What is the style of describing Pechorin's frenzied gallop. Synopsis of a lesson on Russian literature on the topic: Analysis of the story "Bela

Auto RU it was important to reveal the character and inner world of the hero with the greatest objectivity, depth and comprehensiveness. Therefore, in each story, he places Pechorin in a different environment, shows him in different circumstances, in collisions with people of different social status and mental makeup. Each time Pechorin opens up to the reader from a new side, new and new facets of his character are revealed. For the same purpose, Lermontov gives three narrators in the novel. First, we learn about Pechorin from an old officer, a simple and modest man Maxim Maksimych, who lived with him in the fortress. Then Pechorin is seen by a person of the same circle with him, the author; drawing a portrait of the hero, he shows the reader new features that were not covered in the story of Maxim Maksimych, who could understand a lot in Pechorin Maxim Maksimych and the author spoke about the actions of the hero in certain life circumstances, drew attention to some features, "strangeness" of his character.

Reader already clearly sees the hero, knows a lot about him, but still does not understand everything about him. The hero fully reveals himself in the diary, where he writes about himself. At first, he acts as a participant in a sad comic adventure in Taman and still talks very little about his experiences. Its character is manifested mainly in actions and deeds; we can only guess about his inner world. In the last two stories, the inner mrr of the hero is revealed by himself with merciless frankness, the “strangeness” of this person is explained, and Pechorin is fully presented to the reader in all the complexity and inconsistency of his nature. Such a construction of the novel and a way of showing the character of the hero have an internal logic and justification, they really allow you to deeply reveal the tragedy of an outstanding young man who did not find a place for himself in the Russian life of those years.

It's not hard to see that the events of Pechorin's life described in the novel are not so ordinary; the plot of each story, except for the story "Maxim Maksimych", is either a sharp conflict or an exciting adventure: the abduction of a Circassian woman ("Bela"), a collision with smugglers ("Taman"), a bold attempt to try fate ("Fatalist"), a complex a game ending in a duel ("Princess Mary"). But it is precisely such unusual events that turn out to be typical for Pechorin - he corresponds to his nature, character (Maxim Maksimych says about him: “After all, there are, really, sort of people whose family says that various unusual things should happen to them!”), and it is in such exceptional situations that the character of the hero manifests itself with the greatest certainty and strength. Such a feature of the composition as the sharpness and intensity of the plot and the action of the stories allows the author to draw the image of Pechorin more vividly and convincingly. He is the main character of all lovesgays, and therefore, when working on them, the main place in the lessons is occupied by a conversation about Pechorin, about how he is shown in certain circumstances. Along the way, other questions are raised regarding other characters.

C1. How does Pechorin's remark - "taking a deeply touched look" - correct the content of his monologue in the eyes of the reader?

“Having taken a deeply touched look,” Pechorin deliberately plays on Mary’s feelings. He not only sets out the true cause-and-effect relationships between events that led to moral "mutilations" (the scheme is correct - but only in part), - Pechorin knows that his story will certainly arouse sympathy from Mary, a sensitive and kind girl. From compassion, one step to falling in love - and this is a complete victory for Pechorin over Grushnitsky. Such a “targeted” confession makes Pechorin exaggerate his own experiences, more sharply indicate the contradictions of his own nature. Journal entries are a confession to oneself, sincere and merciless; the monologue before Mary is a romantic mask, a conditional image, and the purpose of its creation is quite pragmatic - to ensure that the girl falls in love with Pechorin.

The masters of psychological prose were L.N. Tolstoy and F.M. Dostoevsky; in "War and Peace" and "Crime and Punishment" the internal monologues of the characters are the most important device for depicting the inner life of the characters. LN Tolstoy inherits Lermontov's principles of tracking the dynamics of human feelings and their comprehension (the inner monologues of Andrei Bolkonsky and Pierre Bezukhov are quite comparable with Pechorin's notes); Tolstoy's "dialectic of the soul" is nothing more than the improvement of literary devices that make it possible to record the subtlest spiritual movements. The internal monologues of F.M. Dostoevsky's heroes are very often a dispute with oneself, confirmation and instant refutation of a thesis just put forward, an endless “discussion” of different facets of a human character within the framework of one personality. In The Hero of Our Time, the subject of Pechorin's reflections was the duality of his character; in Crime and Punishment, the split soul and consciousness of the protagonist are directly conveyed by antitheses in internal monologues. An example is Raskolnikov's reflection after the murder of an old woman: “Mother, sister, how I loved them! Why do I hate them now? Love and hate are united in Raskolnikov's soul, arguing for different "voices".

Like a madman, I jumped out onto the porch, jumped on my Circassian, who was led around the yard, and set off at full speed on the road to Pyatigorsk. I mercilessly drove the exhausted horse, which, wheezing and covered in foam, raced me along the rocky road.

The sun was already hidden in a black cloud resting on the crest of the western mountains; the valley became dark and damp. Podkumok, making his way over the stones, roared muffled and monotonous. I jumped, panting with impatience. The thought of not finding her in Pyatigorsk hit my heart like a hammer! - one minute, one more minute to see her, say goodbye, shake her hand ... I prayed, cursed, cried, laughed ... no, nothing will express my anxiety, despair! .. With the opportunity to lose her forever, Vera became dearer to me everything in the world is dearer than life, honor, happiness! God knows what strange, what frenzied ideas were swarming in my head...

mercilessly. And so I began to notice that my horse was breathing more heavily; he had already stumbled twice out of the blue... There were five versts left to Essentuki, a Cossack village where I could change horses.

Everything would have been saved if my horse had had enough strength for another ten minutes! But suddenly, rising from a small ravine, at the exit from the mountains, at a sharp turn, he slammed into the ground. I quickly jumped off, I want to pick him up, I pull on the reins - in vain: a barely audible groan escaped through his clenched teeth; after a few minutes he died; I was left alone in the steppe, having lost my last hope; I tried to walk - my legs buckled; exhausted by the anxieties of the day and insomnia, I fell on the wet grass and wept like a child.

And for a long time I lay motionless and wept bitterly, not trying to hold back my tears and sobs; I thought my chest would burst; all my hardness, all my composure - vanished like smoke. The soul was exhausted, the mind fell silent, and if at that moment someone saw me, he would have turned away with contempt.

When the night dew and the mountain wind refreshed my hot head and my thoughts returned to their usual order, I realized that it was useless and reckless to pursue lost happiness. What else do I need? - to see her? - For what? isn't it all over between us? One bitter farewell kiss will not enrich my memories, and after it it will only be more difficult for us to part.

I am, however, pleased that I can cry! However, perhaps this is caused by upset nerves, a night spent without sleep, two minutes against the muzzle of a gun and an empty stomach.

All goes to good! this new suffering, in a military style, made a happy diversion in me. It's great to cry; and then, probably, if I had not ridden on horseback and had not been forced to walk fifteen versts on the way back, then that night sleep would not have closed my eyes.

I returned to Kislovodsk at five o'clock in the morning, flung myself on my bed, and fell asleep after the Waterloo sleep of Napoleon.

When I woke up, it was already dark outside. I sat down at the open window, unbuttoned my jacket, and the mountain wind refreshed my chest, not yet calmed by the heavy sleep of fatigue. Away beyond the river, through the tops of the dense linden trees that overshadow it, fire flickered in the buildings of the fortress and suburb. Everything was quiet in our yard, it was dark in the princess's house.

The doctor went up: his forehead was furrowed; and he, contrary to his custom, did not extend his hand to me.

Where are you from, doctor?

From Princess Ligovskaya; her daughter is ill - the relaxation of the nerves ... Yes, that's not the point, but this: the authorities guess, and although nothing can be positively proven, however, I advise you to be more careful. The princess told me today that she knows that you were shooting for her daughter. This old man told her everything ... what do you mean by him? He witnessed your skirmish with Grushnitsky in the restaurant. I came to warn you. Farewell. Maybe we won't see each other again, they'll send you somewhere.

He stopped on the threshold: he wanted to shake my hand ... and if I showed him the slightest desire for this, he would throw himself on my neck; but I remained as cold as a stone - and he went out.

Here are the people! all of them are like this: they know in advance all the bad sides of an act, they help, advise, even approve it, seeing the impossibility of another means - and then they wash their hands and turn away indignantly from the one who had the courage to take on all the burden of responsibility. All of them are like that, even the kindest, most intelligent! ..

