How the century is characterized through the protagonist. A Hero of Our Time "in criticism. He was of medium height; his slender, slender waist and broad shoulders proved his strong build, the way

1. Speech by students of group I: selective retelling of "Bela".

- Why did the author put the story of Pechorin's love story into the mouth of Maxim Maksimych?

- What pages of the story puzzled you, caused bewilderment? Recall, for example, the contrasting episodes: Pechorin's unforgettable hunt - and his fright, confusion, as soon as "the shutter knocks."

- How did you meet Bela's abduction and Pechorin's "novel" in the fortress? And his terrible laugh when Maksim Maksimych remembered the death of "unfortunate Bela"? What words of Pechorin, perhaps, will explain the story with Bela, shed light on this mysterious page of his life?

2. Speech by students of the II group on the story "Maksim Maksimych". Artistic retelling: portrait of Pechorin.

- Which of the heroes gives a portrait of Pechorin? Why?

- Why does the scene of Pechorin's meeting with Maksim Maksimych make you sympathize with Pechorin too?

- In the novel there is Pechorin's confession, which, it would seem, could explain his character, would help to understand the hero who was so unlucky in the opinion of those around him: “I was ready to love the whole world ...” What pages, however, can sow doubt about this? Why, for example, is he so cold, indifferent to Maxim Maksimych with their last meeting?

- What are the secrets of the artistic expressiveness of the portrait of Pechorin?

III. Lesson summary.

Homework: prepare for the commented reading of the story "Princess Mary"; select episodes that characterize the "age of Lermontov".

Lesson 45

Lermontov's century in the novel

Goals: to teach to compare the actions, characters of the heroes of the story with the character of Pechorin; teach monologue speech; analyze the story "Princess Mary".

During the classes

I. Work on the topic of the lesson.

1. Introductory remarks by the teacher.

The story "Princess Mary" is perceived as main story in the novel. Why do you think? Probably because this story is characterized by plot self-sufficiency; it is the culmination of Pechorin's diary; it contains most of all discussions about the soul and destiny; in this story, the philosophical content of the novel receives the most detailed elaboration.

But before we start working on this story, let's try to find the "key" to Lermontov's novel and the image of Pechorin. Probably, this is the recognition of the hero, containing his entire life: "My colorless youth passed in the struggle with myself and the light." Pechorin, however, speaks only of youth, considering it "colorless". Do you accept such self-esteem? By the way, we know little about Pechorin's youth. And all the same: is it possible to imagine it, "conjecture"? Pechorin constantly falls into self-deprecation: "I did not guess my appointment ... I chased the bait of empty and ungrateful passions ..." What is your opinion about these confessions of Pechorin?

- But what does it mean - "struggle with oneself and the light"? Who prevailed in this fight?

- Are there any changes in artistic world novel - and in Pechorin?

Let's turn to Taman. By the way, what is the genre of Taman? Is it by chance that Lermontov writes not a story, not a story, but a short story? Does the genre of this part of the novel correspond to the character of Pechorin?

2. Concise analytical retelling of "Taman" (by a trained student). Conversation on the story "Taman".

- Who is the storyteller? Why?

- What are the secrets of Taman's poetry? (Do you know that Chekhov was in love with these pages?)

- Does Pechorin change in Taman? Why, despite the dangers, does he feel so good, at ease, in this "nasty town"?

- What confessions of Pechorin seemed especially significant, downright Lermontov's discoveries?

Here is one of them: "I have memorized this song from word to word."

3. Work in groups.

Compare the adjacent pages of the novel: "Taman" and "Princess Mary". Where is it more difficult for Pechorin? And yet: does Taman continue in its own way for Pechorin here, among the "water society"?

- What pages of the story "lead" the style of "Taman", its images? Why does she so stubbornly remind of herself, although Pechorin finds himself in a completely different world - among the "light", the "struggle" with which became his life? But let's not forget: with ourselves.

- Does the chapter "Princess Mary" remind the poetry of M. Yu. Lermontov? Compare: "How often surrounded by a motley crowd ..." and "Princess Mary". Why is there the same contrast in the chapter of the novel: "the dreams of one's creation ..." and "iron verse, drenched in bitterness and anger ..."?

- Which pages of "Princess Mary" are especially lyrical, quivering?

Group assignments:

Group I. Pechorin and Vera ... How did you see and feel the hero of Lermontov in this "romantic" story?

