How the eyelids are characterized through the main character. Hero of our time "in criticism

01.01.2021

Read also

What is the breakdown of brooms

Essay "Features of creativity a

Why did Sofya preferred to Chapkom Mollylly?

Symbolic meaning of the name of the Store Eery A

Samodorism is bad or very bad?

28.03.2013 17859 2382

Lesson 45. century Lermontov in the novel

Objectives: learn to compare actions, the characters of the heroes of the story with the character of Pechorin; teach monologic speech; Analyze the story "Princess Mary."

During the classes

I. Work on the subject of the lesson.

1. Teacher's introductory word.

The story "Princess Mary" is perceived as the main story in the novel. What do you think, why? Probably because for this story is characterized by plot self-sufficiency; It is the culmination of the Pecherin's diary; It is most of all reasoning about the soul and fate; In this story, the most detailed development receives the philosophical content of the novel.

But before starting work on this story, we will try to find the "key" to the Lermontov novel and the image of Pechistan. Probably, this is a recognition of the hero, accommodating his whole life: "My colorless youth flowed in the fight against him and light." Pechorin, however, speaks only about youth, considering it "colorless." Do you accept such self-esteem? By the way, we know little about the youth of Pechorin. And yet: can I imagine it, "condemble"? Pechorin constantly falls into self-esteem: "I did not guessed my destination ... chasing the bait of passions of empty and ungrateful ..." Your opinion on these confessions of Pechorina?

- But what does this mean - "Fighting and Light"? Who won up in this struggle?

- Are there changes in the artistic world of the novel - and in Pechorin?

Let us turn to Tamani. By the way, what is the genre of "Tamani"? Did Lermontov writes not the story, not the story, but the novel? Is the genre of this part of the novel with the character of Pechorina?

2. Compressed analytical retelling "Tamani" (prepared student). Conversation according to Taman.

- Who acts as a narrator? Why?

- What are the secrets of the poetchiness of Tamani? (Do you know that Chekhov was in love with these pages?)

- Does Pechorin change in Tamani? Why, despite the dangers, he is so good, abolished in this "bad town"?

- What confessions of Pechorin seemed to be particularly significant, just the discoveries of Lermontov?

Here is one of them: "I remembered this song from the word to the word."

3. Work in groups.

Compare the neighboring pages of the novel: "Taman" and "Princess Mary". Where is Pechorina harder? And yet: is it going on in his own way to Pechorin and here, among the "water society"?

- What pages of the story "lead" the stylist "Tamani", its images? Why is she so stubbornly reminded of himself, although Pechorin turns out to be in a completely different world - among "light", the "struggle" with which he became his life? But do not forget: and with himself.

- Does the chapter "Princess Mary" resemble poems M. Yu. Lermontov? Compare: "How often the Mottroy Tolpo is surrounded ..." and "Princess Mary." Why and in the head of the novel the same contrast: "Dreams of your creation ..." and "Iron verse, indulged in bitterness and angrily ..."?

- What are the Pages "Princess Mary" especially lyric, tremble?

Tasks by groups:

I group. Pechorin and faith ... How did you see, did the hero of Lermontov felt in this "romantic" story?

How and why are Pechorina and Faith's relationship?

What does the tragic scene say for faith? Compare it from the scene of the chase in the story "Bal", paying attention to the symbolic value of the design of the horse in both cases.

II group. And the story with Mary? What is the entry in the Pechistan diary, maybe surprised? ("Why am I so stubbornly achieve love of a young girl, which I don't want to seize and on which I never get married?") Pechistan is mysterious for himself? Nevertheless, maybe you can explain his actions?

Analyze the history of the relationship of Pechorin and Princess Mary. For comparison: in the "fatalist", pay attention to the episode with the daughter of the Nastya's Daughter as an example of an ordinary indifference to a woman.

III group. And finally, the story with Pereshnitsky.

The initial impetus to all events give the relationship of these two young people.

Analyze the history of their friendship and hostility. Compare it with the situation "Onegin - Lensky" and with the reasoning of Pushkin about friendship in the II head of the novel "Eugene Onegin".

Why in relation to Pechishnitsky Pechorin is completely different: the fact and the case "prevents" him in his courtship for prince. What reminded you? Another analogy: the same "triangle" as in the "grief from the mind." Compare the close pages of the Comedy Griboyedov and Roman Lermontov and the outcome of the "love" fights: Chatsky - Molchanin, Pechorin - Pereshnitsky.

Does Pechorin fair in relations? To the pear, for example? And isn't it a cruel Pecherin in relation to the princess Mary? Why does Pechorina, this imaginary "novel"?

- What kind of plot revealed you especially? Of course, a duel with a pearshnitsky!

Again - the oddities of Pechorin. How did you understand him in the intricacies of events around the duel? How did they react to his shot and the death of the Grushnitsky? Compare a duel in Onegin and in the "Hero of our time", and therefore Onegin and Pechorina in the most terrible test for them.

IV Group. Is there a contrasting hero in his relationship with the peopling? Do you need Dr. Werner in the novel?

Analyze the relationship between Pechorina with Dr. Werner.

How did Pechorina relations with the "Water Society"? Why?

4. Comparison of the Finals "Princess Mary" and "Tamani". Expressive reading of fragments.

With the generality of the topic - a marine landscape - there is a significant difference: in Tamani, this is a real landscape, and in the "Princess Mary" - an imaginary, romantic emblem of the inner world of Pechorina.

- How does the personality of Pechorina in the diary manner manifest?