(M.Yu. Lermontov "A Hero of Our Time")

IN 1. Indicate the title of the chapter of the novel "A Hero of Our Time", from which
snippet taken.

AT 2. On whose behalf is the story being told in this passage?

AT 3. What is the name of the visual medium that uses

AT 4. Indicate the name of the means of allegorical expressiveness: “a thought ... hit my heart with a hammer”,

AT 5. What is the name of the visual medium? like a child cried", "remained cold, like a stone»?

AT 6. What is the name of the hidden mockery to which the author resorts: “However, maybe this is caused by upset nerves, a night spent without sleep, two minutes against the muzzle of a gun and an empty stomach”?

AT 7. What is the name of a compositional technique based on the depiction of pictures of nature in literature (for example, the morning after the chase)?

C1. What exactly made Pechorin chase and what character traits of the hero appeared in this scene?

C2. What are the main features of Lermontov's psychologism and which of the writers can be called the successor of his traditions in depicting the "human soul"?

IN 1. Princess Mary

AT 2. Pechorin

AT 3. personification

AT 4. Metaphor

AT 5. Comparison

AT 6. Irony

AT 7. Scenery

AT 3. Establish a correspondence between the three main characters appearing in this fragment and their characteristics given in the novel. For each position in the first column, select the corresponding position from the second column.

AT 4. Establish a correspondence between the three main characters appearing in this fragment and their future fate. For each position in the first column, select the corresponding position from the second column

I sometimes despise myself... isn't that why I despise others too?... I have become incapable of noble impulses; I'm afraid to seem ridiculous to myself. Someone else in my place would have suggested to the princess son coeur et sa fortune;14 but the word marry has some magical power over me: no matter how passionately I love a woman, if she only makes me feel that I should marry her, forgive me. Love! my heart turns to stone and nothing will warm it up again. I am ready for all sacrifices except this one; twenty times my life, I'll even put my honor at stake... but I won't sell my freedom. Why do I treasure her so much? what do I need in it?.. where am I preparing myself? what do I expect from the future?.. Really, absolutely nothing. This is some kind of innate fear, an inexplicable premonition ... After all, there are people who are unconsciously afraid of spiders, cockroaches, mice ... Must I confess? .. When I was still a child, one old woman wondered about me to my mother; she predicted my death from an evil wife; This struck me deeply at the time; an irresistible aversion to marriage was born in my soul ... Meanwhile, something tells me that her prediction will come true; At least I will try to make it come true as soon as possible.

IN 1. What chapter of M.Yu. Lermontov’s novel “A Hero of Our Time” is the above fragment of Pechorin’s diary a part of?

AT 2. What is the city in which the action of this chapter of Lermontov's novel takes place?

AT 3. Features of what literary trend are preserved in Lermontov's prose, which creates the image of a lonely, exceptional and mysterious hero acting in exceptional circumstances?

AT 4. What is the name of the form of a detailed statement of the hero, addressed to himself (Pechorin's diary reflections), to readers or to other characters in the novel?

AT 5. Indicate the name of the artistic technique of exaggeration, the purpose of which is to enhance the expressiveness of the hero's speech: "twenty times your life, I’ll even put honor on the line…”

AT 6. What artistic trope is used in this fragment of the text to create the image of a selfish, insensitive, cruel hero - “My heart turns to stone?

AT 7. Indicate the name of the famous poem by M.Yu. Lermontov, with which the novel “A Hero of Our Time” ideologically and thematically echoes.

C1. What role do diary entries play in the composition of M.Yu. Lermontov's novel "A Hero of Our Time"?

C2. What problem of the novel do the questions asked by the hero to himself in the above fragment echo, and how do they correlate with the problems of other works of Russian classics.

IN 1. "Princess Mary"

AT 2. Pyatigorsk

AT 3. Romanticism

AT 4. Monologue

AT 5. Hyperbola

AT 6. Metaphor

AT 7. "Thought"

Vasily Petrovich, - said the captain, going up to the major, - he will not give up - I know him. And if the door is broken, then many of our people will be killed. Wouldn't you rather shoot him? there is a wide gap in the shutter.
At that moment, a strange thought flashed through my head: like Vulich, I decided to try my luck.
- Wait, - I said to the major, I'll take him alive.
Ordering the captain to start a conversation with him and placing three Cossacks at the door, ready to knock her out, and rush to my aid at this sign, I went around the hut and approached the fateful window. My heart was beating fast.
- Oh, you're cursed! - shouted Yesaul. - What are you, laughing at us, or what? Or do you think that we can not cope with you? - He began to knock on the door with all his might, I, putting my eye to the crack, followed the movements of the Cossack, who did not expect an attack from this side, - and suddenly tore off the shutter and rushed headfirst into the window. A shot rang out just above my ear, the bullet tore off the epaulette. But the smoke that filled the room prevented my opponent from finding the saber that lay beside him. I grabbed his hands; the Cossacks burst in, and three minutes had not passed before the criminal was tied up and taken away under escort. The people dispersed. The officers congratulated me - for sure, it was with what!
After all this, how would it seem not to become a fatalist? But who knows for sure whether he is convinced of something or not? .. and how often we mistake for conviction a deception of the senses or a mistake of reason! ..
I like to doubt everything: this disposition of the mind does not interfere with the decisiveness of character - on the contrary, as far as I am concerned, I always go forward more boldly when I do not know what awaits me. After all, nothing worse than death will happen - and death cannot be avoided!
Returning to the fortress, I told Maxim Maksimych everything that had happened to me and what I had witnessed, and wished to know his opinion about predestination. At first he did not understand this word, but I explained it as well as I could, and then he said, shaking his head significantly:
- Yes, sir! of course! This is a rather tricky thing! .. However, these Asian triggers often fail if they are poorly lubricated or if you do not press hard enough with your finger; I confess that I also do not like Circassian rifles; they are somehow indecent to our brother: the butt is small, and look, it will burn your nose ... But their checkers are just my respect!
Then he said, after some thought:
- Yes, it’s a pity for the poor fellow ... The devil pulled him to talk with a drunk at night! .. However, it’s clear that it was written in his family ...
I could get nothing more from him: he does not like metaphysical discussions at all.

(M.Yu. Lermontov "A Hero of Our Time")

B1 What is the name of the chapter (story) of the novel by M.Yu. Lermontov, a fragment from which you read?

B2 Write out the phrase from the text, which in this fragment is an assessment of the internal, psychological state of the hero who decided to "try his luck."

VZ Indicate the term used to describe the detailed reasoning of the hero, addressed to himself?

B4 What is the name of the hero on whose behalf the story is being told in this chapter.

B5 What socio-psychological type, well-known in literary criticism, is this hero traditionally attributed to?

B6 Indicate the term that denotes the way of displaying the inner, emotional experiences of Lermontov's hero: his desire for maximum self-expression and introspection, the diary nature of the narrative, etc.

B7 What is a conversation between two (or more) characters called in a literary work?

C1. What is the difference and what is the similarity of the explanations that Pechorin and Maxim Maksimych give to the tragic events of the story?

C2. In what works of classical literature does the theme of fate, predestination sound in one way or another, and how do these works relate to Lermontov's novel A Hero of Our Time?

IN 1. Fatalist

AT 2. "weird thought"

AT 3. Internal monologue

AT 4. Pechorin

AT 5. Extra person

AT 6. Psychologism

Soon everyone went home, talking variously about Vulich's whims and, probably with one voice, calling me an egoist, because I bet against a man who wanted to shoot himself; as if he could not find a convenient opportunity without me! ..

I returned home through the empty lanes of the village; the moon, full and red, like the glow of a fire, began to appear from behind the jagged horizon of houses; the stars shone calmly on the dark blue vault, and it became funny to me when I remembered that there were once wise people who thought that the luminaries of heaven take part in our insignificant disputes for a piece of land or for some fictitious rights! .. And that and? these lamps, lit, in their opinion, only to illuminate their battles and celebrations, burn with their former brilliance, and their passions and hopes have long been extinguished with them, like a light lit at the edge of the forest by a careless wanderer! But on the other hand, what strength of will gave them the confidence that the whole sky with its countless inhabitants was looking at them with participation, although mute, but unchanged! .. And we, their miserable

descendants wandering the earth without conviction and pride, without pleasure and fear, except for that involuntary fear that squeezes the heart at the thought of an inevitable end, we are no longer capable of great sacrifices either for the good of mankind, or even for our own happiness, therefore we know its impossibility and indifferently we pass from doubt to doubt, as our ancestors rushed from one error to another, having, like them, neither hope, nor even that indefinite, although true pleasure that the soul meets in any struggle with people or fate ...