How and why does the relationship between Pechorin and Vera develop?

What does the tragic scene of the pursuit of Vera indicate? Compare it with the chase scene in Bela, noting the symbolic meaning of the horse image in both cases.

Group II. And the story with Mary? What entry in Pechorin's diary may have surprised you? (“Why am I so persistently seeking the love of a young girl whom I don’t want to seduce and whom I will never marry?”) Is Pechorin mysterious to himself? And yet, maybe it is possible to explain his actions?

Analyze the history of the relationship between Pechorin and Princess Mary. For comparison: in Fatalist, pay attention to the episode with the sergeant's daughter Nastya as an example of Pechorin's usual indifference to a woman.

III group. and finally, the story with Grushnitsky.

The initial impetus for all events is given by the relationship of these two young people.

Analyze the history of their friendship and enmity. Compare it with the situation "Onegin - Lensky" and with Pushkin's reasoning about friendship in the second chapter of the novel "Eugene Onegin".

Why, in relation to Grushnitsky, Pechorin is completely different: he now and then "interferes" with him in his courtship of the princess. What did this remind you of? Another analogy: the same "triangle" as in "Woe from Wit." Compare the close pages of the comedy of Griboyedov and the novel of Lermontov and the outcome of the "love" duels: Chatsky - Molchalin, Pechorin - Grushnitsky.

Is Pechorin fair in relations with people? To Grushnitsky, for example? And isn't Pechorin cruel in relation to Princess Mary? Why does Pechorin need this imaginary "novel"?

- What plot twist captured you especially? Of course, a duel with Grushnitsky!

Again - the strangeness of Pechorin. How did you understand him in the intricacies of events around the duel? How did you react to his shot and the death of Grushnitsky? Compare the duel in "Onegin" and in "A Hero of Our Time", which means that Onegin and Pechorin are in the most terrible test for them.

IV group. Is there a contrasting hero in the novel in his relationship with Pechorin? Is Dr. Werner necessary in the novel?

Analyze Pechorin's relationship with Dr. Werner.

How did Pechorin's relationship with the "water society" develop? Why?

4. Comparison of the finals of "Princess Mary" and "Taman". Expressive reading of fragments.

Despite the generality of the theme - the seascape - there is a significant difference: in "Taman" it is a real landscape, and in "Princess Mary" - an imaginary, romantic emblem of Pechorin's inner world.

- How does Pechorin's personality manifest itself in the manner of keeping a diary?

5. Dispute on the topic "Pechorin - a hero of his time?"

- Why is Pechorin like a foreign element wherever he appears?

- How is the century characterized through the protagonist of the novel? Is Pechorin a hero of his time?

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

- Does the story "Fatalist" continue that fatal "experiment", which Pechorin goes to in a duel with Grushnitsky?

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

What is the genre of these pages? Again - a short story! Why? Unravel the mysterious plot of Fatalist. Why is Lermontov completing the novel with these pages, having apparently exhausted the secrets of Pechorin's "I"?

- And yet: is this rebellious note - the secret in Pechorin? Let us remember him in the most disturbing moment of his life - the morning before the duel. It could have been his last morning. Let us recall Lermontov's lines, which are close to these pages of the novel, which sound like poetry: "I don't remember a morning that is bluer and fresher! .."

Age of Lermontov in the novel "A Hero of Our Time".

Who is he?

How often, a motley crowd is surrounded,

When in front of me, as if through a dream,

With the noise of music and dance,

With a wild whisper of recited speeches,

Images of soulless people flicker

Decency tightened masks ...

"Princess Mary"

Plot

Pyatigorsk

“Yesterday I arrived in Pyatigorsk, rented an apartment on the edge of the city, on the highest place, near

dosha Mashuka: during a thunderstorm, clouds will

go down to my roof ... "

“The air is clean and fresh, like the kiss of a child; the sun is bright, the sky is blue - what would seem more? Why are there passions, desires, regrets? .. "

His name was ... Grigoriy Aleksandrovich Pechorin.

• He was of medium height; his slender, slender waist and broad shoulders proved a strong build,

able to endure all the difficulties of nomadic life, not defeated by the debauchery of the life of the capital by the storms of the soul ...

