Psychologism of Bunin's prose in the story "Clean Monday" by I. Bunin

Both the plot and the external descriptiveness in Bunin's work are important, but do not exhaust the completeness of the aesthetic impression. The image of the central character in the story is deliberately generalized and by the end disappears from the writer's field of vision. Revealing the specifics of Bunin's artistic time and space, one can notice what content Bunin has in the very periodicity of the presentation of the depicted facts and events, the very alternation of dynamic and descriptive scenes, the author's point of view and the limited perception of the hero - in a word, the very measure of regularity and the spontaneity that crowds it in the picture being created. If we generalize all this with a universal stylistic concept, then the term Rhythm will be the most appropriate.

Sharing the secrets of writing, Bunin admitted that before writing anything, he must feel the feeling of rhythm, "find the sound": "As soon as I found it, everything else comes by itself." As soon as the rhythm and musical key are found, other elements of the work begin to clear up and gradually acquire a concrete form: a plot is formed, the objective world of the work is filled. It remains, listening to the inner tuning fork, to achieve the accuracy, concreteness and plastic persuasiveness of the picture, polishing its verbal surface.

The plot in Bunin's works can be quite laconic: almost "plotless" are, for example, the famous Antonov Apples. In The Gentleman from San Francisco, the plot is more significant, but the role of the leading compositional principle belongs to the rhythm. As already mentioned, the movement is controlled by the interaction and alternation of two motives: the artificially regulated monotony of the existence of the “master” and the unpredictably free elements of genuine, living life. Each of the motives is supported by its own system of figurative, lexical and sound repetitions; each is sustained in its own emotional tone. It is easy to see, for example, that official details (such as a marked neck cufflink or repetitive details of dinners and "entertainments") serve as an objective support for the first (this motif can, using a musical term, be called the "master's theme"). On the contrary, “unauthorized”, “superfluous”, as if randomly appearing in the text, details give impetus to the motive of living life (let's call it again conditionally “lyrical theme”). Such are the noted descriptions of a sleeping parrot or a dressed-down horse and many particular characteristics of nature and people of the “beautiful, sunny country”.

The theme of the master dominates in the first half of the story, where a kind of vertical section of the multi-storey "Atlantis" is given and the usual pastime of travelers is shown, as it were.

Pay attention to the verbs with the meaning of multiple actions: “get up”, “drank”, “lay down”, etc.; give examples of lexical repetitions.

The lyrical theme, barely distinguishable at first, gradually gains strength to sound distinctly at the end of the story (its components are images of multi-colored, picturesque variegation, sunshine, and open space). The final part of the story - a kind of musical coda - summarizes the previous development. Almost all objects of the image here are repeated in comparison with the beginning of the story: again "Atlantis" with its contrasts of decks and "underwater womb", again the acting of a dancing couple, again walking mountains of the ocean overboard. However, what at the beginning of the story was perceived as a manifestation of the author's social criticism, thanks to intense inner lyricism, rises to the height of tragic generalization: in the end, the author's thought about the frailty of earthly existence and his artistic intuition about the grandeur and beauty of living life sound inseparably fused. The substantive meaning of the final images seems to give rise to a feeling of catastrophe and doom, but their artistic expressiveness, the very musical smoothness of form create an irremovable and wonderful counterbalance to this feeling.

And yet the most subtle and most "Buninian" means of rhythmizing the text is its sound organization. In the ability to recreate the stereo-illusion of the "ringing world" Bunin, perhaps, knows no equal in Russian literature.

In a letter to his French publisher, Bunin recalls the emotional state that preceded the creation of the story: “... These terrible words of the Apocalypse sounded relentlessly in my soul when I wrote The Brothers and conceived The Gentleman from San Francisco...” And in the diary notes, fixing the end of work on the story, succinctly remarks: "I cried, writing the end." The sound orchestration of the story, with its inspired symphonic sound, makes one look closely at this outwardly formal, but in fact deep content of the work.

Musical motifs are an integral part of the theme of the story: string and brass bands sound in certain plot episodes; "sweetly shameless" music of waltzes and tango allows the restaurant public to relax; on the periphery of the descriptions, there are references to the tarantelle or the bagpipe. But now we are not talking about the direct transfer of the "musical background"

The smallest fragments of the emerging picture under Bunin's pen are voiced, creating a wide range from an almost indistinguishable whisper to a deafening roar. The text is saturated to the limit with “acoustic” details, and the expressiveness of the “sound” vocabulary is supported by the phonetic appearance of words and phrases. A special place in this series is occupied by sound signals: beeps, pipes, bell, gong, siren. The text of the story seems to be permeated with these sound threads, giving the work an impression of the highest proportion of parts. Initially perceived as real details of everyday life, these details, as the action develops, begin to correlate with the general picture of the universe, with formidable warning rhythms, gradually gaining strength in the author's meditations, and acquire the generalizing meaning of symbols. This is facilitated by a high degree of phonetic ordering of the text. “... The ninth circle was like the underwater womb of a steamboat, the one where the gigantic furnaces cackled dully...” shock “o” in a row!) and the intensity of alliterations (the sounds “p”, “r”, “g”, “l”; however, almost the entire composition of consonants is alliterated here). Sometimes sound rapprochement for Bunin is even more important than semantic compatibility: the verb "cackled" not every writer will evoke associations with muffledness.

(On your own, analyze the rhythm and sound composition of the final sentence. Find the most expressive chain of assonances in it. How is this series associated with the overall sound of the story?)

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Ivan Alekseevich Bunin - the greatest writer of the turn of the XIX-XX centuries. He entered literature as a poet, created wonderful poetic works. 1895 ... The first story "To the End of the World" is published. Encouraged by the praise of critics, Bunin begins to engage in literary work. Ivan Alekseevich Bunin is a laureate of various awards, including the Nobel Prize in Literature in 1933.

In 1944, the writer creates one of the most wonderful stories about love, about the most beautiful, significant and lofty thing on Earth - the story "Clean Monday". About this story, Bunin said: “I thank God that He gave me to write, Pure Monday.”

In the story "Clean Monday", the psychologism of Bunin's prose and the features of "external pictorialism" were especially clearly manifested.

“The Moscow gray winter day was getting dark, the gas in the lanterns was coldly lit, the shop windows were warmly illuminated - and the evening Moscow life, freed from daytime affairs, flared up, the cab sledges rushed thicker and more vigorously, the overcrowded diving trams rattled harder - in the dusk it was already clear how green stars hissed from the wires - dully blackening passers-by hurried more animatedly along the snowy sidewalks ... ”- these are the words the author begins his story, taking the reader to old Moscow at the beginning of the 20th century. The writer with the greatest detail, without losing sight of the slightest detail, reproduces all the signs of this era. And already from the first lines, the story is given a special sound by the constant mention of the details of ancient times: about ancient Moscow churches, monasteries, icons (Church of Christ the Savior, Iberian Church, Martha and Mary Convent, the icon of the Mother of God of the Three Hands), about the names of prominent personalities. But next to this antiquity, eternity, we notice signs of a later way of life: restaurants Prague, Hermitage, Metropol, Yar, known and accessible to the most affluent strata of citizens; books by contemporary authors; "Motl" by Ertel and Chekhov... Judging by how the action unfolds in the story, we can judge that the past for the characters is extremely clear, the present is vague, and the future is absolutely unclear.