5. Dispute on the topic "Pechistan - Hero of His Time?".

- Why is Pechorin is a foreign element everywhere where he appears?

- How is the age characterized through the main character of the novel? Pechistan - Hero of his time?

6. Compressed retelling and discussion of the story "Fatalist".

- Is that fatal "experiment" continues in the story "Fatalist", who is Pechorin in a duel with Grucnitsky?

Yes, there is an even more desperate game of the hero with fate.

What is the genre of these pages? Again - novel! Why? Rail the mysterious plot of "Fatalist". Why does these pages of Lermontov completing the novel, exhausted, apparently, the secrets of the Pechorinsky "I"?

- And yet: Is this a rebellious note - intimate in Pechorin? Recall him to the most anxious moment of his life - in the morning the day before the duel. It could be his last morning. In the rows of Lermontov, close to these pages of a novel, sounding like poems: "I don't remember the morning, more blue and fresh! .."

II. The outcome of the lesson.

Homework:

1) draw up tests on the chapter "Taman";

Download Material

For the full text of the material, see the download file.
The page shows only a fragment of the material.

Roman M. Yu. Lermontov "Hero of our time" was extremely unexpected and interesting phenomenon. The first who drew attention to him - I. S. Turgenev. He wrote: "What is the charm! There was nothing like that in our literature. Of course, this imitation of the French, but still fine! " Over the years (40-90s of the XIX century), the work in different aspects attracts writers, readers, critics.

Around us is a novel with a very well thought out composition, the usual story and the achronology of narration. Acquaintance with the furnace for the reader is unexpected and diverse. Then he is an officer in the service of Maxim Maximich, his good colleague, a neighbor and comrade; then he is an aristocrat, who cooled to the old unspoken friend; then he is a man who plays the fate of others: everyone is bored, and him too. But all this event, which grows the main content of the novel - what Pechorin talks about in his thoughts. Why was he born? What is it created for? After all, was some big idea, the purpose that fell into a share? He was not destined to implement it? Or did it not fell to him?

Reality is the secular circle in which Pechorin is delivered, where his life, education, domestic conditions flows through the circumstances, is the entire image of the world of aristocratic. The doctor, as a rule, a foreigner, strongly blistering, who made Russians without any noble relatives and capital; This smart gallery is present in many Russian novels as a constricted character of Russian life: smart, honest, noble from nature, but materially dependent. "Water Society" - a mixture of aristocracy with the Russian province; Diseases and ailments do not depend on belonging to the class, therefore, everything is drawn in this blessed edge - earthly paradise. Here is a society in which Pechorin turns out and where he gives pleasure to dominate. And in vain, he flirts when asks why they are, surroundings, so they do not like him. The answer to this is simple: he always gives people a difference between themselves and they are in the interests, in life requests, in clothes. And here for Pechorina a huge field of activity: there are so many objects, phenomena, decent satire and parody. His maliciousness can be satisfied. Here, revealing the impaired Intrigue of the novel.

The most remarkable thing is that in the uncomfortable story of Lermontov managed to invest a very large human content. The external resort novel turned out to be the first Russian psychological novel, in which the whole range of human feelings is unusually and described in detail, where the author forces Pechorina to expose himself and encourages the reader to show sympathy to him, not only call the egoist, but regret. Sorry humanly.

Pechorin understands well that his love did not bring happiness to anyone, including him. But he loved, because it was the need for the body he satisfied. Pechorin, consciously or unconsciously, - the Adept of Egoism (he "for himself only wants will"). Hence, its judgment, full of indifferent cynicism, about the immense pleasure "in the possession of a young, barely blossomed soul": "She's like a flower", which "need to disrupt<...> And, having risen to you, throw on the road: Anyone will raise! " This is almost all his morality, the philosophy of happiness.

And it says a combat officer, noble man, philosopher! Knight! But the narrative just leads to the idea that he does not have happiness. Flirt with prince Mary - to make a pear. Hepheritsky wants Pechorin to be his friend - it is so impressive! But Pechorina is mixed, and he, in essence, mocks the pearshnitsky, who all takes seriously. Confidentiality Mary to His courtship, persistent and therefore annoying, Huschnitsky does not notice, but Pechorin has long noticed and did, as they say, conclusions ... Why is it all? What is the goal? You can answer by vulgarity: to spend time without boredom.

But the author gives a difficult psychological drawing of the hero with such a thoroughness that the reader involuntarily asks: His behavior is the nature of the character of an aristocrat who does not understand the life, or is it a consequence of the barrennicity of Nikolaev despotism, or is it a congenital man? The author must answer this question.

We will merit the Pechist, its disregard for aristocratism, almost squeamishness. And this is quite natural: he is a combat officer, although the author does not show him in a military business anywhere. But his behavior, bold, self-confident, almost to desperateness, testifies to the combat break ("Hussar bone"). The opposition of the peopurine and the medium is very characteristic: it does not conflict with the medium, and himself is part of it, but part of independent.

The despotus barracks did not make a slave from him. Will's power overlooks all prejudice, alertness. The struggle with a drunken Cossack indicates the unrestrained bravery of our hero ("The officers congratulated me - and for sure, it was with what!").

What is common between this person, risking the life of pleasure, and a man who argues that it is necessary to rip the flower, breathe and quit? And here we are at the same time the image of the heroic, beautiful in spirit and - the vulgar, insignificant. Think, what a victory over the girl, only entering into life! And this vulgarity, not romanticism, not the "attractiveness of evil" (because there is no evil here and no) Lermontov wants to file as a spring of activity, and this is precisely vulgarity, in what such a rode. Therefore, this part of the narrative causes sarcasm from the reader towards the hero.