Princess

“… Another young, slender one. She was wearing a pearl-gray dress, and a light silk kerchief curled around her flexible neck. Boots of a reddish-brown color pulled her lean leg at the ankle so sweetly that even an uninitiated into the mysteries of beauty would certainly have gasped, albeit in surprise. Her light, but noble gait had something virgin in itself, eluding definition, but understandable to the eye. When she passed us, she breathed that inexplicable aroma that sometimes breathes a note of a sweet woman. "

Grushnitsky

He is quite sharp: his epigrams are often funny, but there are never marks and evil: he will not kill anyone with one word; he does not know people and their weak strings, because all his life he has been occupied with oneself. His goal is to become the hero of the novel. He so often tried to assure others that he was not a creature created for the world, doomed to some kind of secret suffering, that he himself was almost sure of it ...

I don’t like him either: I feel that someday we will run into him on a narrow road, and one of us will be uncomfortable ... "

“For a long time in the moonlight a white sail flashed between the dark waves; The blind man was still sitting on the shore, and then I heard something similar to sobbing: the blind boy seemed to be crying, and for a long, long time ... I felt sad. And why would fate have thrown me into a peaceful circle of honest smugglers? Like a stone thrown into a smooth spring, I disturbed their calmness and, like a stone, I almost sank myself!

“I am like a sailor, born and raised on the deck of a robber brig: his soul has gotten used to storms and battles, and, cast ashore, he is bored and languishing, no matter how the shady grove beckons him, no matter how the peaceful sun shines on him; he walks for himself all day on the coastal sand, listens to the monotonous murmur of the oncoming waves and peers into the misty distance: will not there flicker on the pale line separating the blue abyss from the gray clouds, the coveted sail, at first similar to the wing of a sea gull, but gradually separating from the foam of the boulders and even running approaching the deserted pier ... "

Check yourself.

The theme of the artwork is:

Check yourself:

Define the idea of ​​the novel "A Hero of Our Time":

Check yourself.

What is the tragedy of Pechorin:

check yourself

The psychological nature of the landscape in the novel precedes the state of the characters, events, and their outcome. Which event is preceded by this landscape: “... Around, lost in the golden fog of the morning, the tops of the mountains crowded, like countless herds, and Elbrus in the south stood up like a white bulk, closing the chain of icy peaks, between which filamentary clouds that had come from the east were already wandering. I went to the edge of the platform and looked down, my head almost started spinning: it seemed dark and cold down there, as in a coffin; the mossy teeth of the rocks, thrown off by thunder and time, were waiting for their prey. "

check yourself

28.03.2013 17859 2382

Lesson 45 Lermontov's century in the novel

Goals: to teach to compare the actions, characters of the heroes of the story with the character of Pechorin; teach monologue speech; analyze the story "Princess Mary".

During the classes

I. Work on the topic of the lesson.

1.Introductory speech of the teacher.

The story "Princess Mary" is perceived as the main story in the novel. Why do you think? Probably because this story is characterized by plot self-sufficiency; it is the culmination of Pechorin's diary; it contains most of all discussions about the soul and destiny; in this story, the philosophical content of the novel receives the most detailed elaboration.

But before we start working on this story, let's try to find the "key" to Lermontov's novel and the image of Pechorin. Probably, this is the recognition of the hero, containing his entire life: "My colorless youth passed in the struggle with myself and the light." Pechorin, however, speaks only of youth, considering it "colorless". Do you accept such self-esteem? By the way, we know little about Pechorin's youth. And all the same: is it possible to imagine it, "conjecture"? Pechorin constantly falls into self-deprecation: "I did not guess my appointment ... I chased the bait of empty and ungrateful passions ..." What is your opinion about these confessions of Pechorin?

- But what does it mean - "struggle with oneself and the light"? Who prevailed in this fight?

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

Let's turn to Taman. By the way, what is the genre of Taman? Is it by chance that Lermontov writes not a story, not a story, but a short story? Does the genre of this part of the novel correspond to the character of Pechorin?

2.Concise analytical retelling of "Taman"(by a trained student). Conversation on the story "Taman".

- Who is the storyteller? Why?

- What are the secrets of Taman's poetry? (Do you know that Chekhov was in love with these pages?)

- Does Pechorin change in Taman? Why, despite the dangers, does he feel so good, at ease, in this "nasty town"?

- What confessions of Pechorin seemed especially significant, downright Lermontov's discoveries?

Here is one of them: "I have memorized this song from word to word."

3.Group work.

Compare the adjacent pages of the novel: "Taman" and "Princess Mary". Where is it more difficult for Pechorin? And yet: does Taman continue in its own way for Pechorin here, among the "water society"?

