In connection with the availability of various programs, especially for schools with in-depth study of literature, gymnasiums and lyceums of the humanitarian profile, testifying to the complication of literary education of schoolchildren, the deepening of their scientific and theoretical orientations, the comprehension of the Russian literary process of the middle of the 19th century acquires a special role.
In the senior grades, the history of Russian literature is studied, features of the literary process: the artistic world of literature of the 40-50s of the XIX century; the development of Russian literature in the 40s and 70s; the problem of the formation of Russian literary criticism of different ideological and aesthetic orientations; the formation of directions, creative groups of writers (literary schools); the problem of the nationality of literature, as well as the typology of realism and the individual originality of the writer ("the literary world of the writer") 1.
Consideration of the literary process of the 60s presupposes an acquaintance with the work of democratic writers: N.V. Uspensky, V.A. Sleptsova, F.M. Reshetnikova, A.I. Levitova. Students should be well aware that pictures of folk life are reproduced not only by N.A. Nekrasov in his poem "Who Lives Well in Russia" (programmatic work), but also by other writers of the time, creating a broad picture of the life of the people. The peasant theme was dominant in literature during these years, which is a kind of sign of the times.
The manual explains the origins of democratic prose in Russian realism in the development of the theme of the peasantry, in connection with which attention is drawn to the role of the natural school and its representatives. In addition to writers known to students - I.S. Turgenev, A.N. Ostrovsky, N.A. Nekrasov, I.A. Goncharov, it seems necessary to turn to the work of V.I. Dahl, D.V. Grigorovich, A.F. Pisemsky, P.I. Melnikov-Pechersky, whose works make it possible to understand many aspects of the peasant life of Russia, to note the role of A.N. Ostrovsky in the general process of national national science, to emphasize the national studies interests of the playwright. Writers such as P.I. Yakushkin, S.V. Maximov, F.D. Nefedov - collectors, folklorists, ethnographers, whose works, based on folk culture, represent a unique phenomenon in Russian literature and make a significant contribution to the aesthetic education of schoolchildren, their introduction to the identity of the spiritual essence of the people, to the sources of moral aesthetic values.
The manual examines, in accordance with the requirements of the school curriculum, the features of the Russian literary process of the mid-19th century, democratic prose presented by individual works of V.A. Sleptsova, F.M. Reshetnikova, N.V. Uspensky, G.I. Uspensky, A.I. Levitova, S.V. Maksimova, P.I. Yakushkin, the features of democratic prose, its originality are being clarified. For the first time, the manual pays attention to the folklore and ethnographic orientation of the democratic prose of the sixties. It characterizes the specifics of the Russian literary process of the 50-60s of the XIX century and the features of democratic prose as an artistic phenomenon, provides biographical information about writers, an analysis of their works, control questions and tasks, a list of recommended literature for independent reading and study.
Rostov n / a: Phoenix, 2003 .-- 320 p. (Student library.)
The collection of essays will help graduates and applicants to repeat the course of Russian prose of the 19th century, avoid factual errors in presenting the material, and prepare for writing a graduation or introductory essay.
