In what works of Russian classics is the conflict between representatives of different generations reflected, and in what way can these works be compared with Turgenev's "Fathers and Sons"? A collection of ideal essays on social studies.

What is the meaning of life? Will a person be able to accomplish something important in his life? How to find a goal, get satisfaction from life and achieve everything you want? These and many other questions arise before each individual, when he, growing up, passes from the reflex stage of development to the human, where his intellect begins to dominate in determining the general behavior and way of life.

The theme of the meaning of life, of being, was of interest to many Russian writers. They sought to answer the most difficult questions life: about the Motherland, about love, about happiness, about the laws of the eternal universe and God.

For example, A. Blok believed that those who understand the meaning of life will comprehend a lot. If a person reveals that the meaning of life is in worry, also in anxiety, then he will no longer be a simple inhabitant.

A.S. Griboyedov also reflects eternal problem search for the meaning of life, the problem of children and fathers in his numerous works, the most striking of which is "Woe from Wit." His main character A. Chatsky is protesting against all the old order, which has long been rooted in society. He fights actively for freedom, new life, patriotism and culture.

Another no less famous writer last century, I.S. Turgenev, also touches on the eternal question of finding the meaning of life. His famous novel"Fathers and Sons" solves in a slightly different way the age-old problem of relationships between different generations. Using his protagonist as an example, Turgenev shows that if, without the desire to build something new, to do it under oppression, nothing will work. You need to strive for the continuity of generations, the values ​​of the culture of your ancestors. Turgenev once again proves in his works that you need to live in complete harmony, responsibility and gradualness.

And what about the novel by A.S. Pushkin "Eugene Onegin?" It also addresses eternal themes... These are the themes of love, the meaning of life, relationships, freedom of choice, the role of morality in our life.

The desire for complete harmony with the world and with oneself distinguishes another famous hero literature of the 19th century - Raskolnikov. This person, in search of such harmony, conducts one experiment on himself. He breaks the law and kills the old woman. What was Raskolnikov looking for? Harmony, freedom, happiness and independence? Aren't these values ​​the meaning of life for many of us? However, it should be remembered that if you go the wrong way to achieve your goals, then the retribution will be too harsh.

The heroes of Tolstoy's epic "War and Peace" are also in constant search of themselves, harmony, and their own path. For example, Pierre Bezukhov, after overcoming numerous painful mistakes and disappointments, eventually finds the meaning of his life. He strives for truth, dignity and light. Isn't this the meaning of our existence?

In conclusion, I would like to say that all the literature of the 19th century and not only can be called the literature of an active search for the meaning of life, the search for a Hero. Many writers strove to see in the heroes people who are able to serve the Motherland, respect others, bring benefit to the Motherland with their actions and thoughts, and millet to be happy, develop, be in harmony with themselves and move forward.

Each of the Russian writers solves the problem of the meaning of life in their own way, but the constant desire to go forward remains unchanged for the Russian classics.

Many works of Russian classics touch upon the problem of intergenerational relations, for example, the novel "Fathers and Sons" by Ivan Sergeevich Turgenev and the comedy "Woe from Wit" by Aleksandro Sergeevich Griboyedov.

Turgenev in his work depicted the conflict between the older conservative generation and the free-thinking young. The main participants in it are Evgeny Bazarov and Pavel Petrovich Kirsanov. The first, not hiding his aversion to conservatism, which runs contrary to his nihilistic views, allows himself harsh statements and even provokes Pavel Petrovich to a duel. At first glance, Katerina from Ostrovsky's drama "The Thunderstorm" does not look like Evgeny, because she lacks the openness and swagger inherent in Bazarov. She is locked in the fetters of Kabanikha, who keeps the whole house in fear. However, both of them have serious convictions that later they betray: Katerina is very religious, but betrays her faith by throwing herself off a cliff because of inaccessible love; Bazarov, being a nihilist, is not religious, but he also betrays his convictions, allowing himself to fall in love with Odintsov: "You must know that I love you stupidly, madly ..." different characters the connection is traced.

Alexander Sergeevich Griboyedov created such a free-thinking and advanced character for his time as Alexander Andreyevich Chatsky.

Having arrived from developed Europe to Moscow, he was surrounded by people who, in his opinion, look and behave out of date. Trying to correct and challenge this, Chatsky received resistance, was ridiculed and left Moscow: "Get out of Moscow! I don't come here anymore." The heroine of Ostrovsky Katerina was not opposed to the conservatism of Kabanikha, however, just like Chatsky, who dreamed of transforming Famus Society, she was not understood. Varvara laughed at her dreaminess: "... You are kind of tricky, God is with you! .." and ate at home at all ... ".