- What pages of the story "lead" the style of "Taman", its images? Why does she so stubbornly remind of herself, although Pechorin finds himself in a completely different world - among the "light", the "struggle" with which became his life? But let's not forget: with ourselves.

- Does the chapter "Princess Mary" remind the poetry of M. Yu. Lermontov? Compare: "How often surrounded by a motley crowd ..." and "Princess Mary". Why is there the same contrast in the chapter of the novel: "the dreams of one's creation ..." and "iron verse, drenched in bitterness and anger ..."?

- Which pages of "Princess Mary" are especially lyrical, quivering?

Group assignments:

Group I. Pechorin and Vera ... How did you see and feel the hero of Lermontov in this "romantic" story?

How and why does the relationship between Pechorin and Vera develop?

What does the tragic scene of the pursuit of Vera indicate? Compare it with the chase scene in Bela, noting the symbolic meaning of the horse image in both cases.

Group II. And the story with Mary? What entry in Pechorin's diary may have surprised you? (“Why am I so persistently seeking the love of a young girl whom I don’t want to seduce and whom I will never marry?”) Is Pechorin mysterious to himself? And yet, maybe it is possible to explain his actions?

Analyze the history of the relationship between Pechorin and Princess Mary. For comparison: in Fatalist, pay attention to the episode with the sergeant's daughter Nastya as an example of Pechorin's usual indifference to a woman.

III group. and finally, the story with Grushnitsky.

The initial impetus for all events is given by the relationship of these two young people.

Analyze the history of their friendship and enmity. Compare it with the situation "Onegin - Lensky" and with Pushkin's reasoning about friendship in the second chapter of the novel "Eugene Onegin".

Why, in relation to Grushnitsky, Pechorin is completely different: he now and then "interferes" with him in his courtship of the princess. What did this remind you of? Another analogy: the same "triangle" as in "Woe from Wit." Compare the close pages of the comedy of Griboyedov and the novel of Lermontov and the outcome of the "love" duels: Chatsky - Molchalin, Pechorin - Grushnitsky.

Is Pechorin fair in relations with people? To Grushnitsky, for example? And isn't Pechorin cruel in relation to Princess Mary? Why does Pechorin need this imaginary "novel"?

- What plot twist captured you especially? Of course, a duel with Grushnitsky!

Again - the strangeness of Pechorin. How did you understand him in the intricacies of events around the duel? How did you react to his shot and the death of Grushnitsky? Compare the duel in "Onegin" and in "A Hero of Our Time", which means that Onegin and Pechorin are in the most terrible test for them.

IV group. Is there a contrasting hero in the novel in his relationship with Pechorin? Is Dr. Werner necessary in the novel?

Analyze Pechorin's relationship with Dr. Werner.

How did Pechorin's relationship with the "water society" develop? Why?

4.Comparison of the finals of "Princess Mary" and "Taman". Expressive reading of fragments.

Despite the generality of the theme - the seascape - there is a significant difference: in "Taman" it is a real landscape, and in "Princess Mary" - an imaginary, romantic emblem of Pechorin's inner world.

- How does Pechorin's personality manifest itself in the manner of keeping a diary?

5. Dispute on the topic "Pechorin - a hero of his time?"

- Why is Pechorin like a foreign element wherever he appears?

- How is the century characterized through the protagonist of the novel? Is Pechorin a hero of his time?

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

- Does the story "Fatalist" continue that fatal "experiment", which Pechorin goes to in a duel with Grushnitsky?

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

What is the genre of these pages? Again - a short story! Why? Unravel the mysterious plot of Fatalist. Why is Lermontov completing the novel with these pages, having apparently exhausted the secrets of Pechorin's "I"?

- And yet: is this rebellious note - the secret in Pechorin? Let us remember him in the most disturbing moment of his life - the morning before the duel. It could have been his last morning. Let us recall Lermontov's lines, which are close to these pages of the novel, which sound like verses: "I don't remember a morning that is bluer and fresher! .."