And many other similar thoughts passed through my mind; I didn't hold them back because I don't like dwelling on some abstract thought. And what does this lead to?.. In my early youth I was a dreamer, I loved to caress alternately now gloomy, now rosy images that my restless and greedy imagination painted for me. But what is left of this for me? only tiredness, as after a nightly battle with a ghost, and a vague memory full of regrets. In this futile struggle, I exhausted both the heat of the soul and the constancy of the will necessary for real life; I entered this life, having already experienced it mentally, and I became bored and disgusted, like someone who reads a bad imitation of a book he has long known.

(M.Yu. Lermontov "A Hero of Our Time")

IN 1. Which chapter of the novel is the above piece of text a part of?

AT 2. Indicate the name of the plot-compositional element of the work of art, which is a description of nature (“the stars shone calmly ...”).

AT 3. What artistic technique does he repeatedly resort to, “hopes have long faded with them, like a flame lit at the edge of the forest" etc.?

AT 4. What is the name of the form of a detailed statement of the hero, addressed to himself and uttered in his own thoughts (reflections of Pechorin walking along the night road)?

AT 5. What are the names of the figurative definitions found in the cited fragment of the text: “ careless wanderer", " restless imagination", " iridescent images”, etc.?

AT 6. From the first paragraph of the fragment, write out the word-characteristic that Pechorin "rewards" himself.

AT 7. Indicate the name of the artistic technique based on the opposition of various phenomena and underlying the composition of this fragment: “ passion and hope ancestors opposed "doubts and delusions" descendants.

C1. What topics that are significant for the whole novel does Lermontov raise in this fragment of the text?

C2. Why is the question of the predestination of fate so preoccupied by Pechorin, and in what works of Russian classics are such issues raised.

IN 1. "Fatalist"

AT 2. Scenery

AT 3. Comparison

AT 4. Internal monologue

AT 5. epithets

AT 6. Egoist

LESSON 61

ANALYSIS OF THE STORY "MAXIM MAKSIMYCH"
Am I not the same?

DURING THE CLASSES
I. The word of the teacher.

So, the story about the main character opens Maxim Maksimych. We have seen that he does not understand much in the character of Pechorin, he sees only the external side of events, therefore, for readers, Pechorin is hidden, mysterious. The characteristics that Maxim Maksimych gives Pechorin testify not only to the naivety and purity of his soul, but also to the limited mind and inability to understand the complex inner life of Pechorin.

But already in the first story, another narrator appears, one who informs the reader about his Caucasian impressions.
II. Conversation on:

1. What did we learn about him from the story "Bela"? (Not so much: he travels from Tiflis, travels around the Caucasus "for a year", his suitcase is full of travel notes about Georgia, apparently he is a writer, because he was very interested in Maxim Maksimych's "stories". However, when Maxim Maksimych asked about his occupation he does not give a specific answer. This creates a veil of mystery. Information about the narrator is omitted, the reader will never know anything about him.)

2. Who is the narrator of the story "Maxim Maksimych"? (The narration is continued by the conditional author, the "publisher" of Pechorin's diary.)

3. What is the reason for the change of narrators? (Yu.M. Lotman writes: “Thus, the character of Pechorin is revealed to the reader gradually, as if reflected in many mirrors, and none of these reflections, taken separately, gives an exhaustive description of Pechorin. Only the totality of these arguing voices creates a complex and the contradictory nature of the hero.

4. Briefly retell the plot of the story.

5. What strikes the observer of Pechorin most of all? (The appearance is all woven from contradictions - reading the description from the words: "He was of medium height" to the words: "... which women especially like.")

6. What is the role of the portrait of Pechorin? (The portrait is psychological. It explains the character of the hero, his contradictions, testifies to the fatigue and coldness of Pechorin, about the unspent forces of the hero. Observations convinced the narrator of the richness and complexity of the character of this person. In this immersion in the world of his thoughts, the suppression of Pechorin's spirit is the key to understanding his alienation at the meeting with Maxim Maksimych.)

7. Why didn't Pechorin stay with Maxim Maksimych? After all, he was in no hurry anywhere, and only after learning that he wanted to continue the conversation, did he hurriedly get ready for the road?

8. Why did Pechorin not want to remember the past?
III. A table is drawn and filled out on the board and in notebooks, helping to understand the state of the characters, their experiences.

Maksim Maksimych	Pechorin
Overwhelmed with joy, excited, wanted to "throw on the neck" of Pechorin.	"... quite coldly, although with a friendly smile, extended ... his hand ..."
"I was dumbfounded for a moment," then "greedily seized his hand with both hands: he still could not speak."	Pechorin is the first to say: “How glad I am, dear Maxim Maksimych ...”
Doesn’t know how to call: on “you” - on “you”? Tries to stop Pechorin, asks not to leave.	A monosyllabic answer: "I'm going to Persia - and further ..."
Speech is slurred, conveys excitement.	Still monosyllabic answers: “I have to go”, “I missed you”, pronounced with a smile.
Reminds me of "living-being" in the fortress: about hunting, about Bel.	"... a little pale and turned away ...". He answers again in monosyllables and yawns forcibly.
He begs Pechorin to stay for two hours to talk, is interested in his life in St. Petersburg.	Refusal, albeit polite: “Really, I have nothing to tell, dear Maxim Maksimych ...” He takes her by the hand
Tries to hide his annoyance	Soothes, hugs in a friendly way: “Am I not the same?” As he speaks, he gets into the carriage.
Reminds me of papers. "What... to do with them?"	Complete indifference: "Whatever you want!"

Conclusion: Pechorin's whole demeanor depicts a depressed person who does not expect anything from life. Pechorin's meeting with Maxim Maksimych emphasizes the gulf between them - between the common man and the nobleman. In addition to the fact that it hurts Pechorin to remember the death of Bela, they are so different that there is nothing to talk about.

The ending of this story explains a lot about the old staff captain. The narrator directly speaks of Maxim Maksimych's delusions, his limitations, his misunderstanding of Pechorin's character.

IV. Teacher's word.

It’s impossible to talk about Pechorin’s arrogance, because he smoothed the situation as best he could: he took his hand, hugged him in a friendly way, uttering the words: “Everyone has his own way ...”

Maxim Maksimych did not see how Pechorin turned pale when he heard the offer to recall "life in the fortress" - this meant that Pechorin was painful to remember Bela, her death. Nor did Maxim Maksimych understand that Pechorin's reaction was not explained by their social differences.

Let's try to explain Pechorin's unwillingness to remember the past from his point of view: lonely, yearning, embittered by misfortunes, he wants only one thing - to be left alone, not tormented by memories, hopes. Of course, he remembers everything and suffers from the fact that he became the culprit of the death of a person.

The dialogue shows what changed in Pechorin after leaving the fortress: his indifference to life intensified, he became more withdrawn. The loneliness of the hero becomes tragic.

Pechorin does not run from Maxim Maksimych - he runs from his unhappy thoughts, even the past seems to him unworthy of attention. Once he wrote that his diary would eventually be a "precious memory" for him, but in the present he is indifferent to the fate of his notes. But they capture the world of his feelings and innermost thoughts, searches, reflect the sad joyful minutes of the past; in them is a story about the irretrievable days when he was full of hope to find a worthy place in life. And all this past is crossed out, and the present is not very pleasing, and the future is futile. These are the results of the life of a gifted, outstanding personality.

The story is permeated with a mood of sadness: Pechorin left for the unknown, a wandering officer left, who witnessed a sad meeting, Maxim Maksimych was left alone with his resentment and pain. This mood is emphasized by the last lines of the narrator about Maxim Maksimych.
V. Homework.

1. Reading and analysis of the "Preface" to the "Journal of Pechorin" and the story "Taman".

2. Individual task - a message on the topic “What is the role of the landscape in the story, Taman”? (for card 35).

Card 35

What is the role of the landscape in the story "Taman"? 1

The romantic landscape enhances the sense of mystery that attracts Pechorin, makes you feel the contrast of the wretchedness of the "unclean" place, the quite prosaic deeds of smugglers and the powerful forces of nature.