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Table of contents
Intro 3
The vulgar and tragic face of St. Petersburg in Nikolai Gogol's story "Nevsky Prospect" 6
The discord between "dreams and reality" in Nikolai Gogol's Petersburg stories "Ah, Nevsky ... Almighty Nevsky! .." 16
The poetic world of A. N. Ostrovsky 21
Katerina - "a ray of light in the dark kingdom" (based on the play by A. N. Ostrovsky "The Thunderstorm") 28
Katerina as a tragic character 34
Thunderstorm over Kalinov (based on the play by A. N. Ostrovsky "The Thunderstorm") 39
The theme of sin in the drama of A. N. Ostrovsky "The Thunderstorm", its solution in the images of representatives of the "dark kingdom" and Katerina 45
Reflection of the cruelty of life in the drama of A. N. Ostrovsky "Dowry" 52
The novel by I. A. Goncharov "Oblomov" - the arena of the struggle between eternal ideals and everyday life 57
The theme of love in the novel by I. A. Goncharov "Oblomov". 64
"Oblomov's Dream" as the ideological and artistic center of the novel by I. A. Goncharov 67
What is Oblomovism? (from the novel by I. A. Goncharov "Oblomov") 70
Reflections on the meaning and manifestation of the highest human feeling in the novel by I. A. Goncharov "Oblomov" 75
Dynamics of creativity I.S.Turgenev 81
Rudin's philosophical idealism in the novel of the same name by I.S.Turgenev 87
My reading of "Poems in Prose" by IS Turgenev. 92
Ideological and artistic originality of the novel "Fathers and Sons" by I. S. Turgenev. 98
"... They are the best of the nobility - and that is why I have chosen to prove their inconsistency" (based on the novel by Ivan Turgenev "Fathers and Sons") 102
"Fathers" and "children" in the novel by I. S. Turgenev 105
The artistic device of the "Psychological couple" in the novel by I. Turgenev "Fathers and Sons" 109
The role of the episode in the novel by I. S. Turgenev "Fathers and Sons" (arrival of Arkady and Bazarov in Maryino). "116
The last chapter of the novel "Fathers and Sons" by I. S. Turgenev. Episode analysis. ... ... ... .121
The peculiarity of the language of the novel by I. S. Turgenev "Fathers and Sons" 124
The mythological and metaphorical context of the novel by I. S. Turgenev "Fathers and Sons" 128
Controversy around the novel "Fathers and Sons" 134
The Russian people and their enormous inner potential in the stories of N. S. Leskov 143
Nikolai Semenovich Leskov is a master in creating images of the righteous. 149
Mikhail Evgrafovich Saltykov-Shchedrin - the great satirist-humanist. 153
A satirical depiction of the authorities and the people in the story of M. E. Saltykov-Shchedrin "The History of a City" 161
Reflection of the vices of social life in the story of M. E. Saltykov-Shchedrin "The History of a City", 168
Reflection of a difficult life path in the works of F.M.Dostoevsky 174
"A trembling creature or do I have the right?" (based on the novel by F. M. Dostoevsky "Crime and Punishment") 182
The tragedy of the collapse of Raskolnikov's theory (based on the novel by F. M. Dostoevsky "Crime and Punishment *) 187
Moral law and objective reality in the novel by F. M. Dostoevsky "Crime and Punishment" 194
The spiritual resurrection of Rodion Raskolnikov (based on the novel by F. M. Dostoevsky "Crime and Punishment") 201
Petersburg in Dostoevsky's novel "Crime and Punishment". 208
The artistic originality of Dostoevsky's novel Crime and Punishment ... 214
The originality of the humanism of F. M. Dostoevsky (on the example of the novel "Crime and Punishment") 220
Reflections on honor and conscience (based on the works of Russian literature of the 20th century) .. 226
The vitality and brightness of images in Leo Tolstoy's novel "War and Peace" 231
The depiction of the war of 1812 in Leo Tolstoy's novel War and Peace 238
Leo Tolstoy's skill in depicting the glorious victory of Russian weapons in the Battle of Borodino (based on the novel "War and Peace") .... 243
"People's Thought" in the novel by L. N, Tolstoy "War and Peace" 248
Images of Kutuzov and Napoleon in the novel "War and Peace" by Leo Tolstoy 254
Leo Tolstoy's novel "War and Peace" in the assessment of the writer's contemporaries 259
Pictures of nature in Leo Tolstoy's novel "War and Peace" 264
Condemnation of vulgarity and mental callousness in the stories of A.P. Chekhov 270
The story of A. P. Chekhov "The Man in the Case" - a condemnation of the tyrannical power of prejudices 275
How Startsev became Ionych (based on the story of A. Chekhov "Ionych") 280
Features of the artistic attitude of A.P. Chekhov. 285
The past, present and future of Russia in the play by A. Chekhov "The Cherry Orchard" 290
Who will save the beauty? (based on the play by A. Chekhov "The Cherry Orchard") 295
Comic situations and images in the play by A. Chekhov "The Cherry Orchard" 299
Reflecting on the pages of the play by A. Chekhov "The Cherry Orchard" 303
The role of landscape in the stories of A.P. Chekhov. 307
Characteristics of the works of art by Russian writers of the 19th century, addressed to the past of the state.
The achievements of Russian literature of the 19th century are generally recognized and well known. Her works are creations of world significance, tangibly affecting humanity with their spiritual power and moral strength. At first glance, historical prose (meaning works of art addressed to the historical past of the fatherland) looks very modest against the general literary background of this century.