II. Lesson summary.

Homework:

1) make tests for the chapter "Taman";

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The appearance of Lermontov's novel immediately caused a sharp controversy that revealed the polar opposite of his interpretations and assessments. Earlier than others, he appreciated "Hero ..." with extraordinary fidelity. Belinsky, in the very first printed response to the novel, who noted in it “ deep feeling reality "," richness of content "," deep knowledge of the human heart and modern society"," Originality and originality "of the work, representing" a completely new world of art. " With the concretization and development of these thoughts, the critic spoke in a large article dedicated to the "Hero ..." and published in the summer of 1840 in "OZ", showing the enormous life-cognitive, socio-psychological and philosophical significance of the image of Pechorin, as well as the novel as a whole. Protective criticism fell upon Lermontov's novel, seeing in it, especially in the image of Pechorin, a slander against Russian reality.

Belinsky's view of the essence and significance of the "Hero ..." was largely developed in the new historical conditions by N. G. Chernyshevsky and N. A. Dobrolyubov. Chernyshevsky pointed out the role of the "Hero ..." in the formation psychological analysis in the works of L. N. Tolstoy ("dialectics of the soul"). At the same time, agreeing to recognize the significance of the socio-psychological type of their time for Pechorin, the revolutionary democrats somewhat underestimated the moral and philosophical content of this image, sometimes overly bluntly opposing it and other "superfluous people" of the 1830s-1840s to the commoners of the sixties. Pechorin's lack of socially useful activity, viewed from the standpoint of contemporary problems, was interpreted by Dobrolyubov as a manifestation of the social essence of his character, whose name is “Oblomovism” (“What is Oblomovism?”, 1859). Herzen turned out to be more historical in his interpretation of the essence and meaning of "superfluous people", in particular Onegin and Pechorin. In Art. "Superfluous people and bile" (1860), opposing their identification with modern liberals, he stressed that " extra people were then as necessary as is necessary now, so that they were not. " At the same time, Herzen was inclined to identify Lermontov with Pechorin, arguing that the poet died in the hopeless hopelessness of the Pechorin trend ... ".

Slavophil and liberal-Western criticism (KS Aksakov, SS Dudyshkin, AV Druzhinin and others) converged in their denial of the "Lermontov direction"; Lermontov was declared the last Russian poet of the imitative era, respectively, exaggerating the importance of Western European sources of the image of Pechorin. In the research literature, this tendency was most clearly manifested in the works of comparativists (E. Duchenne, S. I. Rodzevich, and others), in which, despite some precise observations, the search for the context of "parallels" prevailed. The research of representatives of the cultural-historical school (A. N. Pypin, N. A. Kotlyarevsky) was more meaningful. In their works, for the first time, the idea of ​​"reconciliation" of Lermontov with life, which was developed in pre-revolutionary literature, was indicated. Populist criticism in the person of N.K. Mikhailovsky, on the contrary, put forward a protesting principle in the work of Lermontov, but the false theory of "the crowd and the hero" prevented him from penetrating into the true essence of Pechorin's image.

Symbolists of the beginning of the XX century. (V. S. Soloviev, D. S. Merezhkovsky) considered Lermontov's poetic heritage and novel without regard to concrete historical problems, trying to find in the author and his heroes a mystical, "superhuman" principle. The representative of the psychological school DN Ovsyaniko-Kulikovsky derived the content of "Hero ..." from the depths of the author's psychology, identifying Lermontov with Pechorin, considering innate "egocentrism" to be the main thing in their characters. At the same time, M. Gorky considered Lermontov's work from a different socio-historical point of view in the course of Russian literature, read in 1909 at the Capri school. The main thing in him for Gorky is "a greedy desire for action, active intervention in life." Emphasizing the typicality of Pechorin and at the same time his spiritual closeness 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 defined in a number of general works about Lermontov and his era, which belonged to representatives of early Marxist criticism (G. V. Plekhanov, A. V. Lunacharsky); they raised questions about the social content of Lermontov's work, about his connection with the social movement.
The originality of the plot and composition of the novel 1

"A Hero of Our Time" is both similar and unlike the traditional novel that has developed in the West. It does not tell about an incident or an event with a tie and a denouement that exhausts the action. Each story has its own plot. The fourth story is closest to the traditional novel - "Princess Mary", but its finale contradicts the Western European tradition and on the scale of the entire work is in no way a denouement, but implicitly motivates the situation of "Bela", placed in the first place in the general narrative - explains why Pechorin ended up in the fortress under the command of Maxim Maksimych. Bela, Taman, Fatalist abound with adventures, Princess Mary - with intrigues: the short work, A Hero of Our Time, unlike Eugene Onegin, is oversaturated with action. It contains many conventional, strictly speaking, implausible, but just typical situations for novels. Maxim Maksimych has just told a random fellow traveler the story of Pechorin and Bela, and immediately they meet with Pechorin. In different stories, the heroes repeatedly eavesdrop and spy - without this there would be no story with the smugglers, no exposure of the conspiracy of the dragoon Getmtan and Grushnitsky against Pechorin. The main character predicts his death on the way, and so it happens. At the same time, "Maksim Maksimych" is almost devoid of action, it is primarily a psychological study. And all the various events are not valuable in themselves, but are aimed at revealing the character of the hero, reveal and explain his tragic fate.