Pechorin loves nature, knows how to see its colors, hear its sounds, admire it, notice the changes that are taking place. He listens to the murmur of the waves, admires the life of the sea. Communication with nature is always joyful for him (this can be seen by reading the stories "Princess Mary" and "The Fatalist"). Pechorin not only sees nature, but talks about it in the language of an artist. Pechorin’s word is precise, expressive: “heavy waves rolled measuredly and evenly one after another”, “dark blue waves splashed with an unceasing murmur”. Two sentences about waves, but they convey different states of it: in the first case, homogeneous adverbs convey a picture of a pacified sea, in the second - inversion and the mention of the color of the waves emphasizes the picture of a stormy sea. Pechorin uses comparisons: the boat, "like a duck", he compares himself with "a stone thrown into a smooth source."

And yet, the usual conversational intonations remain in the landscape, the sentences are simple in structure, strict in vocabulary and syntax, although they are permeated with lyricism.

Even the image of a sail, which occurs several times in the novel, acts like a real everyday detail: “... they raised a small sail and quickly rushed off ... a white sail flashed ...”

LESSON 62

ANALYSIS OF THE STORY "TAMAN".
You see a man with a strong will, from-

important, not fading any dangerous

ty, asking for storms and worries ...

V.G. Belinsky
I. The word of the teacher.

If the first two stories by genre are travel notes (the narrator dismissed: “I am not writing a story, but travel notes”), then the next two stories are Pechorin’s diary.

A diary is a record of a personal nature, in which a person, knowing that they will not become known to others, can state not only external events, but also internal movements of his soul hidden from everyone. Pechorin was sure that he was writing "this journal ... for himself", which is why he was so open in their description.

So, we have before us the first story in the hero's diary - "Taman", from which we learn about the adventures of Pechorin in this "bad town". In this story, we have an early stage in the life of the hero. Here he speaks for himself. We look at all events and heroes through his eyes.

II. Conversation with questions:

1. What character traits of Pechorin are revealed in the story "Taman"? In what scenes do they appear most prominently? [Determination, courage, interest in people, the ability to sympathize. These qualities are shown in the scenes:

a) The first meeting with a blind boy reveals Pechorin's interest in a person. It is important for him to understand the secret of the boy, and he begins to follow him.

b) Observation of the girl and the first conversation with her makes him conclude: "A strange creature! .. I have never seen such a woman."

c) The scene of “charming” Pechorin with an undine betrays “youthful passion” in him: “It darkened in my eyes, my head was spinning ...” The active beginning makes Pechorin go on a date, appointed by the girl at night.

d) Watching the meeting of the blind man and Yanko causes sadness in the hero, reveals his ability to sympathize with grief. (Reading from the words: “Meanwhile, my undine jumped into the boat ...” to the words: “... and like a stone almost went to the bottom!”)]

2. Why, at the beginning of the story, is Pechorin so eager to get closer to the inhabitants of the “unclean” place, and why is this rapprochement impossible? How did this attempt end? (Pechorin is an active person. Here, just as in Bel, the hero’s desire is manifested to get closer to the original sources of being, a world full of dangers, the world of smugglers.

But Pechorin, with his deep mind, understands better than anyone else the impossibility of finding among the “honest smugglers” the fullness of life, beauty and happiness that his rushing soul so longs for. And let his prosaic side, real life contradictions, be revealed in everything later - both for the hero and for the author, the real world of smugglers will retain in itself an undeveloped, but living in it prototype of a free, full of "alarms and battles" of human life.)

3. Do not forget that we have Pechorin's diary, which demonstrates his ability to tell about what he saw and felt. Everything is covered by his keen sight and hearing. Pechorin feels the beauty of nature, knows how to talk about it in the language of an artist. Thus, the hero is revealed to readers as a talented person. (Checking the individual task - a message on the topic “What is the role of the landscape in the story, Taman”? (on card 35).

4. Why does the hero's activity bring misfortune to people? With what feeling does the hero pronounce the words: “Yes, and what do I care about human joys and misfortunes ...”? (Because his activity is directed at himself, it does not have a lofty goal, he is just curious. The hero is looking for real action, but finds its semblance, a game. He is annoyed with himself for invading people's lives, does not bring them joy, he is a stranger in this world.)

III. Teacher's word.

Pechorin is sorry for the deceived boy. He understands that he frightened off the "honest smugglers", their life will now change. Watched the crying boy, he understands that he is also alone. For the first time throughout the story, he has a feeling of unity of feelings, experiences, destinies.

However, the blind boy is not an ideal character, but a little selfish person infected with vices. After all, it was he who robbed Pechorin.

“The romantic “mermaid” motif is transformed by Lermontov, the episode with the undine reveals the inner weakness of the hero, alien to the natural world, his inability to live a simple life full of dangers. An intellectual, civilized hero suddenly loses his undoubted advantages over ordinary people, is not allowed into their environment. He can only envy the courage, dexterity of ordinary people and bitterly regret the inevitable death of the natural world...

In "Bel" the hero plays with the souls of ordinary people, in "Taman" he himself becomes a toy in their hands" 1 .

Conclusion: Nevertheless, Pechorin, in a clash with smugglers, shows himself as a man of action. This is not a room romantic dreamer and not Hamlet, whose will is paralyzed by doubts and reflection. He is resolute and courageous, but his activity turns out to be pointless. He does not have the opportunity to indulge in major activities, to perform acts that a future historian would remember and for which Pechorin feels the strength in himself. No wonder he says: "My ambition is suppressed by circumstances." Therefore, he wastes himself, getting involved in other people's affairs, interfering in other people's destinies, intruding into someone else's life and upsetting someone else's happiness.
IV. Homework.

1. Reading the story "Princess Mary".

2. Individual task - prepare a message on the topic “What does Pechorin read before the duel with Grushnitsky?” (for card 40).

3. The class is divided into 4 groups.

Each group receives a card with questions to discuss in the next lesson. Questions are distributed among group members. Answers to them are prepared at home.

Card 36

Pechorin and Grushnitsky

1. What characteristic does Pechorin give to Grushnitsky? Why is he so intransigent in his perception of this man? Why does he suggest that they will collide on the other road, and one will not do well?

2. What in the behavior of Grushnitsky pushed Pechorin to a cruel decision?

3. Was the murder of Grushnitsky inevitable for Pechorin?

4. What can be said about Pechorin's feelings after the duel? What does it say about his readiness to die?

5. Does he experience the triumph of victory?

Card 37

Pechorin and Werner

1. What are the similarities between Pechorin and Werner? What trait brings them together? What is their difference?

2. Why don't they become friends by "reading each other's souls"? What led them to alienate?

Card 38

Pechorin and Mary

1. Why is Pechorin starting a game with Mary?

2. What actions of Pechorin cause Mary to hate him?

3. How did Mary change when she fell in love with Pechorin? How does Pechorin's attitude towards Mary change throughout the story?

4. Why does he refuse to marry her? Why is he trying to convince her that she can't love him?

Card 39

Pechorin and Vera

1. Why, when remembering Vera, did Pechorin's heart beat faster than usual? How is she different from Mary?

2. What explains Pechorin's outburst of despair after Vera's departure? What aspects of the hero's personality does this impulse speak about?

Card 40

What does Pechorin read before the duel with Grushnitsky?

There is one example with which the poet hinted at the views of his hero. Let's remember what Pechorin reads on the eve of the duel with Grushnitsky - W. Scott "Scottish Puritans". Pechorin reads with enthusiasm: “Is it really true that the Scottish bard in the next world is not paid for every gratifying minute that his book gives?” At first, Lermontov wanted to put another book by V. Scott on Pechorin's table - "The Adventures of Nigel", a purely adventurous novel, but "Scottish Puritans" - a political novel that tells about the fierce struggle of the Whig Puritans against the king and his minions. On the eve of the duel caused by "empty passions", Pechorin reads a political novel about a popular uprising against despotic power and "forgets himself", imagining himself the main character of "Puritans".

The protagonist Morton sets out his political position in it: “I will resist any power in the world that tyrannically tramples on my ... rights of a free man ...” These are the pages that could captivate Pechorin and make him forget about the duel and death, that’s why he could thank the author so warmly.