At the very beginning, I did not accidentally mention the name I. S. Turgenev, the author, which can be called a monopolist in the image of first love. In the "Hero of our time" - anticipation of what will be in many of his works. Lermontov with all the nuances describes the first love of the Princess Mary, filling this feeling of the beauty of the sensation and beauty of hope. A girl with "velvet eyes" turns into a woman who understands his power, his power, not allowing the thought that she may not like. And in this situation, Pechorin is almost pitiful when he says that he joked, laughed at Prince. The insulted girl sense says: "I hate you," but, in fact, the winner here was Mary, and not Pechorin, who only played his role badly. And Lermontov with great skill it showed.

Next to this unnecessary novel of Pecherin with the girl, which he did not want to insult or humiliate, and so - just flirting, a great feeling arises - love faith. How often we do not understand the artist's plan! Even such a thoughtful and slim critic, like Belinsky, and talented ll. Nabokov could not understand the pattern of faith in the disclosure of Pecherin's character and for the whole novel. Nabokov wrote that it was "unnecessary" image. What does "unnecessary" mean, when through it we see the whole Pechorina, the present, deep disclosure of his character? Nabokov lists stylistic disadvantages, misses, repeats and patterns that he carefully found in the novel. But he did not see the psychology of the hero of time. For all formalistic misses, he saw "harmony of private". Nabokov understood everything as a formalist. But at the same time, the novel, he likes how Russian who grew in the stories about Russia.

The form of faith must be said especially. After all, in essence, the whole loving romantic part of the narration is deployed against the background of the history of the relationship of faith and Pechorin. Returning entirely to this love, being her victim, faith at the same time owns the peopling himself, his soul, his past, which for him never passes, his real. And the future - who knows? Everything is broken in this world: Pechorin does not marry faith, because it is scary afraid of the words "marriage", the marriage bonds for him worse in prison chains. But he, narcissistic, smart, allows one of the biggest abominations: shares love with another.

He, who does not tolerate opponents at all and does not have rivals. And when it would seem, he got rid of this contradiction, physically retired, moved to another city, he did not get rid of love, he still loves faith, and, even worse, she loves him still. And there is no strength that could stop their passion. This passion is so large and captivated that it takes an almost dominant place in the narration. High patta as it turns out by vulneral the love of love relationships with her husband, and no explanations of time conventionality, the environment does not give excuses to this behavior. And Pechorin himself perfectly understands that this feeling from which he runs and cannot escape. And the vulgarity of his position is only teasing and annoying the pride of Pechorin, who is not accustomed to have rivals. This permanent dutyemism of faith not only does not oppress it, but gives rise to the strength of love for Pechorin. In this sense, the forces of physical endurance of faith are burned. And only the desire remains to adapt to life, until the entire female loan has been exhausted, that is, get married. All this novel, as if standing "behind the scenes", is the main thing in the disclosure of the character of the hero and the composition of the work as a whole.

A description of this big feeling is interspersed with that daily, petty, which surrounds people. And Pechistan is terribly unjust when complaining about boredom, for it is missing him. He is entirely absorbed by relationships with faith where the past is stronger than the present, and life requires an answer to everyday, the usual, current. And such everyday is the officer's environment in the novel, which is opposed to Pechorin: Grushnitsky, Dragun Captain, and others. Grushnitsky sees that "happiness combat" is entirely on the side of Pechorin. Sympathy princed on his side. Grushnitsky This is very sad, and the rest, first of all the Dragun captain, is very fun. It is clear that everyone is bored, and to make two rivals very entertaining. What could be the measure of the highest virtue of the officer? Of course, courage. And to say about Pechorin, that he is a coward, the courage in itself, because it is not true. And it is very humiliating Pechorin, who always opposed himself to others. And then - a detailed description of the conspiracy, a narrative of a duel, a description of the place, platform; Finally, the story with an uncharged pistol and the disclosure of the storinist of the conspiracy at the last moment. The tragic act duel opponents of Pechorin want to turn to the farce when he is aimed uncharged pistol. But Pechorin exposes criminal waterwhal invented by the Dragun captain. The boy is Hushnitsky understands how far the plan of the Dragun captain came, and he tells him that Pechorin and the Werner of the right. But his boyish pride and opinion of the Dragun captain do not give him to abandon slander.

"Shoot!<...> We are on Earth together there is no place ... "- Pathetic Speech does not leave poor Huschnitsky and at that moment. As a clever man, Pechorin understands that this boy, who is 21 years old, is moving a pride. Why didn't he shoot in the air? Because the insult is too strong for the fact that he could become the inevitable victim of this conspiracy. And here when it comes to life and death, Pechorin could not climb above Grushnitsky. And our respect for the hero is fading, as it fits at Werner ("You can sleep well ... If you can ..."). So the insignificant satisfaction of pride appealed to the human tragedy. We will say: these were the order, honor. But everything was different. And the novel is remarkable that Lermontov seized ingeniously these traits of human weakness. From where it went - from the general nature of the time or from personal qualities of a person - this is the secret of the writer, but he revealed it and showed us.