The compositional rearrangement of events in time serves the same purpose. Pechorin's monologues, directed to his past, constitute the novel's prehistory. For some reason, this St. Petersburg aristocrat turned out to be an army officer in the Caucasus, travels there through Taman "on the way to the state's needs," then, together with Grushnitsky, participates in battles, which is mentioned in "Princess Mary", and after a while he meets with him in Pyatigorsk. After the duel, he lived with Maksim Maksimych for "a year" in the fortress, from where he left for the Cossack village for two weeks. Upon retirement, he probably lives in St. Petersburg, then travels. In Vladikavkaz, he accidentally meets Maksim Maksimych and an officer dealing with literature, who receives from the captain "some notes ..." and subsequently publishes them with a preface beginning with the words: from Persia, died. " The sequence of the “chapters” in the novel is as follows: “Bela”, “Maksim Maksimych”; "Pechorin's Journal" - a foreword by the publisher, "Taman", "Princess Mary", "Fatalist". That is, the action begins in the middle after the announcement of the death of the hero, which is highly unusual, and the previous events are described thanks to the journal after those that happened later. This intrigues the reader, makes him reflect on the mystery of Pechorin's personality, explain for himself his "great oddities."

As the events are presented, as they are presented in the novel, Pechorin's bad deeds accumulate, but his guilt is less and less felt and her dignity is more and more looming. In "Bela" he, on his whim, commits a series of crimes in the soup, although according to the concepts of the nobility and officers who participated in Caucasian War, they are not. In "Maxim Maksimych" and "Taman" everything goes without blood, and in the first of these stories Pechorin involuntarily offended his old friend, and in the second his victims are only strangers without moral principles(the girl is ready to drown Pechorin on one suspicion of wanting to convey, she and Yanko abandon the old woman and the blind boy to their fate). In "Princess Mary" Pechorin is very guilty, the people around him are mostly absolutely vile - they turn the "comedy" he had conceived into a heavy drama with the death of a man, not the worst of them. Finally, in The Fatalist, the tragic outcome is not at all Pechorin's bet with Vulich, and then Pechorin performs a real feat, capturing a murderer Cossack, whom they already wanted to “shoot” in front of his mother, without giving him the opportunity to repent, even though he “ not a cursed Chechen, but an honest Christian. "

Undoubtedly, important role playing a change of narrators. Maksim Maksimych is too simple to understand Pechorin, he basically expounds external events. Pechorin's big monologue about his past, which he gave, is conditionally motivated: “He spoke like this for a long time, and his Words stuck in my memory, because the first time I heard such things from a 25-year-old man, and, God willing, the last .. . "The words of the captain:" I have always said that there is no use in who forgets old friends! .. "(" Maxim Maksimych ") are worth his reaction to the officer's explanation that the British introduced mind, of course, Byron): "... but after all, they were always notorious drunkards!" ("Bela").

The writer who denounces Pechorin with his own eyes is a man of his circle, he sees and understands much more than the old Caucasian. But he lacks direct sympathy for Pechorin, the news of whose death he "greatly delighted" the opportunity to print a magazine and "put his name above someone else's work." Let this be a joke, but for too dark a reason. Finally, Pechorin himself fearlessly, not trying to justify himself, talks about himself, analyzes his thoughts and actions. In "Taman" events are still in the foreground, in "Princess Mary" experiences and reasoning are no less significant, and in "Fatalist" the very title of the story is about a philosophical problem.

But the most important thing for the sake of which the events are rearranged in time is how Pechorin leaves the novel. We know that he “ran out of steam” and died young. However, the novel ends with the only act Pechorin deserves. "The people dispersed, the officers congratulated me - and, for sure, there was something." The Fatalist does not contain any plot denouement on the scale of the entire novel; the last phrase only gives a passing characterization of Maxim Maksimych, who “does not like metaphysical debates at all”. But we say goodbye not only to the "hero of the time", but also to a real hero who could have done wonderful things if his fate had been different. That is how he, according to Lermontov, should be remembered most of all by the reader. Compositional technique expresses the author's latent optimism, his faith in man.