There are two characters in the story: he and she, a man and a woman. The man, according to the writer, is healthy, rich, young and handsome for some reason with southern, hot beauty, he was even "indecently handsome." But the most important thing is that the hero is in love, in love so much that he is ready to fulfill any whims of the heroine, if only not to lose her. But, unfortunately, he cannot and does not try to understand what is happening in the soul of his beloved: he "tried not to think, not to think." The woman is depicted as mysterious, enigmatic. She is mysterious, as the soul of a Russian woman is mysterious in general with her spirituality, devotion, dedication, self-denial ... The hero himself admits: "She was mysterious, strange to me." Her whole life is woven from inexplicable contradictions, throwing. “It looked like she didn’t need anything: no flowers, no books, no dinners, no theaters, no dinners outside the city,” the narrator narrates, but immediately adds: “Although, nevertheless, flowers were her favorite and unloved, all books ... she always read, she ate a whole box of chocolate in a day, at lunch and dinner she ate no less than me ... who, how and where to spend time.

The writer quite fully tells us about her origin, about her current occupations. But in describing the life of the heroine, Bunin very often uses vague adverbs (for some reason, a portrait of barefoot Tolstoy hung over her sofa).

All the actions of a woman are spontaneous, irrational and at the same time seem to be planned. On the night of Clean Monday, she gives herself to the hero, knowing that in the morning she will go to the monastery, but whether this departure is final is also unclear. Throughout the story, the author shows that the heroine does not feel comfortable anywhere, she does not believe in the existence of simple earthly happiness. “Our happiness, my friend, is like water in a nonsense: you pull it - it puffed up, but you pull it out - there’s nothing,” she quotes Platon Karataev.

The spiritual impulses of the heroes of Clean Monday often defy logical explanation. It seems that both the man and the woman have no power over themselves, are not able to control their feelings.
In the center of the story are the events on Forgiveness Sunday and Clean Monday. Forgiveness Sunday is a religious holiday revered by all believers. They ask each other for forgiveness and forgive their loved ones. For the heroine, this is a very special day, not only a day of forgiveness, but also a day of farewell to worldly life. Clean Monday is the first day of fasting, on which a person is cleansed of all filth, when the fun of Shrovetide is replaced by self-contemplation. This day becomes a turning point in the life of the hero. Having gone through the suffering associated with the loss of a loved one, the hero experiences the influence of surrounding forces and realizes everything that he did not notice before, being blinded by love for the heroine. Two years later, the man, recalling the events of bygone days, will repeat the route of their long-standing joint trip, and for some reason he will really want to go to the church of the Marfo-Mariinsky Convent. What unknown forces draw him towards his beloved? Does he aspire to the spiritual world into which she goes? We do not know this, the author does not lift the veil of secrecy for us. He only shows us humility in the soul of the hero, their last meeting ends with his humble departure, and not the awakening of his former passions in him.

The future of the heroes is unclear. In addition to everything, the writer nowhere even directly indicates that the nun met by the man is his former lover. Only one detail - dark eyes - resemble the appearance of the heroine. It is noteworthy that the heroine goes to the Marfo-Mariinsky Convent. This monastery is not a monastery, but the Church of the Intercession of the Mother of God on Ordynka, in which there was a community of secular ladies who took care of the orphans who lived at the church and the wounded in the First World War. And this service in the Church of the Intercession of the Mother of God, perhaps, is a spiritual insight for the heroine of Pure Monday, because it was the Immaculate Heart of the Virgin that warned the world against war, death, blood, orphanhood ...

