, I confess, one thing hurts: I hoped exactly now to become close and friendly with Arkady, and comes out that I was left behind..." The highlighted words in his speech do not carry a semantic load; they only slow down his speech, reflecting the uncertainty inherent in the speaker.
Speaking, Nikolai Petrovich “marks time,” repeating the same word unnecessarily: “This is from the Latin nihil, nothing, as far as I can judge; therefore, this word means a person who... who does not recognize anything? "I'm so sorry that your stay in my house had such... such an end."
The speech that Nikolai Petrovich delivers at a farewell dinner in honor of Pavel Petrovich is characteristic: “You are leaving us... you are leaving us, dear brother,” he began, “of course, not for long; but still I cannot help but express to you that I... that we... as much as I... as we....” Here Nikolai Petrovich’s “stomping” is explained by excitement, but essentially the features of his ordinary speech are strengthened here.
The speech of Bazarov the father is exceptionally characteristic. Vasily Ivanovich’s language reflects the traits of a simple, sincere, talkative, enthusiastic person. The desire to show his learning and his progressive views is especially clearly expressed in his speech. Names are often in his speech outstanding people, especially scientists, mythological names. Foreign words are also common in his speech. Latin words and he uses sayings more often than his son. It is typical for Vasily Ivanovich to use distorted French words and expressions are the result of his communication with people of the noble circle. He also tries to speak German, but stops trying after realizing that he is unable to do so. Vasily Ivanovich willingly uses and in foreign words, included in the Russian language, for example, medical terms: “etherization”, “icter”, “palliatives”. All this indicates not just a desire to “show education,” but also some awareness of science and his sincere love for it.
Usually the speech of Bazarov the father is somewhat pompous, florid, and unnecessary complicated; sometimes in it we see ancient formulas of politeness, but in contrast to similar formulas in the speech of Pavel Petrovich Kirsanov, they are a consequence sincere desire be nice to people he likes. For example, “...and you, gentlemen, may I ask you to go to the office of a retired veteran”; “And now, I hope, Arina Vlasevna, that, having satisfied your motherly heart, you will take care of feeding your dear guests, because, as you know, the nightingale is not fed with fables.” An emotional, enthusiastic nature, the old man Bazarov is inclined to resort to hyperbole when expressing his feelings: Arkady turned out to be “the great of this world”; turning to Arkady and his son, he exclaims: “How much strength, the most blooming youth, ability, talent you have!”
“Fathers and Sons” belongs to those works that enriched our literary language with aphorisms and catchphrases. First of all, the title of the novel became such catchphrases. Winged word the word “nihilist” also became. His popularity abroad turned out to be even greater than in Turgenev’s homeland.
CONCLUSION
So, in the course of the study, we came to the conclusion that a careful study of the speech of the heroes of the work helps us better understand their character.
It turns out that Bazarov has complex nature- a commoner-democrat, a man of a broad, sharp and deep mind, with a broad outlook, independent in judgment, direct, sometimes harsh to the point of rudeness, an enemy of chatter and unnecessary prettiness, able to hate and despise and love strongly, deeply.
Pavel Petrovich Kirsanov is a refined aristocrat-Anglomaniac who does not possess any creative abilities, everything about him is feigned, unreal, although he is smart, honest, educated, handsome, he has a subtle elegant taste, firm convictions, but at the same time his horizons are limited. He looks down on everyone with contempt. Deep down he is a conservative ardent defender old foundations, he is cut off from real life, did not know her, had no real idea about the homeland, about the interests of the Russian people. He observed life from the outside, from the heights of that eternal aristocratic morality, which he considered unshakable.
In contrast, his brother Nikolai Petrovich, according to Bazarov’s apt description, “a nice fellow, a kind fellow, a ladybug,” is insecure, cautious, soft, always balanced, emotional to the point of sentimentality, loving and sensitive to poetry, music, and the beauty of nature. A “coward” by nature, he was afraid of new trends, although he understood that living in the old way was becoming impossible. That is why, as soon as Arkady arrived home, he asked him to become an assistant, to get closer to him, “to get to know each other well.” He was afraid of his brother and did not talk to him about anything. In his son, he saw a “dove”, a person related by blood and character.
And Bazarov Sr. is a very kind man, a hospitable host, an original person, a provincial philosopher, tries to prove his education, is progressive, loves to talk a lot, strives to speak beautifully, solemnly, but it turns out funny. He is a man of work and action, but at the same time he loved to dream and talk about the greats of this world.
Whether a writer in his novel conveys a friendly conversation or an argument between ideological enemies, whether he describes the furnishings of a room or an early morning, whether he talks about the grief of parents losing their beloved son, whether he turns into a satirist, he always remains a great artist of words, able to find a way to express his thoughts. the only, irreplaceable word, the only, best phrase.
It is by studying the language of the heroes of the work that you can improve your language, your speech, cultivate the ability to speak not only beautifully and correctly, but also intelligibly, convincingly, so that the listener understands that he is respected and his opinion is taken into account, develop linguistic and aesthetic instinct, bit by bit, to absorb the real Russian literary language, which should be a source of pride for the nation.
Turgenev, Tolstoy, Dostoevsky, Bulgakov - at all times people read their works, more than one generation grew up on them, and today they constitute a true literary heritage our country.
LIST OF REFERENCES USED:
Bobylev B.G. "Experience philological analysis» RYASh No. 2, 1991
Kachurin M.G. "Organization of students' research activities." Moscow "Enlightenment" 1988
Litvinov V.V. "Studying the language of works of art at school." Moscow. Uchpedgiz 1988
Petrov S.M. Trofimov I.T. “Creativity of I.S. Turgenev”, Moscow Enlightenment 1981
Popova E.V. " Piece of art How aesthetic value", Literature at school No. 4, 1998.
Turgeneva I.S. "Fathers and Sons".
Steinsaltz A. " Simple words" 1993