Lesson 46. Age of Lermontov in the novel

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

Vocabulary work: plot self-sufficiency, climax, philosophical issues, the symbolic meaning of the image.
During the classes

I. Conversation

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

The story is characterized by plot self-sufficiency; this is the culmination of Pechorin's diary; it contains most of all discussions about the soul and destiny; in the chapter, the most detailed development receives the philosophical content of the novel.
II. Working in groups

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

Analyze the history of the relationship between Pechorin and Princess Mary. For comparison, in "Fatalist", pay attention to the episode with the daughter of the sergeant Nastya as an example of Pechorin's usual indifference to a woman.

How and why does the relationship between Pechorin and Vera develop? This is indicated by the tragic scene of the chase after Vera (compare it with the scene of the chase in the story "Bela", paying attention to the symbolic meaning of the image of the horse in both cases).

Analyze the relationship between Pechorin and Dr. Werner. How did Pechorin's relationship with the "water society" develop? Why?

Compare the finals of "Princess Mary" and "Taman". Expressive reading of fragments.

it difficult task, and the children should be helped to conclude that despite the generality of the theme - the seascape - there is a significant difference: in "Taman" it is a real landscape, and in "Princess Mary" - an imaginary, romantic emblem of Pechorin's inner world.

How does Pechorin's personality manifest itself in the manner of keeping a diary? In its content?
III. Testing the perception of the text by students. Dispute

Why is Pechorin, as it were, a foreign element wherever he appears?

How is the century characterized through the protagonist of the novel by Lermontov?
Homework

2. Make up questions in groups to test the knowledge of the text of the chapter "Taman".

Lesson 47. Teaching Episode Analysis

(according to the chapter "Taman")

The purpose of the lesson: teaching the main stages of the analysis of an episode of a literary text.

The students have already worked on analyzing part of the work (see lesson 24). Considering that the word "episode" in the examination topics presupposes precisely a part of the text for analysis on this lesson we will take the chapter "Taman". Considering also that we are dealing with a prose text, not a dramatic one, let us somewhat change the structure of the analysis.
During the classes

I. Offer students a plan for the episode

Consider the episode "from the inside":

a) microplot;

b) composition;

Establish close connections, view the episode in the system of other episodes.

Pay attention to possible "overlaps" of episodes with other works.

Link your observations to the theme, idea of ​​the piece, the author's worldview, and craftsmanship.
II. Working with a detailed composition plan(distributed to every table)

The role of the chapter "Taman" in the novel "A Hero of Our Time":

1. Division into parts, differing in plot and heroes, is a distinctive feature of the novel "A Hero of Our Time".

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

3. The plot of the chapter, its construction.

4. The character of Pechorin, emerging from the described events; how the central situation of the chapter contributes to the identification of his character.

5. Laconicism of the story, accuracy and simplicity as distinctive features narration.

6. Landscape, contrast, romantic motives, exact recreation of everyday life, depiction of an exotic world - ways of expressing the author's position.

7. "Taman" - the first part of Pechorin's diary entries, this chapter begins the "self-disclosure" of the hero.

8. The influence of the chapter on Russian literature (the story of NN Tolstoy "Plastun" and the poem "By the sea" by N. Ogarev).

9. High assessment of "Taman" by V. Belinsky: “We did not dare to make extracts from this story, because it resolutely does not allow them: it’s like some kind of lyric poem, all the charm of which is destroyed by one verse released or changed not by the poet himself ... "

Turning a cycle of stories into psychological romance- an innovative solution to the problem of the Russian novel and the beginning of its further development by Turgenev, Tolstoy and Dostoevsky.
Homework

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

3. Individual assignments: prepare a review of books about Gogol on the general topic “Interesting about Gogol”.

4. Home essay... My favorite pages of the novel "A Hero of Our Time". Episode analysis.
Information for the teacher

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

The theme of fate and chance, runs through the entire novel "A Hero of Our Time", becomes central to the story "Fatalist".

The events described in "Fatalist" are recorded by Pechorin in his own diary at about the same time as the story of the duel with Grushnitsky. It seems that Pechorina, during his stay in the fortress N worried about some question, in an attempt to clarify which there are records of the duel and the incident with Wulich. This is one and the same question, so the events of "Fatalist" must be correlated precisely with a duel. What is this question?