• Throughout his creative activity, Bunin created poetic works. Bunin's original, unique in artistic style lyrics cannot be confused with the poems of other authors. The individual artistic style of the writer reflects his worldview. Bunin in his poems responded to the complex issues of life. His lyrics are multifaceted and deep in philosophical questions of understanding the meaning of life. The poet expressed moods of confusion, disappointment, and at the same time knew how to fill his […]
• In the work of I. A. Bunin, poetry occupies a significant place, although he gained fame as a prose writer. He claimed to be primarily a poet. It was from poetry that his path in literature began. When Bunin was 17 years old, his first poem "The Village Beggar" was published in Rodina magazine, in which the young poet described the state of the Russian village: It is sad to see how much suffering, And longing, and need in Rus'! From the very beginning of his creative activity, the poet found his own style, his themes, […]
• After the revolution of 1905, Bunin was one of the first to feel the changes in the life of Russia, namely the mood of the post-revolutionary village, and reflected them in his stories and novels, especially in the story "The Village", which was published in 1910. On the pages of the story "The Village" the author paints a horrifying picture of the poverty of the Russian people. Bunin wrote that this story was "the beginning of a whole series of works that sharply depicted the Russian soul, its peculiar interlacings, its light and dark, but almost always […]
• Bunin's cycle of stories "Dark Alleys" includes 38 stories. They differ in terms of genre, in creating characters of heroes, reflect different layers of time. This cycle, the last in his life, the author wrote for eight years, during the First World War. Bunin wrote about eternal love and the power of feelings at a time when the world was collapsing from the bloodiest war in the history known to him. Bunin considered the book "Dark Alleys" to be "the most perfect in terms of skill" and ranked it among his highest achievements. This is a memory book. In the stories […]
• The story "Clean Monday" is included in Bunin's cycle of stories "Dark Alleys". This cycle was the last in the life of the author and took eight years of creativity. The creation of the cycle fell on the period of the Second World War. The world was collapsing, and the great Russian writer Bunin wrote about love, about the eternal, about the only force capable of preserving life in its high destiny. The cross-cutting theme of the cycle is love in all its diversity, the merging of the souls of two unique, inimitable worlds, the souls of lovers. The story "Clean Monday" […]
• The theme of the village and the life of the nobles in their family estates was one of the main ones in the work of Bunin the prose writer. As the creator of prose works, Bunin declared himself in 1886. At the age of 16, he wrote lyric-romantic stories, in which, in addition to describing the youthful impulses of the soul, social problems were already outlined. The process of disintegration of noble nests in the work of Bunin is devoted to the story "Antonov apples" and the story "Dry land". Bunin knew the life of the Russian village well. He spent his childhood and youth on the […]
• The theme of criticism of bourgeois reality was reflected in Bunin's work. One of the best works on this subject can rightly be called the story "The Gentleman from San Francisco", which was highly appreciated by V. Korolenko. The idea to write this story came to Bunin while working on the story "The Brothers", when he learned about the death of a millionaire who had come to rest on the island of Capri. At first, the writer called the story that way - "Death on Capri", but later renamed it. It was the gentleman from San Francisco with his […]
• The story "Easy breathing" was written by I. Bunin in 1916. It reflected the philosophical motives of life and death, the beautiful and the ugly, which were the focus of the writer. In this story, Bunin develops one of the leading problems for his work: love and death. In terms of artistic skill, "Light Breath" is considered the pearl of Bunin's prose. The narrative moves in the opposite direction, from the present to the past, the beginning of the story is its finale. From the first lines, the author immerses the reader in [...]
• The story "Clean Monday", written in 1944, is one of the author's favorite stories. I.A. Bunin recounts the events of the distant past on behalf of the narrator - a young wealthy man without much work. The hero is in love, and the heroine, as he sees her, makes a strange impression on the reader. She is pretty, loves luxury, comfort, expensive restaurants, and at the same time she walks around as a “modest student girl”, has breakfast in a vegetarian canteen on the Arbat. She has a very critical attitude towards many fashion pieces […]
• The story, composed by I. Bunin in April 1924, is straightforward. But it does not apply to those that we all know by heart and are used to discussing, arguing about them and expressing our own (sometimes read from textbooks) opinion. Therefore, it is worth giving a 2-line retelling. So, winter, night, detached, away from the village, farm. It's been snowing for almost a week, everything is covered with snow, it's impossible to send for a doctor. In the house - a lady with a young son, and several servants. There are no men (for some reason, the reasons are not clear from the text). I'm talking about […]
• The writer's individuality of V. Bunin is marked to a great extent by such a worldview in which a sharp, hourly "feeling of death", constant memory of it is combined with a strong thirst for life. The writer might not have confessed to what he said in his autobiographical note: "The Book of My Life" (1921), because his work itself speaks of this: "The constant consciousness or feeling of this horror / death / haunts me a little not from infancy, under this fatal sign I live all […]
• The story "The Gentleman from San Francisco" is the result of the writer's reflections on the meaning of human existence, the existence of civilization, the fate of Russia during the First World War. The story appeared in print in 1915, when a worldwide catastrophe was already taking place. The plot and poetics of the story Bunin describes the last month of the life of a wealthy American businessman who arranged for his family a long and "pleasure" trip to Europe. Europe was to be followed by the Middle East and […]
• Many stories by I.A. are devoted to the theme of love. Bunin. In his image, love is a formidable force that can turn a person’s whole life upside down and bring him great happiness or great grief. Such a love story is shown by him in the story "Caucasus". The hero and heroine have a secret romance. They must hide from everyone, because the heroine is married. She is afraid of her husband, who she thinks suspects something. But, despite this, the heroes are happy together and dream of a daring escape together to the sea, to the Caucasian coast. AND […]
• “All love is a great happiness, even if it is not divided” - in this phrase, the pathos of Bunin's image of love. In almost all works on this subject, the outcome is tragic. Precisely because love was "stolen", it was not complete and led to tragedy. Bunin reflects on the fact that the happiness of one can lead to the tragedy of another. Bunin's approach to describing this feeling is somewhat different: love in his stories is more frank, naked, and sometimes even rude, full of unquenched passion. Problem […]
• Ivan Alekseevich Bunin is a famous Russian writer and poet of the late 19th - early 20th century. A special place in his work is occupied by the description of native nature, the beauty of the Russian region, its catchiness, brightness, on the one hand, and modesty, sadness, on the other. Bunin conveyed this wonderful storm of emotions in his story “Antonov apples”. This work is one of the most lyrical and poetic works of Bunin, which has an indefinite genre. If we evaluate the work by volume, then this is a story, but with […]
• The mystery of love is eternal. Many writers and poets unsuccessfully tried to solve it. Russian word artists dedicated the best pages of their works to the great feeling of love. Love awakens and incredibly enhances the best qualities in a person's soul, makes him capable of creativity. The happiness of love cannot be compared with anything: the human soul flies, it is free and full of delight. The lover is ready to embrace the whole world, move mountains, forces are revealed in him that he did not even suspect. Kuprin owns wonderful […]
• Alexander Blok lived and worked at the turn of the century. His work reflected all the tragedy of the time, the time of preparation and implementation of the revolution. The main theme of his pre-revolutionary poems was the sublime, unearthly love for the Beautiful Lady. But there was a turning point in the history of the country. The old, familiar world collapsed. And the soul of the poet could not but respond to this collapse. First of all, reality demanded it. It seemed to many then that pure lyrics would never be in demand in art. Many poets and […]
• The theme of revolution and civil war became one of the main themes of Russian literature of the 20th century for a long time. These events not only dramatically changed the life of Russia, redrawn the entire map of Europe, but also changed the life of every person, every family. Civil wars are usually called fratricidal. This is essentially the nature of any war, but in a civil war this essence of it comes to light especially sharply. Hatred often brings together people who are related by blood in it, and the tragedy here is extremely naked. Awareness of the civil war as a national […]
• The beginning of the 20th century in Russian literature was marked by the emergence of a whole galaxy of diverse trends, trends, and poetic schools. Symbolism (V. Bryusov, K. Balmont, A. Bely), acmeism (A. Akhmatova, N. Gumilev, O. Mandelstam), futurism (I. Severyanin, V. Mayakovsky) became the most outstanding movements that left a significant mark on the history of literature. , D. Burliuk), imagism (Kusikov, Shershenevich, Mariengof). The work of these poets is rightly called the lyrics of the Silver Age, that is, the second most important period […]
• The best part of Yesenin's creativity is connected with the village. The birthplace of Sergei Yesenin was the village of Konstantinovo, Ryazan province. The middle, the heart of Russia, gave the world a wonderful poet. The ever-changing nature, the colorful local dialect of the peasants, old traditions, songs and fairy tales from the cradle entered the consciousness of the future poet. Yesenin claimed: “My lyrics are alive with one great love, love for the motherland. The feeling of the motherland is the main thing in my work.” It was Yesenin who managed to create in Russian lyrics the image of a village in the late XIX - early XX […]

This cycle was the last in the life of the author and took eight years of creativity. The creation of the cycle fell on the period of the Second World War. The world was collapsing, and the great Russian writer wrote about love, about the eternal, about the only force capable of preserving life in its high destiny.
The cross-cutting theme of the cycle is love in all its diversity, the merging of the souls of two unique, inimitable worlds, the souls of lovers.
The story "Clean Monday" contains an important idea that the human soul is a mystery, and women's - especially. And about the fact that every person is looking for his own path in life, often doubting, making mistakes, and happiness - if he finds it.
Bunin begins his story by describing a gray winter day in Moscow. By evening, life in the city revived, residents were freed from daytime worries: “... cab sledges rushed thicker and more cheerfully, crowded diving trams rattled harder, in the dusk it was already clear how red stars were falling from wires with a hiss, they hurried more lively along the sidewalks blackening passers-by. The landscape prepares the reader for the perception of the story of "strange love" of two people whose paths tragically parted.
The story shocks with sincerity in the description of the hero's great love for his beloved. Before us is a kind of confession of a man, an attempt to recall old events and understand what happened then. Why did the woman, who said that she had no one besides her father and him, leave him without explanation. The hero, on behalf of whom the story is being told, evokes sympathy and sympathy. He is smart, handsome, cheerful, talkative, madly in love with the heroine, ready for anything for her. The writer consistently recreates the history of their relationship.
The image of the heroine is shrouded in mystery. The hero adoringly remembers every feature of her face, hair, dresses, all her southern beauty. It is not for nothing that the famous Kachalov enthusiastically calls the heroine the Queen of Shamakhan at the acting “skit” at the Art Theater. They were a wonderful couple, both beautiful, rich, healthy. Outwardly, the heroine behaves quite normally. She accepts the courtship of her lover, flowers, gifts, goes with him to theaters, concerts, restaurants, but her inner world is closed to the hero. She is laconic, but sometimes expresses opinions that her friend does not expect from her. He knows almost nothing about her life. With surprise, the hero learns that his beloved often visits churches, knows a lot about the services in them. At the same time, she says that she is not religious, but in churches she is admired by chants, rituals, solemn spirituality, some kind of secret meaning that is not in the bustling city life. The heroine notices how her friend is burning with love, but she herself cannot answer him in the same way. In her opinion, she is also not suitable for a wife. In her words, there are often hints of monasteries where you can go, but the hero does not take this seriously.
In the story, Bunin immerses the reader in the atmosphere of pre-revolutionary Moscow. He lists the numerous temples and monasteries of the capital, along with the heroine admires the texts of ancient chronicles. Memories and discussions about modern culture are also given here: the Art Theater, an evening of poetry by A. Bely, an opinion on Bryusov's novel "The Fiery Angel", a visit to Chekhov's grave. Many heterogeneous, sometimes incompatible phenomena form the outline of the life of heroes.
Gradually, the tone of the story becomes more and more sad, and at the end - tragic. The heroine decided to part with the man who loves her, to leave Moscow. She is grateful to him for truly loving her, so arranges a farewell and later sends him a final letter asking him not to look for her.
The hero can not believe the reality of what is happening. Unable to forget his beloved, for the next two years he “disappeared for a long time in the dirtiest taverns, drank himself, sinking more and more in every possible way. Then he gradually began to recover - indifferently, hopelessly ... ". But all the same, on one of those winter days, he drove along those streets where they were alone, "and kept crying, crying ...". Obeying some feeling, the hero enters the Marfo-Mariinsky Convent and in the crowd of nuns sees one of them with deep black eyes, looking somewhere into the darkness. It seemed to the hero that she was looking at him.
Bunin does not explain anything. Whether it was really the hero's beloved remains a mystery. But one thing is clear: there was a great love that first illuminated, and then turned the life of a person upside down.