But the "end of the comedy" is not yet visible. Two letters were obtained by Pechorin after a duel: a letter of faith Pechorin is afraid to read and first reads a letter of Werner, which contains reproach. That's how they all: first sympathize and help, and when something has accomplished, they do not approve and retreat ... The letter of faith reported a serious explanation with her husband and expressed the feelings that Pechorin knows the last drop, but still reads with greed. .. Only one thought - say goodbye. What for? After all, the last kiss and the order of the hand will not save anything. Why this crazy run? But still he will be, and Pechorin drives a horse through the Kislovodsk road. He flies like a whirlwind. The horse stumbled, made several jerks and fell dead. Then Pechorin realized that he was left in the steppe. And in front of us - the exposure of Pechorina, his suffering, helplessness ... He was a pity as powerless, everything lost creature: "... all my hardness, all my coolness - disappeared as smoke. The soul was exhausted, silent silence ... ".

That's exactly here the entire Pechorin revealed, revealed tragically, truly. He understood how deep and hopeless human suffering. How he, a volitional man, a brave officer, does not value his own life and the Kakenets himself with himself, he doesn't need any life? But when the real, his big life is capturing - not a masquerade being, but the life of the soul, the life is infinitely expensive, the only thing and therefore the right and beautiful, faithful to the expensive being, with which he can, be parted forever, - then he appears Before us in all the height of human weakness and human nobility. Now he will not say: to rip the flower, breathe and quit, maybe someone will raise, - raise you yourself this flower, which I breathed! Here, the entire tragedy of the character of Pecherin revealed. Hopeless pain that swept it all the human speaking out. With some kind of leaning pain, he guessed that he was the same as everything, and only in vain tried to oppose everyone, giving himself to herself for something more, standing over man, and believing himself. Only now he understood it. Just well, as the reader realized that he was a hero of time. Reproaches: Is such a bad person can be a time hero - now removed for the reader. Pechorin - the hero of time, because it is the same as everything.

But this awakening is just a few hours. After that, Grigori Aleksandrovich Pechorin again puts on the "uniform" of Cynic, skeptics, a person, confident that evil is attractive, a person, to the whole indifferent. So in front of us, the tragedy of the person of the lost generation of the 40s of the XIX century rose to the whole growth, where the author with extraordinary cruelty showed the other side of the behavior of the hero next to the noble gusts. Listing, peeping, tracking - all household spyings, to which Pechorin resorts, cannot be noble in nature. In this life practice, there is a generation tragedy. In essence, Pechorin is not the one for whom he gives out - he is all the time mocking on those who perceives him seriously: "I have two people"; "Some will say: he was kind small, others - the bastard. Both will be false. " In the imagination, he considers himself great or in any case believes in his great destination. In fact, he perfectly understands the limitedness of his spiritual (internal) existence. Hence the hero "in stilts." His reality is that it shows his inconsistency, contradictions that he is constantly spread. Such is the reality that a big person could not implement himself. But in addition, we saw Pechorin in the true light and did not dare not regret it, because nothing human is alien to him.

Romanticism Lermontov is interesting because the writer unites styles, widely using realism, even naturalism, even sentimentalism ("Hero of Our Time", Chapter "Princess Mary). The first Russian psychological romance is written when romanticism is already losing his charming popularity. For Lermontov, romanticism has never been a transitional stage from one style to another. And at the beginning of his work, and later, for all years he remained a consistent romantic. Without installing this direction below the realistic art, Lermontov showed brilliantly in his perfect works, that every style in its complete completion objectively depicts reality.

The purpose of the lesson: Analysis of the part of the "Princess Mary", comparison of the actions, the characters of the heroes of this story with the character of Pechorin, the training of monologue speech and elements of the author's style analysis.

Wordwork: Scene self-sufficiency, climax, philosophical problem, symbolic image value.

During the classes

I. Conversation

The story "Princess Mary" is perceived as the main story in the novel. What do you think, why?

For the story, the plot self-sufficiency is characteristic; This is the climax of the Pechorin diary; It is most of all reasoning about the soul and fate; In chapter, the most detailed development receives the philosophical content of the novel.

II. Work in groups

The initial impetus to all the events give the relationship between Pechorin with Grushnitsky. Analyze the history of their friendship-enmity. Compare this with the situation "Onegin - Lensky" and with the reasoning of Pushkin about friendship in the second chapter of the novel "Eugene Onegin".

Analyze the history of the relationship of Pechorin and Princess Mary. For comparison in the "fatalist", pay attention to the episode with the daughter of the Nastya Primer, as an example of an ordinary indifference for a woman.

How and why are Pechorina and Faith's relationship? What does the tragic chase scene indicate for the faith (compare it with the scene of the chase in the story "Bal", paying attention to the symbolic value of the design of the horse in both cases).

Analyze the relationship between Pechorin and Dr. Werner. How was the relationship with Pechorin with "Water Society"? Why?

Compare the Finals "Princess Mary" and "Tamani". Expressive reading of fragments.

This is a challenging task, and you should help the guys conclude that with the generality of the topic - the sea landscape - there is a significant difference: in Tamani, this is a real landscape, and in the "Princess Mary" - an imaginary, romantic emblem of the inner world of Pechorina.

How does the pepperine personality manifest in the diary manner? In its content?

III. Checking the perception of text with students. Dispute

Why Pechorin is a foreign element everywhere where he appears?

How is eyelid characterized through the main character of Roman Lermontov?

2. Compose in groups questions to verify the knowledge of the text of the chapter "Taman".

Lesson 47. Training Analysis of the Episode

(on the chapter "Taman")

The purpose of the lesson: Training in the main stages of analyzing the episode of artistic text.

Information for teacher

The disciples have already worked on the analysis of the part of the work (see Lesson 24). Given that the word "episode" in the examination topics involves exactly part of the text for analysis at this lesson we will take the chapter "Taman". Considering that we are prose-free text, not dramatic, somewhat change the analysis structure.