So Lermontov showed that his hero had a really "high appointment".

Pechorin is hostile to the philistine, everyday attitude to reality, which dominates the noble "water society". His critical view largely coincides with the view of Lermontov himself. This misled some critics who perceived Pechorin as an autobiographical image. Lermontov was critical of Pechorin, stressing that he was not so much a hero as a victim of his time. Pechorin is also characterized by typical contradictions of the progressive people of his generation: a thirst for activity and forced inactivity, a need for love, participation and selfish isolation, distrust of people, a strong willed character and skeptical reflection.

LESSONS 63-64

ANALYSIS OF THE STORY "PRINCESS MARY".

PECHORIN AND HIS DOUBLES (GRUSHNITSKY AND WERNER).

PECHORIN AND MARY. PECHORIN AND VERA
He made himself the most curious

met their observations and, trying to be like

you can be sincere in your confession, not only

frankly admits his true shortcomings

stats, but also invents unprecedented or

misinterprets his most natural

movement.

V.G. Belinsky
DURING THE CLASSES
I. The word of the teacher.

In a familiar environment, in a civilized society, Pechorin demonstrates the full strength of his abilities. Here he is a dominant person, here any secret desire is clear and accessible to him, and he easily predicts events and consistently implements his plans. He succeeds in everything, and fate itself, it would seem, helps him. Pechorin makes every person open his face, throw off his mask, expose his soul. But he himself is forced to look for new moral norms, because the old ones do not satisfy him. Revealing his own soul, Pechorin approaches the denial of the egoistic position, this initial principle of his behavior.

In the story "Princess Mary" Pechorin is shown in relationships with representatives of the secular, that is, his own circle. The system of images in the story is built in such a way that it contributes to the disclosure of the character of the protagonist: on one side of him are Grushnitsky and Mary, in relations with which the external side of the hero’s life is revealed, on the other - Werner and Vera, from the relationship with which we learn about the true Pechorin about the best part of his soul. The story consists of 16 entries, exactly dated: from May 11 to June 16.

Why doesn't he become happy? Who wins the duel: Pechorin or the "water society"?

II. Conversation on:

1. Is Pechorin the same in society and alone with himself? (Already the first entry testifies to the contradictory nature of Pechorin. The hero speaks of the view from his window in a manner that we could not have imagined in it - sublimely, optimistically: “It's fun to live in such a land! ..” He quotes Pushkin's poem: “Clouds”. But suddenly, as if he remembers: "However, it's time." It's time to get out of your solitude and see what kind of people are here on the waters - Pechorin is always drawn to people, but as soon as people appear, a mocking, dismissive, arrogant tone arises. He perceives this society quite realistically (Reading a description of a secular society.)

2. Why do the people he watches cause irony in him? (For these people, the main thing is not the inner world of a person, but his appearance, the feelings of women are fleeting and shallow. Pechorin draws attention to the fact that these people have lorgnettes, but not because they have poor eyesight. This “talking” detail is filled meaning: the lorgnette gives their views unnaturalness, excluding spiritual contact... For Pechorin, it is important to look into a person's eyes.)

3. But why does Pechorin himself point a lorgnette at Mary? (This reflects the paradoxical nature of the hero’s behavior: on the one hand, he is critical of these people, on the other, he begins to live according to the laws of this society. This behavior of the hero speaks of his game of love, it’s not for nothing that he notices: comedy, we'll pat." In the absence of a real case, there is at least some opportunity to act. The game has become his essence, his protective mask.)

III. Checking the individual task - a message on the topic “What does Pechorin read before the duel with Grushnitsky?” (for card 40).
III. Report of students on work in groups, each of which received a card with questions.
Card conversation 36

Pechorin and Grushnitsky

1. What characteristic does Pechorin give to Grushnitsky? Why is Pechorin so implacable in his perception of this person? Why does he suggest that they "collide on a narrow road, and one ... will not do well"?

(Pechorin is displeased with Grushnitsky’s manner of pronouncing “ready-made pompous phrases ... producing an effect ...”. But isn’t he himself capable of this? Recall the conversation with Mary on the road to failure. It turns out that the heroes also have something in common. Apparently, the difference is in that Pechorin, uttering "ready-made pompous phrases," is capable of sincerity (the last meeting with the princess), while Grushnitsky is not capable. Pechorin refuses him poetry ("not a penny of poetry"). Here we are not talking about interest in poetry , here we mean "a sublime, deeply affecting feelings and imagination" word. This is the word Grushnitsky is not capable of. Before the reader is an ordinary young man, who is not difficult to understand, as Pechorin understood him.)

2. What in the behavior of Grushnitsky pushed Pechorin to a cruel decision? (Grushnitsky's behavior is not only harmless and ridiculous. Under the mask of a hero who seems to be disappointed in some cherished aspirations, there is a petty and selfish soul, selfish and malicious, filled to the brim with complacency. He does not stop at discrediting Mary in the eyes of the "water society ".

Lermontov consistently rips off all the masks from Grushnitsky until there is nothing left in him but a cruel nature. Anger and hatred won out in Grushnitsky. His last words speak of a complete moral decline. In the mouth of Grushnitsky, the phrase “I will stab you at night from around the corner” is not a simple threat. His selfishness is quite consistent with the complete loss of moral character. The contempt he speaks of does not come from a high moral standard, but from a devastated soul in which hatred has become the only sincere and genuine feeling. Thus, in the course of Pechorin's moral experiment, the real content of Grushnitsky's personality is revealed. Reading from the words: "Grushnitsky stood with his head on his chest, embarrassed and gloomy" to the words: "Grushnitsky was not on the site.")

3. Was the murder of Grushnitsky inevitable for Pechorin? (Until the last moment, Pechorin gave Grushnitsky a chance, was ready to forgive his friend for his vindictiveness, the rumors spread in the city, to forgive both his pistol, which was deliberately not loaded by opponents, and Grushnitsky’s bullet, which had just been fired at him, actually unarmed, and Grushnitsky’s impudent expectation of a blank shot. All this proves that Pechorin is not a dry egoist, preoccupied with himself, that he wants to believe in a person, to make sure that he is not capable of meanness.)

What can be said about Pechorin's feelings before, during and after the duel? What does it say about his readiness to die?

(Reading fragments of the record on June 16 with the words: “Well? To die like this: a small loss for the world ...” with the words: “Funny and annoying!”)

(Pechorin soberly prepares for a duel: he speaks calmly, mockingly with Werner, his second. He is cold and smart. Alone with himself, he becomes a natural and life-loving person. Everything that he sees on the way to the place of the duel pleases him, and he not ashamed to admit it.

During the duel, Pechorin behaves like a man of courage. Outwardly, he is calm. It was only when he felt his pulse that Werner noticed signs of excitement in him. The details of the description of nature, which Pechorin wrote down in his diary, also betray his experiences: “... it seemed dark and cold down there, as in a coffin; mossy jagged rocks...waiting for their prey.")

5. Does Pechorin experience the triumph of the winner? (The comedy turned into a tragedy. It’s hard for Pechorin: “I had a stone in my heart. The sun seemed dim to me, its rays didn’t warm me ... The sight of a man was painful for me: I wanted to be alone ...”)

Conclusion: Grushnitsky is a kind of caricature of Pechorin: he is very similar to him, but at the same time is his complete opposite. What is tragic in Pechorin is funny in Grushnitsky. Grushnitsky has all the negative properties of Pechorin - selfishness, lack of simplicity, self-admiration. At the same time, not a single positive quality of Pechorin. If Pechorin is in constant conflict with society, then Grushnitsky is in complete harmony with it. Pechorin does not find a worthy activity for himself, Grushnitsky strives for ostentatious activity (perhaps he is one of those who arrived in the Caucasus for awards).

Pechorin's duel with Grushnitsky is Pechorin's attempt to kill the petty side of his own soul in himself.

Card conversation 37

Pechorin and Werner

1. What are the similarities between Pechorin and Werner? What trait brings them together? What are their differences? (Heroes are brought together by great intellectual demands - “we often came together and talked together about abstract objects”, knowledge of “all living strings” of the human heart.