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Karpekina Tatyana Valentinovna The development of ideas about psychologism in the study of Russian prose at the turn of the XIX-XX centuries in the 11th grade: dissertation ... Candidate of Pedagogical Sciences: 13.00.02 / Karpekina Tatiana Valentinovna; [Place of protection: Mosk. ped. state university]. - Moscow, 2008. - 195 p. : ill. RSL OD, 61:08-13/218

Introduction

CHAPTER I: Theoretical foundations for the formation and development of ideas about the psychologism of fiction in high school

1.1. Psychologism in a work of art 11

1.2. The concept of "psychologism" in school curricula and educational literature 37

1.3. Psychological and pedagogical foundations for the development of ideas about psychologism among high school students 63

Conclusions on Chapter 1 93

CHAPTER II: Methods of working with students of grade 11 on the development of ideas about psychologism in the study of Russian prose at the turn of the 19th - 20th centuries

2.1. Gradual development of ideas about psychologism in the study of Russian prose at the turn of the 19th - 20th centuries 98

2.2. The study of the psychology of A. I. Kuprin: traditions and innovation 105

2.3. Analysis of individual forms of psychologism by I. A. Bunina... 127

2.4. Consideration of the problem of independence in the early works of M. Gorky and L. Andreev 142

Conclusions on Chapter 2 173

Conclusion 176

Bibliography 1

The concept of "psychologism" in school curricula and educational literature

For the psychological style, according to Esin, the leading role of the direct form is characteristic, the rest are auxiliary. He emphasizes that in the psychological style all means of subject representation one way or another serve the purposes of psychological analysis, therefore, for example, in Gogol's satire there is no place for psychologism.

An interesting point of view on psychologism is offered by E. A. Mikheicheva. Assuming that this concept covers three aspects of a work of art: meaningful, formal and functional, she defines psychologism as "an artistic expression of the author's consciousness through the psyche of the hero, taking into account the reader's level of consciousness and in order to influence him" . Thus, psychologism, in the understanding of E. A. Mikheicheva, is a three-component entity, the content plan of which is the consciousness of the author, the plan of expression is the psyche of the characters, the functional plan is the consciousness of the reader. However, taking into account the complex nature of the relationship between content and form in a literary work, this definition seems to be beyond dispute. The literary encyclopedia of terms and concepts edited by A. N. Nikolyukin, summing up the opinions of A. P. Skaftymov, I. V. Strakhov, V. V. Kompaneets, A. B. Esin, L. Ya. Ginzburg, gives the following definition of this concept : "Psychology in literature (Greek psyche - soul; logos - concept) is a deep and detailed image of the inner world of heroes: their thoughts, desires, experiences, which is an essential feature of the aesthetic world of the work" .

Psychologism as a style-forming principle was most vividly and fully embodied in the works of writers - psychologists of the 19th century.

As W. R. Focht emphasizes, “the psychologism of Pushkin, Gogol, Lermontov differs from the psychologism of the romantics in that it has become an object of study, and not a form of self-expression of writers.” It was in the work of these writers that the romantic personality became overgrown with flesh and blood, became typical: “an extra person”, “a small person”, “dead souls”. The task put forward in a number of works - "to look into the soul of a person" became fundamental for writers of the second half of the 19th century.

Artistic psychologism in the literature of this period reached its peak in the works of L. N. Tolstoy, I. S. Turgenev, and F. M. Dostoevsky. But to depict the complexity of a person, due to their creative individuality, ideological differences, they approached from different angles. The main task of L. N. Tolstoy's psychological analysis was to reveal the moral dominant in the process of the constantly changing picture of the characters' spiritual life, the main style-forming principle of his psychological narration is the "dialectics of the soul", i.e. a constant image of the inner world of the characters in motion, in development. But the moral dominant of Tolstoy's heroes is such that it does not allow one to delve into the "nasty", "unnatural" things. The peculiarity of the psychologism of I. S. Turgenev lies in his unobtrusiveness, invisibility - what in literary criticism is usually called Turgenev's "secret psychologism". He set as his artistic task not so much to explain, to interpret the essence of psychological processes, but to recreate the state of mind as clearly and distinctly as possible. Turgenev pays more attention to the emotional side of psychological life, because it is in what does not depend or does not completely depend on rational control that a person shows his deep, essential character traits. Compared to Tolstoy and Turgenev, Dostoevsky more purposefully sought the possibility of a breakthrough into the imagery of the unconscious. He created a whole theory of "fantastic realism", which with "striking fidelity" allows you to convey the "state of the human soul." Dostoevsky depicts not just the coexistence and struggle in the soul of the hero of opposing thoughts and desires, but also their strange, paradoxical transition into each other.

The literature of the 19th century showed the full depth and complexity of human nature and is rightfully considered "the era of the dominance of psychological analysis" (L. Ya. Ginzburg). The realistic concept of the world and man opened up unlimited possibilities for the artist of words to deepen into the inner world of a separate “I”. But a qualitative change in the image of the world and man became possible only in the subsequent literary era, the era of the late XIX - XX centuries. For this, it was necessary that the idea of ​​the world and oneself, characteristic of the progressive personality of the "golden age", underwent serious changes. Among the important non-literary factors that influenced this process, it is necessary to name the achievements of physiology and psychology, physics and mathematics, scientific sociology, in connection with which the idea of ​​the physical picture of the world becomes much more complicated. This turn was also stimulated by the instability of social relations of the transitional era, the catastrophic nature of their development during the period of the "three revolutions".

Psychological and pedagogical foundations for the development of ideas about psychologism among high school students

In the program edited by A. G. Kutuzov, increased attention is paid to the study of the work of I. A. Bunin and L. N. Andreev in conjunction with the literary tradition of the 19th century, namely: the influence of Tolstoy, the Ancient East - pantheistic philosophy on the worldview of Bunin, Dostoevsky and Andreev - the problems of loneliness, alienation, depersonalization of a person, determination and freedom of the individual, the inclusion of expressive means of expression in the narrative, thickening of the emotional atmosphere. Often these and other features of L. Andreev's psychologism - in the works "Judas Iscariot", "The Life of Basil of Thebes", "The Abyss" and others - are associated with the authors of some programs (for example, V. G. Marantsman or G. S. Merkin, S. A. Zinin, V. A. Chalmaev) with his belonging to the artistic direction "expressionism". It is worth paying attention to the fact that the work of this writer is not presented in all programs or is studied optionally, while L. Andreev's prose is sharply psychological and full of new means of psychological analysis.

The teacher turns to the work of early Gorky already in high school - from grades 5 to 9: "Childhood" (V. G. Marantsman, A. I. Knyazhitsky) "The Legend of Danko", "Old Year", "My Universities" ( T. F. Kurdyumova), “Song of the Falcon”, “Little!” (M. B. Ladygin, G. I. Belenky), "Chelkash", "Makar Chudra" (V. Ya. Korovina, A. G. Kutuzov). At this stage, it is important for the authors of the program to acquaint students with the figurative-expressive and rhythmic-intonational means of the language, to give an initial idea of ​​the symbol.