During the classes

I. We offer students a plan for working with an episode

Consider the episode "From the inside":

a) microsiness;

b) composition;

Install the coming links, consider the episode in the system of other episodes.

Pay attention to the possible "roll calls" episodes with other works.

Tie your observations with the theme, idea of \u200b\u200bwork, author's worldview and skill.

II. Work with a detailed work plan (he is heard on each table)

The role of the head "Taman" in the novel "Hero of our time":

1. division into parts, differing in the plot and heroes, is a distinctive feature of the novel "Hero of our time".

2. The role of the head "Taman" in the novel.

3. The plot of chapters, its construction.

4. Character of Pechorin, which protrudes from the events described; How contributes to the identification of its character's central situation of chapter.

5. Laconism Tale, accuracy and simplicity as distinctive features of narration.

6. Landscape, contrast, romantic motifs, accurate recreation of life, the image of the exotic world - ways to express the author's position.

7. "Taman" is the first part of Pechorin's diary records, from this chapter begins "self-dispersion" of the hero.

8. Influence of chapter on Russian literature (N. N. Tolstoy "Plastun" and the poem "by the sea" N. Ogarev).

9. High assessment of Tamani V. Belinsky: "We did not decide to make extracts from this story, because she strongly does not allow them: it's like some kind of lyrical poem, the whole charm of which is destroyed by one elected or modified by the poet himself ... "

The transformation of the backbone cycle in the psychological novel is an innovative solution to the problem of the Russian novel and the beginning of its further development in Turgenev, Tolstoy and Dostoevsky.

Homework

1. Prepare for the final work on creativity M. Yu. Lermontov.

3. Individual tasks: Prepare a review of books about Gogol on the general topic "Interesting about Gogol."

4. Home essay. My favorite pages of the novel "Hero of Our Time". Analysis of the episode.

Information for teacher

The theme of fate and the case in the novel "Hero of Our Time"

The topic of fate and the case, passes through the entire novel "Hero of Our Time", becomes central to the story "Fatalist".

The events set forth in the "fatalist" are entered by Pechorin in their own diary at about the same time, when the story of a duel with Pereshnitsky. It seems that Pechorina during stay in the fortress N. I care about some question, in an attempt to clarify which there are records about a duel and an incident with the worshi. This is the same question, so the events of the "Fatalist" need to correlate with a duel. What is this question?

This is the possibility of dealing with the case. Why is Pechorin goes to a duel with a pearshnitsky? After all, from the very beginning, Pechorin tries to convince us that Grushnitsky stands immeasurably lower it, he does not miss the opportunity to collapse the pearshnitsky and literally forced us to believe that everything that happens looks exactly the way he, Pechorin, describes. In the scene with a fallen glass of wounded pear, perhaps, it was really painfully stuck, but in the presentation of Pechorin, Grushnitsky appears to depict suffering.

In general, Pechorin refuses the pears in the right be; depict seem to claim - yes, but not be. This is the privilege of one Pechorin. Pechorin, not wanting, in the diary gives his passion to be over all - even when describing a completely outsider of ladies on the ball, he does not miss the opportunity to notice the "Mattering Nepnob's Skin" and a big wart on the neck, covered by Fermoir. Pechorin is generally extremely negated, but why make observations similar to this, in a diary, which, according to his own expression, is conducted by him for him and should eventually serve him with "precious memory" over time? What joy wanted to experience Pechorin on the slope of years remembering this wart? But the point is not in a concrete external defect that Pechorin's unreleased eyes, the fact that he practically cannot but notice the human disadvantages, the very "weak strings", the knowledge of which he is so proud of. It is a feature of him, Pechorinsky, view, and it stems first of all at the desire to be the best, higher.

However, everything looks so only in the diary, where Pechorin is the owner, where he creates his own world, exposing the accents they need. Real life, obviously, differs from the desired, and therefore penetrates the recording of the peopinger of the alarm. Just he urged us of the insignificance of the Grushnitsky, looked at him from top to bottom, as he suddenly drops the phrase: "... I feel that we will ever encounter a narrow road with him, and one of us is not uncomplicated." Maybe there are "strong strings" in the pears, in the existence of which Pechorin cannot admit? Or does this Sauskin feel not so unequivocal careful? Anyway, but the struggle against the pears is so serious and stressed that it is impossible not to feel - just fight with an equal opponent.

Pechorin's alarm has one more reason. Pechorin is actually a smart, observed, cold-blooded, bold, decisive. He got used to seek everything he wants. However, Pechorina cannot but disturb the boundaries of his capabilities, its power. Is there anything in the world that it is impossible to defeat him, Pechorinsky, skills, usually bringing success? Does he always "be on horseback", keep the situation under control, calculate everything to the smallest detail? Or are there cases that do not depend on it? Duel with Pereshnitsky becomes for Pechorin not only the fight against a person who died to want to become one level with the people, but also the opportunity to figure out its relationship with such casenot wishing to obey the will and mind of man. Paradoxically, but that is why it is extremely important for Pechorin to be the first to shoot a pear. And it's not just that Pechorina has an internal excuse for killing; It is much more important that only this situation can be joined in martial arts with the case. Shoot Pechorin first - he would have won without a doubt. But there would be a person that neither for Pechorin, no news for us. But when the pair is first shooting, when the pistol is directed against you, then the deadly game begins, the most terrible experience that, as a little later, Vulch, Pechorin will also put on himself.