Dr. Werner is a conscious, principled egoist. He can no longer overcome his own developed position. He does not strive for higher morality, because he does not see a real possibility for its implementation. The natural moral feeling did not disappear in him, and in this he is akin to Pechorin, but Werner is a contemplative, a skeptic. He is deprived of Pechorin's internal activity. If Pechorin is active, if he knows that truth can be found only in activity, then Werner is inclined to speculative logical philosophizing. From this stems in Werner the disease of personal responsibility that Pechorin notices in him. That is why the heroes part coldly.

Farewell to Werner is a dramatic moment for Pechorin, he confirms his skeptical remarks about the selfish background of any friendship).

2. Why don't they become friends by "reading each other's souls"? What led to their alienation?

3. What role does Werner play in Pechorin's duel with society?

Card conversation 38

Pechorin and Mary

1. Why does Pechorin start an intrigue with Mary?

(Pechorin cannot always understand his feelings. Reflecting on his attitude towards Mary, he asks: “What am I bothering about? ... this is not that restless need for love that torments us in the first years of youth”, not “a consequence of that bad but an invincible feeling that makes us destroy the sweet delusions of our neighbor" and not envy of Grushnitsky.

Here, it turns out, is the reason: “... there is an inexplicable pleasure in the possession of a young, barely blossoming soul! ..”

“I feel in myself this insatiable greed that absorbs everything ... I look at the suffering and joys of others only in relation to myself, as food that supports my spiritual strength.” He does not take into account the simple truths that you need to think about other people, you can not bring them suffering. After all, if everyone starts to violate moral laws, any cruelty will become possible. Pechorin loves himself too much to give up the pleasure of torturing others.

Throughout the novel, we see how Bela, Maxim Maksimych, Grushnitsky, Mary and Vera obey his will.)

2. What actions of Pechorin cause Mary's hatred for him? (If at first Mary indifferently meets the appearance of Pechorin on the waters and is even surprised by his impudence, then at the end of the novel she hates Pechorin. However, this is a different hatred than that of Grushnitsky. human pride.)

3. How did Mary change when she fell in love with Pechorin? How does Pechorin's attitude towards Mary change throughout the story? (Pechorin observed and noted in his diary how a continuous struggle between natural feelings and social prejudices was going on in the princess. So she took part in Grushnitsky: “Easier than a bird, she jumped up to him, bent down, raised a glass ... then she blushed terribly, looked around at the gallery and, making sure that mother had not seen anything, it seems that she immediately calmed down. "The first impulse is natural, humane, the second is already a trace of upbringing. Pechorin notices how natural passions wither in her, how coquetry and affectation develop. Until that moment, when Mary fell in love with Pechorin, secular "education" prevailed in her, which did not result in an egoistic norm of behavior, since she had not yet gone through the torment of her heart. But then natural, natural feelings take over. She sincerely fell in love with Pechorin, and there is no affectation here anymore Even Pechorin, watching her, exclaims: “Where did her liveliness, her coquetry, her impudent mien, contemptuous smile, absent-minded look go? ."

Having passed the test of love for Pechorin, she is no longer that submissive creature to her mother, but an internally independent person.)

4. Why does he refuse to marry her? Why is he trying to convince her that she can't love him? (Analysis of the fragment "The Last Conversation with Mary").

(Pechorin does not play in this scene. He has feelings that are natural for a person in this situation - pity, compassion. But he wants to be honest with Mary, so he directly explains that he laughed at her and she should despise him for this. At the same time, he himself It was not easy for Pechorin: “It became unbearable: another minute, and I would have fallen at her feet.”)
Card conversation 39

Pechorin and Vera

1. Why, when remembering Vera, did Pechorin's heart beat faster than usual? How is she different from Mary? (In Vera's love for Pechorin there is that sacrifice that the princess does not have. Vera's tenderness does not depend on any conditions, it has grown together with her soul. The sensitivity of the heart allowed Vera to understand Pechorin to the end with all his vices and sorrow.

Pechorin's feeling for Vera is exceptionally strong, sincere. This is the true love of his life. “Terrible sadness” cramps his heart at the moment Vera appears on the waters, “long-forgotten trembling” runs through her veins from her voice, his heart contracts painfully at the sight of her figure - all this is evidence of a true feeling, and not a game of love.

And yet, for Vera, he also does not sacrifice anything, as well as for other women. On the contrary, it kindles jealousy in her, dragging after Mary. But there is a difference: in his love for the Faith, he not only satisfies his passionate need of the heart for love, not only takes, he also gives a part of himself. In particular, this quality of Pechorin comes through in the episode of the insane, desperate chase on a furiously galloping horse for the irrevocably gone Vera.)

2. How to explain Pechorin's outburst of despair after Vera's departure? (A woman has become “more precious than anything in the world” to him. He dreams of taking Vera away, marrying her, forgetting the old woman’s prediction, sacrificing his freedom.) What aspects of the hero’s personality does this impulse speak of? (About sincerity and the ability to deep feelings.)

3. How does Lermontov help readers understand the strength of the character's feelings at this climax?

(Pechorin cannot be happy and cannot give happiness to anyone. This is his tragedy. In his diary he writes: “If at that moment someone saw me, he would turn away with contempt.” Here Lermontov uses a detail to reveal the inner world hero: as soon as a genuine feeling wakes up in his soul, he looks around to see if anyone saw this. He really kills the better half of his soul or hides it so deep that no one sees. Then he begins to convince himself that "what to chase after lost happiness is useless and reckless.” He remarks: “However, I am pleased that I can cry.”

Introspection and self-deception begins. Thoughts come in the usual order, and he draws the terrible conclusion that an empty stomach is to blame for his tears and that thanks to tears, a jump and a night walk, he will sleep well at night and really "fell the dream of Napoleon." Here we again observe Pechorin's duality.

V. Conversation on the questions:

1. How did you understand the meaning of Belinsky’s words about the story “Princess Mary”: “Whoever has not read the biggest story of this novel - “Princess Mary”, He cannot judge either the idea or the dignity of the whole creature”? (If in “Taman” and “The Fatalist” the plot is primarily important, then in “Princess Mary” the reader is presented with Pechorin’s own confession, which reveals his character. The story “Princess Mary” ends with a light lyrical note, hinting at the incompleteness of Pechorin’s spiritual quest. The process of his internal development continues.The relative result of this process was the comprehension of important moral truths, the manifestation of his ability to selflessly, without selfish calculation, to sacrifice himself for the happiness and good of people.)

2. Reread the ending of the story: "And now here, in this boring fortress, I often ask myself..." What is the meaning of the image of the sail that appears at this point in the story? (We remember that in Lermontov's poem "Sail" the sail is a symbol of a real, full of storms and worries of life. The "quiet joys" of happy love with the princess, with Vera, are needed by someone who has storms, passions, and a real business in life. Pechorin does not have this, therefore "peace of mind" burdens him even more. What can he expect? Wait for a new storm in which again someone will die, and he will remain in his strange anguish? .. There is another story ahead - "Fatalist".)
VI. Homework.

Reading and analysis of the story "The Fatalist".

LESSON 65

ANALYSIS OF THE STORY "FATALIST"
I like to doubt everything: it is

mentality does not interfere with the decisiveness of the character

ra - on the contrary ... I always go forward bolder,

when I don't know what to expect.

M.Yu. Lermontov. "Hero of our time"
DURING THE CLASSES
I. The word of the teacher.

The problem of fate is constantly raised in the novel. It is of primary importance. The word "fate" is mentioned in the novel before "The Fatalist" - 10 times, 9 times - in Pechorin's "Journal".

The story "The Fatalist", according to the exact definition of I. Vinogradov, "is a kind of" keystone "that holds the entire vault and gives unity and completeness to the whole ..."

It demonstrates a new angle of view of the protagonist: the transition to a philosophical generalization of the cardinal problems of life that occupy the mind and heart of Pechorin. Here the philosophical theme is explored in a psychological context.

Fatalism is the belief in a predetermined, inevitable fate. Fatalism rejects personal will, human feelings and reason.

The problem of fate, predestination, worried Lermontov's contemporaries, and people of the previous generation as well. This was mentioned in "Eugene Onegin":

And age-old prejudices

And fatal secrets of the coffin,

Fate and life in turn -

Everything was judged by them.