In the 11th grade, the evolution of the views of M. Gorky is traced, and new ones are added to the already available information about the poetics of this writer. For example, the program edited by A. G. Kutuzov is distinguished by the fact that Gorky's work in the 11th grade is included, not in the section "Soviet literature", as in many programs, but is considered together with the traditionally considered writers of the turn of the 19th-20th centuries - Bunin, Andreev , Kuprin. Namely, the philosophical and ethical ideal of the personality in the early works of the writer, the typology of Gorky's characters - "obstinate", "mischievous", "happy sinners", "merry", "proud in spirit", the ideological and philosophical meaning of psychological characteristics. From early works, “The Girl and Death” - the theme of the incompatibility of love and freedom, “Old Woman Izergil” - the evolution of the artistic interpretation of individualism, “Chelkash” - an attempt to combine free life with the “necessary”, “Malva” - the theme of people rejected by life, reality and the free will of the hero, "Konovalov" - the drama of an "unnecessary" person. But in this and other programs in literature, the question of the peculiarities of early M. Gorky's psychologism is not directly raised, although there are grounds for this. So, program developers recommend that the teacher, in the course of analyzing the works of M. Gorky, highlight the following issues - “a new type of writer born of the era” (V. G. Marantsman), “liberation of the human soul as the main feature of Gorky’s “new realism” (G. S. Merkin, S. A. Zinin and V. A. Chalmaev), “romantic and realistic stylistic trends in the work of M. Gorky” (A. I. Knyazhitsky). The listed aspects of the study of the works of M. Gorky give us every reason to talk about the presence of psychologism in the early work of this writer.

The analysis of the program material allowed us to identify the following system for the formation of ideas about the literary phenomenon "psychologism", which we will follow in the future: Stage I. Grades 7-8 - the initial formation of an idea of ​​psychologism: the accumulation of facts about the concept, a general idea of ​​the methods of psychological analysis (without detailing, describing each method), a "reduced" description of the phenomenon; II stage. Grades 9-10 - a systematic study of the features of the psychologism of writers of the 19th century: the formation of an idea about the individual characteristics of artists-psychologists: M. Yu. Lermontov, I. S. Turgenev, F. M. Dostoevsky, L. N. Tolstoy, A. P. Chekhov, the definition of the characteristic features of psychologism and their systematization, a complete description of the phenomenon; III stage. Grade 11 - actualization of already acquired knowledge about psychologism and their development in the study of literature at the turn of the XIX - XX centuries: the formation of an idea of ​​​​the individual characteristics of psychologism A. I. Kuprin, I. A. Bunin, L. Andreev and M. Gorky - determination of characteristic features psychologism and their systematization, extended characteristics of the phenomenon.

Another important stage of our study was the analysis of the main teaching aids intended for the school, which include textbooks, workbooks, and teaching aids for teachers.

Let us first consider the educational and methodological material intended for grade 10, since at this stage the students form an idea of ​​psychologism as a literary concept.

When studying the historical and literary course in the 10th grade, the comprehension of the psychologism of Russian classical literature was placed at the center of the work. The choice of this particular aspect is primarily due to the specifics of literature as an art form. “The subject of art is the human world, the diverse human attitude to reality, reality from the point of view of man. However, it is in the art of the word that a person, as a bearer of spirituality, becomes a direct object of reproduction and comprehension, the main point of application of artistic forces. Comprehension of Russian literature of the second half of the 19th century from the chosen point of view allows us to comprehend in its entirety the individual-author's type of artistic consciousness and the features of the individual style of Russian writers.

The study of psychology of A. I. Kuprin: traditions and innovation

A total of 30 respondents were interviewed. An analysis of the teachers' answers to the proposed questionnaire made it possible to draw the following conclusions: - For the majority of language teachers, the problem of forming and developing an idea of ​​psychologism is relevant. The answer to the question, whether often in your work there is a need to refer to the concept of “psychologism”, was mostly positive. This literary concept belongs to the category of those without which the analysis of a literary text is impossible.

The question that reveals the possibilities of referring to the concept of "psychologism" at various stages of literary education turned out to be rather controversial. Contradictory opinions manifested themselves in the views on the initial period of addressing the concept. Here the teachers were divided into three groups, depending on the choice of the curriculum in literature: the first group introduces the concept of "psychologism" in the 7th grade when studying the early works of L. Tolstoy, the second - in the 8th when studying the stories of I. Turgenev, the third - in the 9th when getting acquainted with the first psychological novel of the 19th century by M. Lermontov "A Hero of Our Time".

In defining the concept of "psychologism", the teachers followed the traditional interpretation set forth in the literary dictionary: "an artistic depiction of the inner world of characters", "the ability to reveal the inner world of a person, to show the train of thought, thinking as a process." But the forms of psychologism were not fully listed by them, from which it can be concluded that most teachers have a general idea of ​​this concept and knowledge about it is not systematized. In addition, the survey revealed another problem: some teachers classify as writers-psychologists those whose prose is traditionally considered "non-psychological". For example, the work of A. Pushkin, N. Gogol, M. Bulgakov.

Most teachers give the concept of "psychologism" a central place in the assimilation of literary knowledge by students. Work on the psychological picture of the work, in their opinion, forms "the ability to analyze the psychological state of the hero, helps to understand his actions, be more attentive when reading the work", "psychological literature makes it possible to understand oneself." But there are those who believe that “psychologism” plays a secondary role in the analysis of a work of art: “This is an auxiliary concept that allows students to develop the skill of attentive reading, perception of a work not only at the level of the plot and the main idea.” Among the skills and qualities of the reader, which are formed in students in the process of working on the peculiarities of the psychologism of a particular writer, teachers noted "thoughtfulness", "observation", "the ability to draw conclusions".

Answering the question, “at what point in the study of a literary work is it appropriate to refer to this concept,” the teachers settled on several positions, since this depends on the characteristics of the work of art. First, in the process of talking about the hero: psychologism as a means of creating an artistic image. Secondly, considering the innovation, the originality of the writer. Thirdly, if this concept is connected with the structure of the work, the idea, the author's position. - The formation of the concept of "psychologism" occurs in most cases in stages, starting with the accumulation of information about this literary concept and ending with the systematization of knowledge about the features of the psychologism of a particular writer, and during the period of development, the process of enriching existing knowledge takes place. Among the techniques used in the formation and development of ideas about psychologism, teachers named "selection of material from a work of art", "linguistic commentary", "analysis of the episode", "analysis of the image-character", "comparison". - The main difficulties that arise in the process of formation and development of the idea of ​​psychologism are associated, according to the majority of respondents, with the inability of students "to carefully read the text, pay attention not only to the plot, to see the full depth of the author's word." “Not everyone, even in high school, understands the essence of this phenomenon, there is not always enough time to pay due attention to this.” “Ideally, of course, one should strive for reading-empathy, not reading-observation.” - In wishes and suggestions, teachers pointed to the need for methodological developments, manuals dedicated to this issue. “Especially for those works that don’t have many teaching hours.”

The processing of the questionnaire data allows us to conclude: when referring to the concept of "psychologism", language teachers feel the need for theoretical and methodological coverage of the issue, the established aspects of considering the concept in school practice require expansion and improvement in accordance with the current state of literary science.

The task of the second stage of the ascertaining experiment was to identify the level and features of understanding by 11th grade students of the meaning of the concept of "psychologism", as well as to determine the degree and quality of the functional and semantic role of the concept in various versions of the text. A diagnostic cross-section of the level of knowledge was carried out in September-October 2005 in schools No. 1018, No. 2002, No. 156, No. 1409 of the Central, Western and South-Western districts of Moscow. We interviewed 100 11th grade students.