What are the possible costs? Grucnitsky may simply miss or shoot aside - then Pechorin wins, for the next shot will be behind him. A similar outcome, as in general, winning the right of the first shot, would be desirable for Pechorin, if he struggled with a specific person and wish his physical destroy or at least just that. However, the essence of the case lies much deeper, and to solve this case, Pechorin needs as unprofitable ordinary for him. So, the Grushnitsky should shoot and at the same time aim in Pechorin, and Pechorin himself will stand on the edge of the rock, so that even the slightest wound will cause the fall and death - these are the initial conditions under which it will be possible to measure with the case. In a situation where everything is against him, Pechorin is all their non-good forces, all his knowledge of human nature directs that literally split from the inside, break down the pearshnitsky, squeeze it, plunge into such a bay in the inner struggle, that he even goes to Pechorin, will not be able to get. And Pechorin is achieved. And this becomes his actual victory - exclusively by the power of his own will, he managed not to leave a single loophole not favorable for the outcome of the case, he managed to make it so that almost all possible outcomes could be absolutely calculated. From this, the spirit captures, for it is likely that the case, fate and all sorts of other protosarlike forces, which are so important to meaning, in fact it seems strong only because there is no more person such abilities, such a hardness of such will.

It is from here that the thread to the "Fatalist" stretches. The word "case" has special significance. In fact, with the same case, Pechorin in the "fatalist" faces his authority.

Literally in his eyes with the wool, the same thing happens twice by the type of event: it falls something exclusive, indeed one case out of a thousand. The first time there is a disconnect of a charged pistol and at the moment when Vulich shoots himself, a second time - a meeting with a drunk Cossack, the intersection at one point of time and the space of whimsical and winding paths of two people. It should be noted that the exclusiveness of what happened specially emphasizes: if the gun was simply not charged, the incident could be called almost ordinary; To death led the voyach not just a meeting - he still approached the Cossack and spoke to him. But with this common exclusivity, two incidents are opposed to the result: for the first time, in the resulting case, Vulchi remains to live, and in the second - dies. Is it not so shocked by Pechorin, having learned about the death of Volich, that in his eyes the case again demonstrates its strength, distillation, unpredictability, irrecentity? The case manages the life of a person, the case that wants, it does. Do not be concluded in the diary of the event "Fatalista" that Pechorin cannot accept the seen, and what was seen exactly when he was just remembered and recorded, how the character wins this very case (duel with a pearshnitsky)?

And Pechorin decides to try again, once again go to a duel with fate. And again wins: as a result of his calculation, his decisive and cold-blooded action, he managed to accomplish almost impossible - to capture the Cossack locked in the house.

So fighting with the case. Constant clarification who someone. And the constant victory is at least within the novel.

Slide 2.

The purpose of the lesson

Analysis of the chapter "Princess Mary" Comparison of actions, characters of the heroes of this story with the character of Pechorin Training Monologic Speech and the elements of the analysis of the writer style

Slide 3.

Wordwork

Scene self-sufficiency Culmination Philosophical problem Symbolic image

Slide 4.

Questions for conversation

The story "Princess Mary" is perceived as the main story in the novel. What do you think why? Conclusion: for the story is characterized by plot self-sufficiency (as you understand this expression?); This is the climax of the Pechorin diary; It is most of all reasoning about the soul and fate; In chapter, the most detailed development receives the philosophical content of the novel.

Slide 5.

Work in groups

1. The initial impetus to all events give the relationship between Pechorin and Pereshnitsky. Analyze the history of their friendship-enmity. Compare this with the situation "Onegin - Lensky" and with the reasoning of Pushkin about friendship in the second chapter of the novel "Eugene Onegin".

Slide 6.

2. Analyze the history of the relationship of Pechorin and Princess Mary. For comparison in the "fatalist", pay attention to the episode with the daughter of the Nastya Primer, as an example of an ordinary indifference for a woman.

Slide 7.

3. How and why are Pechorina and Faith's relationship? What does the tragic chase scene indicate for the faith (compare it with the scene of the chase in the story "Bal", paying attention to the symbolic value of the design of the horse in both cases).

Slide 8.

4. Analyze the relationship between Pechorin and Dr. Werner. How did the recruitment relationship with the "Water Society"? Why?

Slide 9.

5. Compare the finals "Princess Mary" and "Tamani" (expressively read the fragments of the finals). Conclusion: With the generality of the topic - "Sea landscape" - there is a significant difference: in Tamani, this is a real landscape, and in the "Princess Mary" - an imaginary, romantic emblem of the inner world of Pechorina.

The appearance of Roman Lermontov immediately caused an acute controversy that revealed the polar opposite of his interpretations and ratings. Previously, others with extraordinary loyalty appreciated the "Hero ..." Belinsky, In the first printed response, the "deep sense of reality", the "wealth of detention", "the deep knowledge of the human heart and modern society", the "originality and originality" of the work representing the "brand new world of art". With the specificization and development of these thoughts, the critic appeared in a large article dedicated to the "hero ..." and published in the summer of 1840 in Oz, showing a huge vital conscious, socio-psychological and philosophical importance of the image of Pecherin, as well as the novel as a whole. The guardian criticism fell on Roman Lermontov, seeing in it, especially in the image of Pechorin, slander to Russian reality.