Pechorin was also worried about this problem. Is there a destiny? What influences a person's life? (Reading a fragment from the words: “I was returning home through empty alleys ...”)
II. Conversation on:

1. What is the essence of the dispute between Vulich and Pechorin? With all the differences of opinion, what brings the characters together? (Vulich has “only one passion ... passion for the game.” Obviously, she was a means to drown out the voice of stronger passions. This brings Vulich closer to Pechorin, who also plays with his own and someone else’s fate and life.

All his life, Vulich strove to wrest his winnings from fate, to be stronger than her, he does not doubt, unlike Pechorin, the existence of predestination and offers to “try for yourself whether a person can freely dispose of his life, or everyone .., a fateful minute is predetermined ".)

2. What impression did Vulich's shot make on Pechorin? (Reading from the words: “The incident of that evening made a rather deep impression on me ...” to the words: “Such a precaution was very useful ...”)

3. Did Pechorin believe in fate after this incident? (Analysis of the central episode of the story.) (Pechorin does not have ready-made answers to questions related to the existence or absence of a predetermined human destiny, predestination, but he understands that character is of considerable importance in the fate of a person.)

4. How does Pechorin behave? What conclusions does he draw from the analysis of the situation? (Analyzing his behavior, Pechorin says that he “thought of trying his luck.” But at the same time, he does not act at random, contrary to reason, although not from rational considerations alone.) (Reading from the words: “Ordering the captain to start a conversation with him .. .” to the words: “The officers congratulated me - and for sure, there was something!”)

5. What did the officers congratulate Pechorin with? (Pechorin performs an undoubtedly heroic deed, although this is not a feat somewhere on the barricades; for the first time he sacrifices himself for the sake of others. The free will of a person has united with the “universal”, human interest. The egoistic will, which previously did evil, now becomes good, devoid of self-interest. It is filled with social meaning. Thus, Pechorin's act at the end of the novel opens up a possible direction for his spiritual development.)

6. How does Pechorin himself evaluate his act? Does he want to meekly follow fate? (Pechorin did not become a fatalist, he is responsible for himself, he sees his inferiority, tragedy, realizes it. He does not want someone to decide his fate for him. That is why he is a person, a hero. If we can talk about Pechorin's fatalism , then only as a special, “effective fatalism.” Without denying the existence of forces that determine the life and behavior of a person, Pechorin is not inclined to deprive a person of free will on this basis.)

7. Does Maxim Maksimych believe in fate? What is the meaning of his answer to the question of predestination? (In the answer of Maxim Maksimych and the position of Pechorin, a similarity appears: both of them are used to relying on themselves and trusting “common sense”, “direct consciousness”. There is nothing surprising in such a community of heroes: they are both homeless, lonely, unhappy. direct feelings. Thus, in the finale of the novel, the intellectual nature of Pechorin and the folk soul of Maxim Maksimych approach each other. Both turn to the same reality, beginning to trust their moral instincts.)

8. So who is the fatalist? Vulich, Pechorin, Maxim Maksimych? Or Lermontov? (Probably, each in his own way. But Pechorin’s (and Lermontov’s) fatalism is not the one that fits into the formula: “you can’t escape your fate.” This fatalism has a different formula: “I won’t submit!” It does not make a person a slave of fate, but adds him determination.)

9. How is Pechorin's attitude to love changing? (Pechorin no longer seeks pleasure in love. After the incident with Vulich, he meets the “pretty daughter” of the old constable, Nastya. But the sight of a woman does not touch his feelings - “but I had no time for her.”)

10. Why is this story the last in the novel, despite the fact that chronologically its place is different? (The story sums up the philosophical understanding of the life experience that fell to the lot of Pechorin.)

III. Word of the teacher 1 .

Thus, the theme of fate appears in the novel in two aspects.

1. Fate is understood as a force that predetermines the whole life of a person. In this sense, it is not directly connected with human life: human life itself, by its existence, only confirms the law inscribed somewhere in heaven and obediently fulfills it. Human life is needed only to justify the meaning and purpose prepared for it in advance and independent of the individual. The personal will is absorbed by the higher will, loses its independence, becomes the embodiment of the will of providence. It only seems to a person that he acts on the basis of the personal needs of his nature. In fact, he has no personal will. With such an understanding of fate, a person can either “guess” or not “guess” his destination. A person has the right to relieve himself of responsibility for his life behavior, since he cannot change his fate.

2. Fate is understood as a socially conditioned force. Although human behavior is determined by personal will, this will itself requires an explanation of why it is such, why a person acts in this way and not otherwise. Personal will is not destroyed, it does not fulfill the given program. Thus, the personality is freed from the normativeness destined in heaven, which constrains its volitional efforts. Its activity is based in the internal properties of the personality.

In "Fatalist" all officers are on an equal footing, but only Pechorin rushed to the killer Vulich. Consequently, the conditionality of circumstances is not direct, but indirect.

The story "The Fatalist" brings together Pechorin's spiritual quest, it synthesizes his thoughts about personal will and the meaning of objective circumstances independent of a person. Here he is given the opportunity to "try his luck" once again. And he directs his best spiritual and physical forces, speaking in the aura of natural, natural human virtues. The hero experiences for the first and last time trust in fate, and this time fate not only spares him, but also exalts him. And this means that reality not only generates tragedy, but also beauty and happiness.

The fatal predetermination of human destiny collapses, but the tragic social predestination remains (the inability to find one's place in life).
IV. Test based on the novel by M.Yu. Lermontov "A Hero of Our Time" 2 .

Students can choose one or two answers to the questions provided.

1. How would you define the theme of the novel?

a) the theme of "extra person",

b) the theme of the interaction of an outstanding personality with a "water society",

c) the theme of the interaction of personality and fate.

2. How would you define the main conflict of the novel?

a) the conflict of the hero with secular society,

b) the hero's conflict with himself,

c) conflict between Pechorin and Grushnitsky.

3. Why did Lermontov need to break the chronological sequence of the stories?

a) to show the development of the hero, his evolution,

b) to reveal in Pechorin the core of his character, independent of time,

c) to show that Pechorin has been tormented by the same problems all his life.

4. Why does the novel have such a composition?

a) such a system of narration corresponds to the general principle of the composition of the novel - from riddle to riddle,

b) such a composition allows you to diversify the story.
5. Why is the last story of the novel "The Fatalist"?

a) because it chronologically completes the plot,

b) because the transfer of action to the Caucasian village creates a circular composition,

c) because it is in the Fatalist that the main problems for Pechorin are posed and solved: about free will, fate, predestination.

6. Can Pechorin be called a fatalist?

a) with some reservations,

b) can't

c) Pechorin himself does not know whether he is a fatalist or not.

7. Can Pechorin be called "an extra person"?

a) he is superfluous for the society in which he lives, but not superfluous for his era - the era of analysis and search,

b) Pechorin - "an extra person" primarily for himself,

c) Pechorin is "superfluous" in all respects.

8. Positive or negative hero Pechorin?

a) positive

b) negative,

c) cannot be said for certain.

9. What is more in the characters of Onegin and Pechorin - similarities or differences?

a) more similar

b) there are similarities, but there are many differences,

c) these are completely different characters in different circumstances.

10. Why does Pechorin seek death at the end of his life?

a) he is tired of life,

b) cowardly

c) he realized that he had not found and would not find his high purpose in life.

Answers: 1 in; 2 b; 3 b, c; 4 a; 5 in; 6 in; 7 a; 8 in; 9 in; 10 a, c.

LESSONS 66-67

DEVELOPMENT OF SPEECH.

WORK ON THE NOVEL M.Yu. LERMONTOVA

"HERO OF OUR TIME"
TOPICS OF ESSAYS

1. Is Pechorin really a hero of his time?

2. Pechorin and Onegin.

3. Pechorin and Hamlet.

4. Pechorin and Grushnitsky.

5. Women's images in the novel.

6. Psychologism of the novel.

7. The theme of play and farce in the novel.

8. Analysis of one of the episodes of the novel, for example: "Pechorin's duel with Grushnitsky", "The scene of the pursuit of Vera".
Homework.

Individual tasks - prepare messages on the topics: “Childhood of N.V. Gogol", "Evenings on a farm near Dikanka", "Creative maturity" (on cards 41, 42, 43).

Card 41

Childhood N.V. Gogol

A heightened attention to the mysterious and terrible, to the "night side of life" awakened early in the boy.