Consideration of the problem of self-sufficiency in the early works of M. Gorky and L. Andreev

Gorky was not the first depiction of bosyatstvo in Russia. Before him there were already Gleb Uspensky, Reshetnikov and other writers. But they, like the now-forgotten sociologist-fictionist Bakhtiarov, the author of the book Tramps, were least of all worried about the "philosophy" of tramps. He studied the tramp as a social type. And the results he came to were strikingly different from Gorky's artistic conclusions. According to Bakhtiarov, the main force behind the bashism is the search for food. “The tramps are not homogeneous, among them there are “recidivists”, “mazuriki”, “shooters” and even such an exotic type as “intelligent beggar”. They also unite according to the class principle: former philistines, former artisans, former nobles ... Such a sorting of tramps is carried out in a rooming house by caretakers. Constant concern for food created among the tramps special "social relations", tough "laws", for the violation of which the guilty was severely punished. Thus, the tramp had neither the strength nor the time for his own "I", for clarifying his position in the world, which the heroes of the early Gorky endlessly do. And the position in the world of a tramp was determined by the way he got a piece of bread: for example, he stole, begged or rummaged through the garbage heap.

All this, you see, had little in common with Gorky's image of a tramp. Apparently, the writer was least of all interested in the social image of the bosyatstvo, although from the experience of his youth he knew him no worse and even better than the essayist Bakhtiarov. (About a year and a half, in 1891 - 1892, Gorky traveled around Ukraine, Bessarabia, visited the Crimea, the Kuban, the Caucasus ...). But his artistic vision was somehow special. He searched for and found among the tramps not a social type, but a new moral mood, a new philosophy, which interested him and were spiritually close to him.

The analysis of the story "Chelkash" is proposed to be carried out in the form of group work. Work on the three dialogues proposed for analysis should be aimed at revealing the psychology of the heroes - the tramp Chelkash and the peasant Gavrila, at identifying the author's position regarding the raised problem of self-reliance.

The study of dialogue is impossible without taking into account a number of extra-speech moments: the purpose and subject of statements, the relationship between the interlocutors and their attitude to what was said. The nature of the logical-semantic relations between the parts of the dialogic unity is also connected with the situation of communication, the attitude of the participants in the dialogue to the content of speech, and in this regard, various types of replicas and the type of dialogue are distinguished, the nature of the reaction is established, the speaker's assessment of the facts of the situation and speech, the modal characteristic of the dialogue. The listed aspects of the dialogue were taken into account when filling out the table, which reflected the “psychological situation” (addressee and addressee of the dialogue, attitude towards each other), “objective situation” (about what, the subject of the dialogue) - “semantic structure” (how, type of dialogue). The goal is to follow through the dialogues how the ideological clash of the characters reveals their psychology.

The final version of the table is as follows: First dialogue Second dialogue Third dialogue "Psychological situation": Chelkash feels like a master, and Gavrila feels like a slave. "Objective situation": the central theme of the dialogue is freedom. "Semantic structure": dialogue-interrogation "Psychological situation": the situation is controlled by Gavrila, Chelkash is depressed, succumbed to a feeling of loneliness. "Objective situation" the central theme of the village. "Semantic structure": dialogue-confession "Psychological situation": the characters openly speak about their views, and everyone remains in his opinion. "Objective situation": the central theme of money. "Semantic structure": dialogue-duel

The first group of students working with the dialogue from the first chapter (“What, brother, walked, it seems great!...” - “And they walked down the street next to each other ...”), is invited to answer the following questions: - Why did Chelkash stop his choice on Gavril? Why did you speak to him? - Not knowing the names, how do the characters address each other? What assessment is present in these appeals? - Why does Chelkash ask Gavrila what freedom is for him, is interested in his opinion? - What is freedom for Gavrila? Why does he agree to go on a dubious business, because for him Chelkash is “zakomurist”, “temen”? - What irritates Chelkash in the words and behavior of Gavrila? Why? What is the author's attitude towards these characters? On which side of his sympathy?

In their answers, students note that the struggle of ideas expressed by the main characters is visible from the first line of the story to the last. "The characters' acquaintance with each other begins with non-verbal contact: Gavrila looks at Chelkash with good-natured, trusting eyes, while Chelkash reacts sharply to his attention, thereby expressing a dismissive attitude towards him." The attitude of the characters to each other is also expressed in appeals: Chelkash calls Gavrila "sucker", "child", and Gavrila - "brother", "friend". But it is not Chelkash who starts the conversation, he only picks up his remark, transferring the topic to the plane he needs: “They? How! .. Nothing, guys are free, free ... - And what do you need - freedom? ... Do you love freedom? The dialogue resembles an interrogation, where Chelkash is the interrogator, and Gavrila is the interrogator.

But why does Chelkash ask Gavrila about freedom? The students' answers to this question were ambiguous. Some students thought that Chelkash was driven by interest, others suggested that he knew Gavrila's position, because "he is a very experienced person, who has seen a lot, survived, and is well versed in people." Chelkash wants to debunk Gavrila's view of life, and this speaks of him as a person who seeks self-affirmation of his own position in this. Gavrila is weak, young and easily succumbs to his provocations. If Chelkash's assessment - "fool" - knocks out Gavrila, he "mumbled something in an undertone, rarely throwing sidelong glances at the tramp", "blinking timidly", then Gavrila's assessment of "zakomurist", "temen" - offends Chelkash's pride. At the same time, he does not express his own opinion and does not explain the reason for his discontent, unlike Gavrila, who is in a hurry to justify himself. Here again, non-verbal means of language are of great importance. The author conveys Chelkash's contempt for Gavrila's life views through gestures, facial expressions: “he spat contemptuously and turned away from the guy”, “he jumped off the nightstand, pulled his mustache with his left hand, and clenched his right hand into a hard sinewy fist and his eyes sparkled.”

Despite the internal conflict that has emerged between the characters, Chelkash offers Gavrila a job - why? The students answered the question as follows: “Chelkash, like an experienced thief, immediately realized that this guy was suitable for thieving activities. He was won over by the good nature, naivety of Gavrila. “Gavrila agreed to follow Chelkash, because he immediately felt the owner in him, he trusts this man, his reputation among people.” In addition to this reason, the students identified two more: “Gavrila agrees to do a dubious business, because Chelkash threatens him with force, intimidates him, and because he really needed money.” The author, although not explicitly, expresses his sympathy for Chelkash, one might say, he does not even separate himself from him: “It is always unpleasant to see that a person whom you consider worse and lower than yourself loves or hates the same thing as you, and thus becomes like you."

Summing up all of the above, the teacher draws the students' attention to the fact that already in the first dialogue, Chelkash and Gavrila experience complex feelings for each other, which will later develop into an open conflict. This is distrust of the "ragamuffin", envy and admiration for his dexterity, submissive willingness to serve, fear and servility towards him in Gavrila. On the other hand, Chelkash has a mocking condescension and pity for stupid and inexperienced youth, contempt for the cowardice and greed of a peasant boy, hidden envy and hatred for him. If Gavrila can be characterized from the first dialogue, then the image of Chelkash largely remains closed to the reader, since he can only be judged by his mean emotional reactions to Gavrila's words and behavior. The situation will be clarified by the influence of the philosophy of the German philosopher F. Nietzsche on the early work of M. Gorky, since his idea of ​​the superman is partially embodied in the image of Chelkash. Students are invited to listen to a short message on this topic.