Belinsky's view of the essence and meaning of "Hero ..." was largely developed in the new historical conditions N. G. Chernyshevsky and N. A. Dobrolyubov. Chernyshevsky indicated the role of "Hero ..." in the formation of psychological analysis in the works of L. N. Tolstoy ("Dialectics of the Soul"). At the same time, I agree to recognize the importance of the socio-psychological type of my time, the democrats' revolutionaries somewhat underestimated the moral and philosophical content of this image, sometimes excessively rectilineously opposing him and other "excess people" of the 1830-1840s of the sixties. The absence of socially useful activities in Pechorin, considered from the position of modern tasks, was interpreted by Dobrolyubov, as a manifestation of the social essence of its character, whose name is "Oblomovshchyna" ("What is a breakdown?", 1859). Herzen turned out to be more historical in interpretation of the essence and meanings of "extra people", in particular Onegin and Pechorin. In art. "Extra people and jeliars" (1860), speaking against their identification with modern liberals, he emphasized that "extra people were the same as much as necessary, as necessary for them." At the same time, Herzen was inclined to identify Lermontov with Pechorin, arguing that the poet died in the hopeless hopelessness of the Pechorin direction ... ".

Slavophilic and liberal-Western criticism (K. S. Aksakov, S. S. Dudyshkin, A. V. Druzhinin, etc.) came closer in his denial of the "Lermontov Direction"; Lermontov was announced by the last Russian poet of the imitative era, respectively, exaggerating the importance of Western European sources of the image of Pecherin. In research literature, this trend was most brightly manifested in the works of comparativistors (E. Dusen, S. I. Rodzevich, etc.), in which, despite the separate accurate observations, the search for the context of "parallels" prevailed. There were more substantive studies of representatives of the cultural and historical school (A. N. Pyptina, N.A. Kotlyarevsky). The idea of \u200b\u200bthe "reconciliation" of Lermontov with life, which was developed in pre-revolutionary literature, is first indicated in their works. People's criticism in the face of N. K. Mikhailovsky, on the contrary, put forward a protesting principle in the work of Lermontov, but the false theory of "crowds and hero" was prevented into the true essence of the image of Pecherin.

Symbols began the beginning of the XX century. (Vl. S. Soloviev, D. S. Merezhkovsky) considered the poetic heritage and Roman Lermontov out of connection with the specific historical problems, trying to find in the author and his heroes mystical, "superhuman" beginning. The representative of the psychological school D. N. Ossianiko-Kulikovsky took the content of the "Hero ..." from the depths of author's psychology, identifying Lermontov with the people, considering the main "egocentrism" in their characters. From other socio-historical positions, the Lermontov creativity M. Gorky is aware of the Russian literature read in 1909 in the Capriysk school. The main thing in it for Gorky is "the greedy desire of the case, active intervention in life." Stressing the typicity of Pechorin and at the same time his spiritual proximity to the author, Gorky did not identify them, noting that "Lermontov was wider and deeper than his hero." New methodological principles in the study of the novel were determined in a number of common works on Lermontov and his era, owned by representatives of the early Marxist criticism (G. V. Plekhanov, A. V. Lunacharsky); They raised questions about the social content of Lermontov's creativity, about his connection with public movement.
Uniqueness of the plot and composition of the novel 1

"The hero of our time" is similar and unlike the traditional novel, which established in the West. It tells not about the incident or event with a stringing and union, comprehensive effect. Each story has its own story. The fourth story is "Princess Mary" closest to the traditional novel, but its final is contrary to the Western European tradition and on the scale of all the work in no way is an interchange, but implicitly motivates the situation "Bali", placed in the general narration in the first place - Explains why Pechorin was in the fortress under the start of Maxim Maxim. Bal, Taman, "Fatalist" abound with adventures, "Princess Mary" - intrigues: a short work, "Hero of our time", unlike the "Eugene Onegin", is oversaturated. It has a lot of conditional, strictly speaking, implausible, but just typical of the novels of situations. Maxim Maximach just told the casual fellow the story of Pechorin and Bala, and then their meeting with Pechorin. In different poses, the heroes are repeatedly eased and spied - without it there would be no story with smugglers, nor the exposure of the conspiracy of the Dragun Ghetmtan and Pereshnitsky against Pechorin. The main character predicts death on the road, so it happens. At the same time, Maxim Maximich action is almost deprived, it is primarily a psychological etude. And all the diverse events are not self-concrete, but are directed to the disclosure of the character of the hero, detect and explain his tragic fate.

The same purpose serves compositive rearrangement of events in time. Monologists Pechorina, addressed to his past, make up the romance history. For some reason, this St. Petersburg aristocrat turned out to be an army officer in the Caucasus, goes there through the taman "with a kind of treason on a stateless need," then, together with Grushnitsky, he participates in battles, as mentioned in the "Princess Mary", and after a while it meets with him in Pyatigorsk. After a duel, he "since the year" lives with Maxim Maxima in the fortress, from where it leaves for two weeks in the Cossack Stanitsa. At retirement, probably lives in St. Petersburg, then travels. In Vladikavkaz, his occasional meeting with Maxim Maximes and the literature officer who receives from the headquarters of "some notes ..." and subsequently publishes them by providing preface, beginning in words: "I recently learned that Pechorin, returning From Persia, died. " The sequence of "chapters" in the novel is: "Bal", "Maxim Maximych"; "Pechistan Journal" is the preface of the publisher, Taman, "Princess Mary", "Fatalist". That is, the action starts from the middle after the death of the hero, which is extremely unusual, and the previous events are set out thanks to the magazine after those that have occurred later. This intrigues the reader, makes him think over the mystery of Pechorin, explain his "big oddities" for himself.