Of course, such names as M. Zagoskin, I. Lazhechnikov or G. Danilevsky noticeably fade if you put them next to the names of A. Pushkin, N. Gogol, I. Goncharov, I. Turgenev, N. Chernyshevsky, M. Saltykov -Shchedrin, F. Dostoevsky, L. Tolstoy. However, such a comparison will turn out to be unconvincing and even unfair if we take a more thoughtful approach to all Russian literature of the last century, to delve into the essence and nature of its ideological and artistic searches, its historical development. Solving the most important issues of national and human life, Russian literature sought an answer to them not only in modern times, but also in the historical past. A sense of history entered her artistic world inherently and unconditionally.
We can even say that all Russian prose of the century before last was, in a sense, historical prose, since the actions and inner life of the heroes were linked to a specific moment in the historical development of Russia, and we clearly feel this remarkable quality of it in the works of Turgenev, Goncharov, Tolstoy or Dostoevsky. Many works that have become classics, including the stories of Pushkin and Gogol, and the War and Peace of Tolstoy, are written on historical themes proper and form the golden fund of Russian historical prose. Turning to the past, they comprehended the historical course of time and the place of man in history, comprehended the fate of the people and the state, found the deepest meaning in the deeds of historical figures and ordinary people involved in great events.
It should be noted the considerable merits in the development of Russian literature and such writers of the historical theme as Zagoskin, Lazhechnikov, Danilevsky. Many of their works became notable phenomena of literary life, they expressed important tendencies of all literature. Actually, without historical prose, in which, along with the works of Pushkin and Gogol, the works of many other authors occupy a worthy place, it is impossible to imagine all Russian literature of the 19th century.
Historical prose in the 19th century met the urgent needs of the time, corresponded to the spiritual aspirations of Russian society, which acutely felt the connection between times and eras and the need for an in-depth understanding of the experience of the past in connection with the polysyllabic modernity and the anticipation of impending social upheavals. It became, as it were, a general literary basis, necessary for the formulation and development of many social problems, the creation of a national character, knowledge of the socio-historical conditioning of events, as well as the actions, thoughts and experiences of people. Historicism became an integral quality of any truly artistic work: even if it was addressed to living modernity, it still solved problems of historical significance.
Poetry of the late 19th century was called the "Poetic Renaissance" or "Silver Age". Gradually, the term "Silver Age" began to refer to that part of the artistic culture of Russia, which was associated with symbolism, acmeism, "neo-peasant" and partly futuristic literature. Literary directions: 1. Realism - continues to develop (L. Tolstoy, Chekhov, Gorky, etc.). 2.Modernism - from fr. the words "newest, modern". Modernists believed in the divine transformative creative role of art. Symbolism is a literary artistic direction, which considered the goal of art to intuitively comprehend world unity through symbols. This is the first and largest movement of modernism. The beginning of self-determination was laid by D.S. Merezhkovsky. He named the mystical content, symbols and the expansion of artistic impressionability. V.Bryusov became the leader of symbolism, but symbolism turned out to be a non-national trend, several independent groupings took shape within it. In Russian symbolism, it is customary to distinguish 2 main groups of poets: "senior" Symbolists (Bryusov, Balmont, Sologub, Kuzmin, Merezhkovsky, Gippius) and "younger" Symbolists (Blok, Bely, Ivanov). In the publishing life of the Symbolists, there were two groups: Petersburg and Moscow. This turned into a conflict. The Moscow group (Leader Bryusov) was considered the main principle of literature - "art for art". Petersburg (Merezhkovsky, Gippius) defended the priority of religious and philosophical searches in symbolism. They considered themselves genuine Symbolists and considered their opponents decadent. AKMEISM - current in Russian poetry of the 1910s. (S. M. Gorodetsky, M. A. Kuzmin, early N. S. Gumilev, A. A. Akhmatova, O. E. Mandel'shtam); proclaimed the liberation of poetry from symbolist impulses to the "ideal", from the polysemy and fluidity of images, complicated metaphor, a return to the material world, the subject, the exact meaning of the word. Futurism proclaimed a revolution of form, independent of content, absolute freedom of poetic speech. Futurists abandoned literary traditions. The most significant of the futuristic groupings, which later received the name of cubo-futurism, united such poets as D. D. Burliuk, V. V. Khlebnikov, A. Kruchenykh, V. V. Kamensky, V. V. Mayakovsky, and some others.