In 1818, Gogol, together with his brother Ivan, entered the district school in Poltava.

In 1819 his brother died. Gogol took this death hard. He left the school and began to study at home with a teacher.

On May 1, 1821, Gogol was admitted to the Gymnasium of Higher Sciences that opened in Nizhyn. This educational institution combined, following the model of the Tsarskoye Selo Lyceum, secondary and higher education. In the entrance exams, he received 22 out of 40 points. It was an average result. The first years of study were very difficult: Gogol was a sickly child, he missed his relatives very much. Gradually, however, gymnasium life returned to its usual routine: they got up at half past six, put themselves in order, then the morning prayer began, then they drank tea and read the New Testament. Lessons were held from 9 to 12. Then - a 15-minute break, lunch, time for classes and from 3 to 5 again lessons. Then rest, tea, repetition of lessons, preparation for the next day, dinner from 7.30 to 8, then 15 minutes - time "for movement", again repetition of lessons and at 8.45 - evening prayer. At 9 o'clock they went to bed. And so every day. Gogol was a boarder at the gymnasium, and not a volunteer, like the students who lived in Nizhyn, and this made his life even more monotonous.

In the winter of 1822, Gogol asks his parents to send him a sheepskin coat - “because they don’t give us official coats or overcoats, but only in uniforms, despite the cold.” The detail is small, but important - the boy learned from his own life experience what it means not to have a saving “overcoat” in a harsh time ...

It is interesting to note that already in the gymnasium, Gogol is noticed such qualities as causticity and mockery towards his comrades. He was called the "mysterious carla". In student performances, Gogol showed himself to be a talented artist, playing the comic roles of old men and women.

Gogol was in the 6th grade when his father died. In the few months that have passed since the death of his father, Gogol has matured, the idea of ​​public service has become stronger in him.

As we know, he settled on justice. Since "injustice ... most of all exploded the heart." The civic idea merged with the fulfillment of the duties of a "true Christian." There was also a place where he was supposed to perform all this - Petersburg.

In 1828, Gogol graduated from the gymnasium and, full of the brightest hopes, went to St. Petersburg. He was carrying the written romantic poem "Hanz Küchelgarten" and hoped for a quick literary fame. He printed the poem, spending all his money on it, but the magazines ridiculed his immature work, and readers did not want to buy it. Gogol, in desperation, bought up all the copies and destroyed them. He was also disillusioned with the service, about which he writes to his mother: “What a blessing it is to serve at the age of 50 to some state adviser, to use a salary that is barely falling. To support oneself decently, and not to have the strength to bring good to humanity for a penny.

Gogol decided to leave his homeland, boarded a ship bound for Germany, but, having landed on the German coast, he realized that he did not have enough money for the trip, and was forced to return to St. Petersburg soon. No matter how short the journey was (about two months), it expanded life experience, and it is not for nothing that foreign reminiscences will begin to appear in his works. More critically, he looks at St. Petersburg. He managed to get a job in the fall of 1829, but soon the position he received seemed "unenviable", he received salaries "a real trifle."

During this difficult time, Gogol worked hard as a writer. He realized that literature was his life's work, that he was a prose writer, not a poet, and that he should abandon the beaten literary roads and seek his own way. The path was found - he plunged into the study of Ukrainian folklore, fairy tales, legends, historical songs, vibrant folk life. This world opposed in his mind the gray and dull bureaucratic Petersburg, in which, as he wrote to his mother, “no spirit shines among the people, all employees and officials, everyone talks about their departments and collegiums, everything is suppressed, everything is mired in idle, insignificant labors in which life is wasted fruitlessly. The turning point in Gogol's life was his acquaintance with Pushkin, who supported the beginning writer and played a decisive role in guiding his creative pursuits. In 1831-1832. Gogol published two volumes of stories under the general title Evenings on a Farm near Dikanka. The story "Bisavriuk, or Evening on the eve of Ivan Kupala" made him famous, which, apparently, opened the doors of a new service for Gogol - in the Department of Appanages. He was glad of this service, he dreamed of influencing politics and administration. Soon he became assistant clerk with a salary of 750 rubles a year. His mood improved. Nevertheless, he continued to test himself in other fields: he regularly visited the Imperial Academy of Arts, improved in painting. By this time, he met V.A. Zhukovsky, P.A. Pletnev, was recommended as a home teacher to several families. He no longer felt alone. His teaching activities went beyond private lessons - Gogol was appointed junior history teacher at the Patriotic Women's Institute. He submits a letter of resignation from the Department of Appanages and forever says goodbye to official service, and with it the dream that inspired him from his high school years. The service was no longer tedious, on the contrary, it made it possible to do more creative work.

Card 42

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“We part forever ...” - these are the lines from that last letter of Vera. A seemingly minor event. This is for us readers. But I read the pages and discover for myself a new face of Pechorin, not satiated with all the pleasures of life, not that tired face, indifferently looking at everything around him only with curiosity, but without regret. I feel the excited soul of Pechorin, his slightly trembling hands. Yes, they trembled, because Pechorin did not dare to open the letter for a long time. It is felt that with a feeling of anxious, heavy foreboding he opened it. And here it is, the phrase that, probably, Pechorin was most afraid of: “We are parting forever ...”

And then there will be pages describing Pechorin's pursuit of Vera. Pages that involuntarily made me remember a diary entry on June 14, in which he confesses that he is “not capable of noble impulses”, that “I will put my life on the line twenty times, even my honor ... But I will not sell my freedom ...

But how much just a small episode from the hero's life told me! How he changed my final opinion of him. As a human being I feel with him. “No, Mr. Pechorin,” I want to tell him, “your soul has not died out completely, noble spiritual impulses are inherent in it, because you wouldn’t jump “like crazy” onto the porch, you wouldn’t jump on your Circassian, you wouldn’t set off at full speed along the road .

One Lermontov phrase - and behind it a whole frame of the chase. Yes, what! As for the last time (and perhaps the last) this feeling flared up so brightly - he mercilessly drove the exhausted horse, which, snoring and covered in foam, raced him along the stony soil. It seemed that at that moment Vera became the main issue in Pechorin's life. To catch up with the failed, lost happiness with her. He does not think why he needs it. Well, at least for one bitter, goodbye kiss. A small episode, and in it - a segment of life. Yes, what!

Even nature seems to resist this meeting for some reason. “In the black cloud” the sun will hide, it will become dark and damp in the gorge. Meanwhile, Pechorin's state of mind lived on one all-consuming desire; the thought like a hammer (what a comparison!) struck at the heart: “to see her, say goodbye, shake hands ...” So Lermontov, the writer, could say so briefly about many things. The expressive means of the language are so convincing that you feel what the author tells not as being read, but as being seen. I read the tension of the state of mind in the verbs of action: “prayed”, “cursed”, “cried”, “laughed”, “started ...”

And the most climactic moment. The horse fell, the last chance to see Vera was lost. But hope is not lost to raise the horse, to try to catch up on foot. But my legs buckled. Legs give way from tension, fatigue and hopelessness. And now Pechorin is alone in the steppe. And no longer a warrior. And then there will be lines that will make us cry with the hero. Here they are: “And for a long time I lay motionless, and wept bitterly, not trying to hold back tears and sobs; I thought my chest would burst; all my firmness, all my composure - vanished like smoke. The soul was exhausted, the mind fell silent, and if at that moment someone saw me, he would have turned away with contempt. No, he would not have turned away, because for the first time Pechorin wept, wept bitterly, sobbing. But not everyone can cry.

There are only a few sentences about the state of mind, but in them one can also see the idea not expressed by the author that Pechorin’s soul is not dried soil, it also has “beautiful impulses of the soul”. Could be like that. But the life of the hero, which proceeded in the struggle with himself and the light, crippled her, Pechorin buried her best impulses somewhere in her very depths.

And then, with a short phrase, Lermontov writes that "night dew and mountain wind" will refresh the hero's head and bring it "into the usual order." And we understand in what “usual order!”

When not with a heart, but with a sober mind with a slight irony: “Everything is for the better! This new suffering, speaking in a military style, made a happy diversion in me. It will also add frustrated nerves here, a night without sleep, an “empty stomach”.

But these are the words of another Pechorin, Pechorin - a suffering egoist. Pechorin with his vicious moral principle: "I look at the suffering and joys of people as food that supports my spiritual strength."