Master class on the use of "Reflection Sheets" at the lesson-workshop

on the topic "Analysis of the features of psychologism in the story of I. A. Bunin "Clean Monday"

teacher of Russian language and literature

highest qualification category

MBOU Sarsak-Omga Lyceum

Agryz municipal district of the Republic of Tatarstan

The purpose of the lesson: to promote the formation of spiritual and moral guidelines; to help students comprehend the complexity, depth, features of the psychologism of the story by I.A. Bunin; improve the ability to speak with reason; develop oral and written skills.

Equipment: slide presentation, "Sheets of Reflections", texts of I.A. Bunin's story "Clean Monday", musical accompaniment: Beethoven - Moonlight Sonata (Piano Sonata N14), Cancan (mp3ostrov.com), Russian-Orthodox-liturgy-Symbol -faith(muzofon.com).

I . Inductor (switching on feelings). The goal is to create an emotional mood, connect the subconscious, a problem situation is the beginning that motivates the creative activity of everyone.

The story of I.A. Bunin “Clean Monday” is a story about the love of a young couple. But the main characters don't have names. The deliberate absence of names is indicated by the fact that there are a lot of names in the story. And these are the names of real people. These are either the authors of fashionable works (Hoffmansthal, Schnitzler, Tetmayer, Pshibyshevsky); or fashionable Russian writers of the beginning of the century (A. Bely, Leonid Andreev, Bryusov); or genuine figures of the Art Theater (Stanislavsky, Moskvin, Kachalov, Sulerzhitsky); or Russian writers of the last century (Griboyedov, Ertel, Chekhov, L. Tolstoy); or heroes of ancient Russian literature (Peresvet and Oslyabya, Yuri Dolgoruky, Svyatoslav Seversky, Pavel Muromsky); the characters of "War and Peace" are mentioned in the story - Platon Karataev and Pierre Bezukhov; once the name of Chaliapin is mentioned; the true name of the owner of the tavern in Okhotny Ryad Egorov was named. One fictitious name is mentioned - the name of the coachman Fedor.

II . Self-instruction (individual solution). Students' opinions are heard.

Information for the teacher. Behind the actions and appearance of the heroes of Clean Monday, we unmistakably feel the presence of something more significant, which is subtly, with amazing skill, but also with amazing perseverance, Bunin weaves into his usual love plot. This essential is the soul, the inner world of the characters in the story.

III . Socioconstruction. The most important element of the master class technology is group work. Building, creating a result by a group. Groups work on a specific topic. The work of the group is organized as communication by correspondence, during which both individual writing products and collective creative work are created.

Teacher: a system of means and techniques aimed at a complete, deep and detailed disclosure of the inner world of heroes is called psychologism in literary criticism.

There are two main forms of psychological depiction in the literature:

1. Psychologism is open, explicit, direct, demonstrative. The main technique is psychological introspection, which is complemented by a system of artistic techniques close to it: internal monologue, dialogue, letters, diaries, confessions, dreams and visions of heroes, first-person narration, improperly direct inner speech, “dialectics of the soul”, “stream of consciousness” (an extreme form of internal monologue).

2. Hidden, indirect, "subtext" psychologism, aimed at analyzing the inner world of the hero "from the outside". The main technique is psychological analysis, which is used in combination with other techniques: portrait, landscape, interior, artistic detail, commentary, silence.

What forms and techniques of psychologism are used in the story by I.A. Bunin “Clean Monday? We will try to answer this question in the course of group work. Two groups will work: one on the topic “Open psychologism” in I.A. Bunin’s story “Clean Monday”, the other on the topic “Hidden psychologism in I.A. Bunin’s story “Clean Monday”. Everyone gets a "Thinking Sheet" with a question on it. Answer the question, pass the “Sheet” to a neighbor in your group. The “leaf” must return to the “owner” with the opinions of all members of the group on the question asked.

Sample questions for a group working on the topic "Hidden psychologism" in I.A. Bunin's story "Clean Monday" and information for the teacher.

(The teacher can choose some of the questions at his own discretion, he can create another one within the group, since there are many methods of “hidden psychologism” in the story)

1. How does the portrait reveal the heroine?

Information for the teacher. This is an oriental beauty in all the splendor of her non-Russian, non-Slavic beauty. And when she “in a black velvet dress” appeared at the skit of the Art Theater and “pale with hops,” Kachalov approached her with a glass of wine and, “looking at her with mock gloomy greed,” said to her: “The Tsar Maiden, the Queen of Shamakhan, your health!" - we understand that it was Bunin who put into his mouth his own concept of duality: the heroine, as it were, is both a “tsar-maiden” and a “shamakhani queen” at the same time. It is important for Bunin, it is extremely necessary to see and emphasize in it the duality of appearance, a combination of contradictory and mutually exclusive features.

2. How does the heroine reveal her origin?

Information for the teacher. Russian, Tver is hidden inside, dissolved in the mental organization, while the appearance is completely given over to the power of Eastern heredity.

3. The heroine visits both ancient temples, monasteries, and restaurants, skits. How does this characterize her?

Information for the teacher. Her whole being is a continuous throwing between flesh and spirit, momentary and eternal. Behind the visible secular gloss, it has primordially national, Russian principles. And they turn out to be stronger, as they manifest themselves in beliefs.

4. Why was the view from the window of the Kremlin and the Cathedral of Christ the Savior and a visit to the Novodevichy Convent and the Rogozhsky cemetery so important for the heroine?
Information for the teacher. In the story, the signs of the modern era are correlated with the inner world of the narrator, yet, as for antiquity, churches, cemeteries, it is the inner world of the heroine. And also mentions of holy places (Conception Monastery, Miracle Monastery, Archangel Cathedral, Marfo-Mariinsky Convent, Iberian Chapel, Cathedral of Christ the Savior) testify to Bunin's deep nostalgia.

5. How does the interior characterize the heroine?

Information for the teacher. In the heroine’s apartment there is a “wide Turkish sofa”, next to it is an “expensive piano”, and above the sofa, the writer emphasizes, “for some reason a portrait of barefoot Tolstoy hung”. A Turkish sofa and an expensive piano are East and West, barefoot Tolstoy is Russia. Bunin expresses the idea that his homeland, Russia, is a strange but obvious combination of two layers, two cultural patterns - "Western" and "Eastern", European and Asian. This idea runs like a red thread through all the pages of Bunin's story. In numerous allusions and half-hints that abound in the story, Bunin emphasizes the duality, the contradictory nature of the way of Russian life, the combination of the incongruous.

6. The poetry of the story is manifested in the sound and rhythmic organization of the text. Contrasts are also striking here: “the slow, somnambulistically beautiful beginning of the Moonlight Sonata is replaced by a can-can, and the sounds of the liturgy are replaced by a march from Aida. Throughout the story, the heroine plays Beethoven's Moonlight Sonata. How does this characterize the inner world of the heroine?

Information for the teacher. The alternation of the most important motifs - temporal and eternal, the life of the flesh and the life of the spirit - forms the rhythmic basis of the story. The heroine is attracted to the eternal.

7. The heroine of the story finally decided to go to the monastery on "Clean Monday". Why on this particular day and how does it characterize her?

Information for the teacher. Pure Monday is the first Monday after Shrovetide, therefore, the action takes place in early spring (end of February - March). The last day of Shrove Tuesday is “Forgiveness Sunday”, on which people “forgive” each other insults, injustices, etc. Then comes “Clean Monday” - the first day of fasting, when a person who has been cleansed of filth enters a period of strict observance of rituals when the Maslenitsa festivities end and the fun is replaced by the severity of the life routine and self-focus. On this day, the heroine of the story finally decided to go to the monastery, parting with her past forever. Pure Monday is both a transition and a beginning: from a secular, sinful life to an eternal, spiritual one.