Andrey Bely created his own special genre - the symphony - a special kind of literary presentation, mainly corresponding to the originality of his life perception and images. In form, it is a cross between poetry and prose. They differ from poetry in the absence of rhyme and meter. However, both that and another seem to spontaneously flow in places. There is also a significant difference from prose in the special melodiousness of the lines. These lines have not only semantic, but also sound, musical matching to each other. This rhythm most expresses the iridescence and coherence of all the soulfulness and sincerity of the surrounding reality. Bely believed that the Symbolist poet is a connecting link between two worlds: earthly and heavenly.
Merezhkovsky argued that: "... the three main elements of the new art - mystical content, symbols and the expansion of artistic impressionability." Behind the secret love of man must be revealed the secret of a new community of people united by some common aspirations. Naturally, such a connection could be most easily realized in religion, where people are bound by a common faith. Therefore, Merezhkovsky in his poetry strove to prove that the entire history of mankind is based on the confrontation between Christ and the Antichrist, repeating from century to century, only incarnating in historical figures. In order to save society, the Russian intelligentsia must, in his opinion, overcome atheism. All this suggests that Merezhkovsky in his poetry reflects a religious, mystical position, thereby going out into other worlds and comprehending the truth there.
Fyodor Konstantinovich Sologub was called the poet of Death, because the motive of death, the idea of self-destruction, permeates the entire outlook of the poet. Sologub does not reverently accept God's world, does not pray to the relics of the temple. For him, prayers are silent, the Lord is silent, and in moments of life's catastrophes, the poet turns to the Devil. A revolution in the consciousness and creativity of the poet will take place only in old age, when instead of "coffin", "ice" images he writes: "sweet land", "sweet Russia", "sweet God."
XIX This undermines the foundation of the Inquisitor's dialectic. “My yoke is good and my burden is light” (Matt., XI, 30), - said the Savior about his teaching.
Indeed, full of the highest truth, calling all people to unite in love, leaving a person free to follow the best, with all its meaning it responds in the deepest way to the primordial nature of man and wakes it up again through a thousand-year sin, which has burdened it with a painful and hateful yoke. To repent and follow the Savior means taking off the hated "yoke" from oneself; it means to feel as joyful and easy as a person felt on the first day of his creation. Here lies the mystery of moral rebirth, performed by Christ in each of us, when we turn to Him with all our hearts. There is no other word but "light"
"Joy", "delight", which could express this special state experienced by true Christians. For this reason, despondency is recognized by the Church as such a grave sin: it is the outer seal of distance from God, and, no matter what the mouth of a person who has fallen to him, his heart is far from God. That is why all losses and all external calamities for a true Christian and for a society of people living like a Christian is the same as the howling of the wind for people sitting in a strong, well-warmed and bright house. Christian society is immortal, indestructible, as long as and to what extent it is Christian. On the contrary, every life is permeated with the principles of destruction, which, having once become Christian, then turned to other sources of being and life. Despite the external successes, with all the external power, it is overflowing with the spirit of death, and this trend irresistibly imposes its stamp on every individual mind, on every single conscience. The Legend of the Inquisitor, in relation to history, can be seen as a powerful and great reflection of this particular spirit. Hence all her sorrow, hence - the hopeless gloom that she throws over her whole life. If it were true, it would be impossible for a person to live, he would only have to die, having pronounced this harsh sentence upon himself. Yes, it ends with this despair. One can imagine the horror when humanity, having finally settled down in the name of a higher truth, suddenly learns that deception is at the basis of its arrangement and that this was done because there is no truth at all, except that one still needs to be saved and there is nothing to be saved with. ... In essence, the meaning of this statement is precisely what the last words of the Inquisitor have, which on the day of the terrible uprising of the peoples, he prepares to convert to Christ: "Judge me if you can and dare." The gloom and despair here is the gloom of ignorance. “Who am I on earth? and what is this land? and why all that I and others do? " - these are the words that are heard through the "Legend". This is also stated at the end of it. On words
Alyosha to his brother: "Your Inquisitor simply does not believe in God" - he answers:
"You finally figured it out." This determines its historical position. More than two centuries have passed since the great covenant of the Savior: “Seek first
The Kingdom of God, and everything else will be added to you ”- European humanity does the opposite, although it continues to be called Christian. One cannot and should not hide from oneself that this is based on a secret, aloud unspoken doubt about the divinity of the covenant itself: God is believed and obeyed blindly. This is what we do not find: the interests of the state, even the successes of the sciences and arts, and finally, a simple increase in productivity - all this is pushed forward without any thought of opposing them; and everything that is on top of this in life - religion, morality, human conscience - all this is leaning, moving apart, choking on these interests, which are recognized as the highest for humanity. Great successes
Europe in the sphere of external culture, everything is explained by this change. Attention to the outside, having become undivided, naturally deepened and refined; discoveries followed, which had not been anticipated before, inventions came, which justly cause amazement in the inventors themselves. All this is too explainable, too understandable, all this should have been expected two centuries ago. But the other is too clear, which has inseparably merged with this: a gradual obscuration and, finally, the loss of the highest meaning of life.