As the events set out, as filed in the novel, the bad deeds of Pechorina accumulate, but his fault is less and less and they are increasingly identified by her dignity. In Bale, he is in his whim, in the soup, a series of crimes, although, according to the concepts of nobility and officers, who participated in the Caucasian War, they are not. In the "Maxim Maximi" and "Tamani" everything costs without blood, and in the first of these leads, Pechistan unwittingly offended by an old buddy, and in his second sacrifice - only unfamiliar people without moral principles (the girl is ready to drown Pecherin one suspicion in the desire to convey, She and Yanko are thrown to the arbitrary of fate an old woman and a blind boy). In the "Princess Meri", Pechorin is very guilty, who does not surround him, are at all the advantage of absolutely vigilant - they turn the "comedy" conceived by him in a difficult drama with the death of a person, not the worst of them. Finally, in the "fatalist", the tragic outcome is not at all betting Pechorin with Voulich, and then Pechorin makes a real feat, capturing the Cossack-killer, who already wanted to "shoot" actually in the eyes of his mother, without giving him the opportunity to repent, for nothing Not the Chechen is an outstanding, but an honest Christian. "

Of course, an important role is played by the change of narratives. Maxim Maximach is too simple to understand Pechorin, it basically sets out external events. Large monologue of Pechorin conveyed to him about his past conditionally motivated: "So he spoke for a long time, and his words crashed into my memory, because for the first time I heard such things from a 25-year-old man, and God will give, in the last .. . "Staff Captain Words:" I always said that there is no right in the one who forgets old friends! .. "(" Maksim Maksimych ") stand his reactions to clarify the officer that the" fashion will missed "the British (available in The mind, of course, Byron): "... because, they have always been twisted drunkards!" ("Bal").

The writer, pouching Pechista to the crowd, - the man of his circle, he sees and understands much more than the old Caucasian. But he is deprived of a direct sympathy for Pechorin, the news of whom the death of his "very pleased with the opportunity to print a magazine and" put your name over a strange thing. " Let it be a joke, but for too gloomy. Finally, Pechorin himself fearlessly, not trying to justify anything, talks about himself, analyzes his thoughts and actions. In Tamani, the events are still in the foreground, in the "Princess Mary" no less significant experiences and reasoning, and in the "fatalist" the very title to the story with the philosophical problem.

But the most important thing is for what events are rearranged in time - this is how Pechorin leaves from the novel. We know that he is "exhausted" and died young. However, Roman ends the only act Pecherin, who is worthy of him. "The people went out, the officers congratulated me - and for sure, it was with what." No plot junction on the scale of the entire novel "Fatalist" does not contain, in the last phrase only the passage characteristic of Maxim Maxims is given, which "does not like metaphysical debates at all." But we say goodbye not only with the "Hero of Time", but also with a real hero, which could make wonderful things, are fateful. So he, according to Lermontov, and must remember the reader most. Composite reception expresses the author's hidden optimism, his faith in man.

Lesson 46. Century Lermontov in the novel

Wordwork: Scene self-sufficiency, climax, philosophical problem, symbolic image value.
During the classes

I. Conversation

The story "Princess Mary" is perceived as the main story in the novel. What do you think, why?

Analyze the relationship between Pechorin and Dr. Werner. How was the relationship with Pechorin with "Water Society"? Why?

Compare the Finals "Princess Mary" and "Tamani". Expressive reading of fragments.

How does the pepperine personality manifest in the diary manner? In its content?
III. Checking the perception of text with students. Dispute

Why Pechorin is a foreign element everywhere where he appears?

How is eyelid characterized through the main character of Roman Lermontov?
Homework

2. Compose in groups questions to verify the knowledge of the text of the chapter "Taman".

Lesson 47. Training Analysis of the Episode

(on the chapter "Taman")

The purpose of the lesson: Training in the main stages of analyzing the episode of artistic text.

I. We offer students a plan for working with an episode

Consider the episode "From the inside":

a) microsiness;

b) composition;

Install the coming links, consider the episode in the system of other episodes.

Pay attention to the possible "roll calls" episodes with other works.

Tie your observations with the theme, idea of \u200b\u200bwork, author's worldview and skill.
II. Work with a detailed work plan (he is heard on each table)

The role of the head "Taman" in the novel "Hero of our time":

1. division into parts, differing in the plot and heroes, is a distinctive feature of the novel "Hero of our time".

2. The role of the head "Taman" in the novel.

3. The plot of chapters, its construction.

4. Character of Pechorin, which protrudes from the events described; How contributes to the identification of its character's central situation of chapter.

5. Laconism Tale, accuracy and simplicity as distinctive features of narration.

6. Landscape, contrast, romantic motifs, accurate recreation of life, the image of the exotic world - ways to express the author's position.

7. "Taman" is the first part of Pechorin's diary records, from this chapter begins "self-dispersion" of the hero.

8. Influence of chapter on Russian literature (N. N. Tolstoy "Plastun" and the poem "by the sea" N. Ogarev).

1. Prepare for the final work on creativity M. Yu. Lermontov.

3. Individual tasks: Prepare a review of books about Gogol on the general topic "Interesting about Gogol."

4. Home essay. My favorite pages of the novel "Hero of Our Time". Analysis of the episode.
Information for teacher

The theme of fate and the case in the novel "Hero of Our Time" 1

The topic of fate and the case, passes through the entire novel "Hero of Our Time", becomes central to the story "Fatalist".

It is from here that the thread to the "Fatalist" stretches. The word "case" has special significance. In fact, with the same case, Pechorin in the "fatalist" faces his authority.

So fighting with the case. Constant clarification who someone. And the constant victory is at least within the novel.

Lesson 48. Final on creativity M. Yu. Lermontov

The purpose of the lesson: Remove the assimilation of the topic.
During the classes