The clash of generations was relevant for Russian literature of the nineteenth century. These works widely reveal this conflict to the reader and allow the presented works to be compared with Ostrovsky's "Thunderstorm".

What works of Russian classics, touching upon the problems of intergenerational relations, are close to the play by A.N. Ostrovsky and in what?

STEP 1

Phenomenon 5

Kabanova, Kabanov, Katerina and Varvara.

Kabanova. If you want to listen to your mother, as soon as you get there, do as I ordered you.

Kabanov. But how can I, mamma, disobey you!

Kabanova. Elders are not respected very much nowadays.

Varvara (to herself). You will not respect you, of course!

Kabanov. I think, mama, not a step out of your will.

Kabanova. I would have believed you, my friend, if I hadn’t seen it with my own eyes and with my ears heard what the respect for parents from children has now become! If only they remembered how many diseases mothers endure from their children.

Kabanov. I, mamma ...

Kabanova. If the parent says something when and offensive, by your pride, so, I think, it could be transferred! A! how do you think?

Kabanov. But when, mamma, could I not bear it from you?

Kabanova. Mother is old, stupid; Well, and you, young people, smart, should not exact from us, fools.

KABANOV (sighing, aside). Oh, my God! (To the mother.) Do we dare, mamma, to think!

Kabanova. After all, from love, parents are strict with you, because of love they scold you, everyone thinks to teach good. Well, I don’t like it these days. And the children will go to the people to praise that the mother is a grumble, that the mother does not give a pass, she squeezes out of the light. And, God forbid, some word will not please the daughter-in-law, well, the conversation started that the mother-in-law had completely eaten.

Kabanov. Nothing, mamma, who is talking about you?

Kabanova. I haven’t heard, my friend, I haven’t heard, I don’t want to lie. If I had heard, I would have spoken to you, my dear, then not so. (Sighs) Oh, a grave sin! How long is it to sin! A conversation close to your heart will go, well, you will sin, you will be angry. No, my friend, say what you want about me. You can't tell anyone to talk; they will not dare in the eyes, so they will be behind the eyes.

Kabanov. Dry your tongue.

Kabanova. Full, full, don't swear! Sin! I've seen for a long time that your wife is dearer than your mother. Since I got married, I don’t see your old love from you.

Kabanov. Where do you see this, mamma?

Kabanova. Yes in everything, my friend! What a mother does not see with her eyes, so her heart is a thing, she can feel with her heart. Al's wife, or something, takes you away from me, I really don't know.

Kabanov. No, mamma! what are you, have mercy!

Katerina. For me, mamma, everything is one that own mother that you, and Tikhon loves you too.

Kabanova. You, it seems, could have kept quiet if they didn’t ask you. Do not intercede, mother, I will not offend, I suppose! After all, he is my son too; do not forget that! Why did you jump out in your eyes to whine! To see, perhaps, how you love your husband? So we know, we know, in the eyes you prove it to everyone.

Varvara (to herself). Found a place to read.

Katerina. You are talking about me, mamma, in vain you say this. Whether with people or without people, I am all alone, I don’t prove anything from myself.

Kabanova. I didn't even want to talk about you; and so, by the way I had to.

(A. N. Ostrovsky, "The Thunderstorm".)

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Many Russian writers touched upon the problems of intergenerational relations in their works.

So in the novel by IA Goncharov "Oblomov" from the chapter "Dream" the reader can learn some details about the childhood of the protagonist. Little Ilyusha was always under the supervision of nannies. Excessive care of the older generation prevented Oblomov from forming as a person. Spoiled in childhood, the boy remained a slave of Oblomovism for the rest of his life.

The problem of intergenerational relations is reflected in many works of Russian classical literature... In the drama A. N. Ostrovsky "The Thunderstorm" older generation- people who live according to the strict law of Domostroi and demand the same from the rest, and the new generation are victims of old people who dream of freedom.

In the play, just as in the comedy by A. Griboyedov "Woe from Wit", "the present century and the past century" are opposed to each other. And Katerina, in my opinion, has similarities with A. Chatsky, who, like Kabanikha's daughter-in-law, is also a “ray of light.” Only Katerina does not accept the foundations of the “dark kingdom”, and A. Chatsky does not accept the foundations of the Famus society.

Also close to "Thunder" in its own way ideological content I. S. Turgenev's novel "Fathers and Sons", in which there is a "new man" - nihilist Yevgeny Bazarov, a representative of the generation of "children", an opponent of the liberal nobility. As a revolutionary democrat, he opposes the "present century", the generally accepted morality and the autocratic-serf system.

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