An immense multitude of details and the absence among them of anything main and connecting - this is the characteristic difference between European life, as it has developed over the past two centuries. No common thought binds the peoples any more, no common feeling controls them - everyone and in every people works only on their own special cause. The absence of a coordinating center in incessant labor, in the eternal creation of parts that do not rush anywhere, is only the outward consequence of this loss of vital meaning. Another and internal consequence of it is the general and irrepressible disappearance of interest in life. Majestic image
The Apocalypse, which speaks of "the likeness of a lamp" falling at the end of time to the earth, from which "the sources of her bitter" became, is much more applicable than to the reformation to the enlightenment of new ages. The result of so many efforts of the most exalted minds in humanity, it satisfies no one else, and least of all those who work on it. As cold ashes remain the more, the stronger and brighter the flame burned, so this enlightenment the more increases inexplicable sadness, the more greedily you creep into it at the beginning. Hence the deep sorrow of all new poetry, which is replaced by blasphemy or malice; hence the special character of the dominant philosophical ideas. Everything gloomy, bleak irresistibly attracts modern humanity to itself, because there is no longer joy in its heart.
The calmness of the old story, the gaiety of the old poetry, no matter how beautiful it may be, does not interest or attract anyone else: people wildly shy away from everything like that, they cannot bear the disharmony of bright impressions coming from outside, with the absence of any light in their own souls. And one by one, speaking out spitefully or mockingly, they leave life. Science determines the numbers of these "leaving", indicates in which countries and when they rise and fall, and the modern reader, somewhere in a lonely corner, involuntarily thinks to himself: “What is it that they rise or fall when I have nothing live - and no one wants or can not give me something to live with! " Hence - an appeal to religion, alarming and dreary, with a fiery hatred of everything that holds him back, and together with a feeling of powerlessness to merge in a religious mood with millions of people who remained aloof from the educational movement of new centuries. Flame and skepticism, dull despair and rhetoric of words, which, for lack of a better, drowns out the need of the heart - everything is surprisingly mixed in these impulses to religion. Life dries up in its sources and disintegrates, irreconcilable contradictions in history and intolerable chaos in a single conscience appear, and religion is presented as the last, not yet tested way out of all this. But the gift of religious feeling is acquired, perhaps more difficult than all other gifts. There are already hopes, the innumerable twists of dialectics reinforce them; there is also love willingly to give everything to one's neighbor, sacrificing all the happiness of his life for the slightest joy of his, but, meanwhile, there is no faith; and the whole edifice of evidence and feelings, piled on top of each other and mutually fastened, turns out to be something like a beautiful dwelling in which there is no one to dwell.
The ages of too much clarity in concepts and relationships, the habit and already the need to revolve by consciousness exclusively in the sphere of the demonstrable and distinct, have so destroyed any ability of mystical perception and sensations that, when even salvation depends on them, it does not awaken.
All these features are deeply imprinted on the "Legend": it is the only synthesis in history of the most ardent thirst for the religious with a complete inability to it. At the same time, in her we find a deep consciousness of human weakness, bordering on contempt for man, and at the same time love for him, extending to the readiness to leave God and go to share the humiliation of man, his atrocity and his stupidity, but also together - suffering.
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