8. How can one explain the chronological discrepancy between the facts mentioned in the story? (At the end of the story, Bunin even accurately indicates the year in which the action takes place. Bely, who lived in Germany, was no longer in Moscow. By that time, the Literary and Artistic Circle had almost ceased its actual existence).

Information for the teacher. Bunin calls the time of the action of his story the spring of the thirteenth year. 1913 is the last pre-war year in Russia. This year is chosen by Bunin as the time of the story, despite its obvious discrepancy with the details of the described Moscow life of the era that survived it, this year has generally grown into a historical milestone of great importance. Bunin combines facts separated in reality by several years in order to further strengthen the impression of the diversity of Russian life at that time, the diversity of faces and people who did not suspect what a great test history was preparing for them. Anxiety and restlessness emanates from its pages. The bearer of these properties - the properties of time - is to a large extent the heroine.

9. Does the landscape play a role in depicting the heroine’s inner world: “A Moscow gray winter day grew dark, gas in the lanterns was coldly lit, shop windows were warmly lit - and Moscow’s evening life liberated from daytime affairs flared up: cab sledges rushed thicker and more cheerfully, thundered harder crowded, diving trams…”?

Information for the teacher. The landscape seems to anticipate an acquaintance with the contradictory nature of the heroine. Antithesis technique is used in the landscape. A whole system of oppositions is built in the story: the hero and the heroine are different in character; the elegant secular life of the heroine and her deep religiosity; love without external obstacles, and its tragic ending. The movement of the text seems to be controlled by two opposite motives - the vulgarity of the surrounding reality and the spirituality of eternal values.

10. Why does Bunin saturate the story with an abundance of names of writers?

Information for the teacher. To show the different inner worlds of the heroine and the hero, he uses literary names (tell me what you read and I will tell you who you are). The hero gives his beloved fashionable works of European decadence, a novel by V. Bryusov, which are not interesting to her. In her hotel room, “for some reason, a portrait of barefoot Tolstoy hangs,” but somehow, for no apparent reason, she recalls Platon Karataev ... In an aristocratically refined and mysterious, the features of Katyusha Maslova, sacrificial and pure, suddenly appear in her resurrecting soul from the last (most beloved by Bunin) novel by L.N. Tolstoy "Resurrection".

eleven . What is the meaning of the main episode - "skit" in the Art Theater?

Information for the teacher. The cycle of “fake, comic and buffoonish theatrical action” does not attract the heroine, but causes aching mental pain, which strengthens the heroine’s religiosity, her desire to go to the monastery.

12. In the story, impersonal verb constructions are often used (“... for some reason, I definitely wanted to go there ...”). What is the purpose of these constructs?

Information for the teacher. The movements of the soul of Bunin's heroes defy logical explanation, the heroes seem to have no power over themselves. This is the essential difference between Bunin's psychologism and L. Tolstoy's "dialectics of the soul" and I. Turgenev's "secret psychologism".

13. What role do the details play in creating the psychological portrait of the heroine?

Information for the teacher. In "Clean Monday" the motifs of the vain world and spiritual life echo with other works by Bunin. The substantive basis for the motif of the vain world is functionally loaded details: literary bohemianism is depicted as a meaningless "skit", where there are only "shouts", antics and posturing. The “spontaneous” details correspond to the motive of spiritual life: descriptions of nature and architectural monuments (“The evening was peaceful, sunny, with frost on the trees; on the bloody brick walls of the monastery, jackdaws resembling nuns chatted in silence, played on the bell tower). The feelings of the artist, who loves his native nature with all his heart, are conveyed through the color scheme and emotionally tinted epithets (“subtle and sad”, “light”, “wonderful”, “on the golden enamel of sunset”).

Sample questions for a group working on the topic “Open psychologism in I.A. Bunin’s story “Clean Monday”

1. How is the heroine characterized by her interest in the legend of the maiden Fevronia and her husband Peter?

Information for the teacher. These are signs of a dramatic internal struggle, the agony of choosing between the available attributes of happiness and the call of infinity, the last secrets of Russia. its religious depth. An extraordinary restrained force emanates from the words of the heroine, retelling a well-known story. Moreover, two pages earlier, it was about a completely similar temptation, in the face of which, as it turns out, the heroine herself is, also authoritatively taking him aside. “When I arrived at dusk,” says the hero, “I sometimes found her on the sofa in only one silk arkhaluk trimmed with sable ... I sat next to her in the semi-darkness, without lighting a fire, and kissed her hands, feet, amazing in its smoothness body. .. And she did not resist anything, but everything was silent. I constantly looked for her hot lips - she gave them, breathing already impetuously, but she was silent. When I felt that I was no longer able to control myself, she pushed me away ... ”The connection between these two moments is obvious - the Old Russian narrative and what happens in the story.

2. To the bewildered question of the hero, how does his beloved know about the details of the Old Believer funeral rite, the heroine meaningfully answers: “You don’t know me.” How is the inner world of the heroine revealed in this dialogue?

Information for the teacher. Her vague answer conceals, according to the writer, a hint of the tremendous importance of the work that is being done in her mind and which leads her in the end to the thought of a monastery. In the context of the whole story, this means - to the idea of ​​the need to abandon the clearly expressed duality that constitutes the essence of its origin, its nature and its external appearance.

3. How is the heroine revealed in the dialogue about the future?

Information for the teacher. Insisting on his love and expressing readiness to wait for the consent of his beloved to become his wife, the hero of the story fervently asserts that only in love for her is happiness for him. And he hears a calm answer: “Our happiness, my friend, is like water in a delusion: you pull - it puffed up, but you pull it out - there’s nothing.” - “What is this?” - the hero asks warily and again receives in response: "This is how Platon Karataev spoke to Pierre." And then he waves his hand in despair: “Oh, God bless her, with this oriental wisdom!”. There was an opinion in Russian literature that the theory of non-resistance arose in the East. The heroine professes the "oriental wisdom" of non-resistance. However, it is not contemplation and social passivity that characterizes it in the first place, namely duality - nature, origin, spiritual makeup, passions IV. Socialization. Any activity in the group represents a comparison, reconciliation, evaluation, correction of the surrounding individual qualities, in other words, a social test, socialization.

V. Advertising - presentation of the results of the activities of the participants of the master class by groups.

VI. Gap (internal awareness by the participant of the master class of the incompleteness or inconsistency of the old knowledge with the new, internal emotional conflict).

Teacher: why is the heroine given so much attention in this story and why was this story so dear to I.A. Bunin? (Children's opinions are heard)

Information for the teacher. The saturation of the inner life of the heroine, the constant presence behind everything that she says and does, of the second, hidden plan and creates the impression of the significance of the image. Solving the problem of the future life for herself, the heroine of the story solves it against a very turbulent background of a well-defined historical period. In these searches there was a share of the mental participation of Bunin himself. He completely departed from the revealing tendencies of pre-revolutionary creativity, which caused the specific nature of the solution to the problem of fate he proposed in Clean Monday. Bunin's thought struggles in a certain way to resolve the "mystery" of Russia. He offers us one of the answers in his story.

VII. Reflection. How will I solve the problem of the future life?

Used literature and Internet resources:

I.A. Bunin. Arseniev's life. Dark alleys. Bustard. Moscow. 2004

T.Yu.Gerasimova. New knowledge through the pedagogical workshop "What is spirituality"

S.A. Zinin. Literature in school or school without literature? literature at school. 2009. No. 9

T.A. Kalganova. The problem of reading in modern society and ways to solve it. Literature in school. 2009. No. 12