This is an opportunity to deal with the case. Why is Pechorin going to a duel with Grushnitsky? After all, from the very beginning Pechorin is trying to convince us that Grushnitsky is immeasurably below him, he does not miss the opportunity to stab Grushnitsky and literally forcibly makes us believe that everything that happens looks exactly the way he, Pechorin, describes. In the scene with the falling glass, the wounded Grushnitsky may indeed have been painful to bend over, but in Pechorin's presentation Grushnitsky appears to represent suffering.

In general, Pechorin denies Grushnitsky the right to be; portray, seem, pretend - yes, but not to be... This is the privilege of one Pechorin. Pechorin, unwillingly, in his diary betrays his passion to be above everyone - even when describing a completely foreign lady at the ball, he does not miss the opportunity to notice the "variegation of uneven skin" and a large wart on his neck, covered with a clasp. Pechorin is generally extremely perceptive, but why enter observations like these in a diary, which, in his own words, is kept by him for himself and should eventually serve as a "precious memory" for him? What joy did Pechorin want to experience in his declining years remembering this wart? But the point is not in a specific external defect that has not gone away from Pechorin's keen eye, the fact is that he practically cannot help but notice human shortcomings, those very "weak strings", the knowledge of which he is so proud of. This is a feature of his, Pechorin's, vision, and it stems primarily from the desire to be the best, the highest.

However, everything looks like this only in the diary, where Pechorin is the master, where he creates his world, placing the accents he needs. Real life, obviously, differs from the desired, and therefore anxiety penetrates into Pechorin's recordings. He had just convinced us of Grushnitsky's insignificance, looked down at him, when he suddenly dropped the phrase: "... I feel that someday we will run into him on a narrow road, and one of us will be uncomfortable." Maybe there are "strong strings" in Grushnitsky, the existence of which Pechorin cannot admit to himself? Or does Pechorin feel like he is not such an unambiguous celestial? One way or another, but the fight against Grushnitsky is so serious and tense that one cannot help but feel that this is how they fight only with an equal opponent.

Pechorin's anxiety has yet another basis. Pechorin is actually smart, observant, cold-blooded, courageous, decisive. He is used to achieving whatever he wants. However, Pechorin cannot but be concerned about the limits of his capabilities, his power. Is there something in the world that cannot be defeated by Pechorin's skills, which, as a rule, bring success? Can 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 him? A duel with Grushnitsky becomes for Pechorin not only a struggle with a man who dared to want to become on the same level with Pechorin, but also an opportunity to find out his relationship with such occasion who do not want to obey the will and reason of a person. Paradoxically, this is precisely why it is extremely important for Pechorin that Grushnitsky should be the first to shoot. And the point is not only that Pechorin has an internal justification for the murder; it is much more important that only in this situation it is possible to engage in single combat with the case. Shoot Pechorin first - he would have won without any doubt. But he would have defeated a man, which is no longer news to either Pechorin or to us. But when Grushnitsky fires first, when the muzzle of the pistol is directed against you, it is then that the deadly game begins, that very terrible experience that, as a little later Vulich, Pechorin will also put on himself.

What are the possible costs? Grushnitsky can simply miss or shoot to the side - then Pechorin wins, because the next shot will be behind him. Such an outcome, as well as winning the right to the first shot in general, would be desirable for Pechorin if he fought with a specific person and wished for his physical destruction, or at least only that. However, the essence of the matter lies much deeper, and in order to solve this case, Pechorin needs a situation that is as unfavorable as possible for him. So, Grushnitsky must shoot and at the same time aim at Pechorin, while Pechorin himself will stand on the edge of the cliff, so that even the slightest wound will cause a fall and death - these are the initial conditions under which it will be possible to measure strength with a case. In a situation when everyone is against him, Pechorin directs all his remarkable forces, all his knowledge of human nature to literally split Grushnitsky from the inside, squeeze him out, plunge him into such an abyss of internal struggle that he, even aiming at Pechorin, will not be able to get in. And Pechorin achieves this. And this becomes his real victory - solely by the power of his own will, he managed not to leave a single loophole for an unfavorable case for the outcome of the case, he managed to make it so that almost all possible outcomes can be calculated one hundred percent. This is breathtaking, for it is likely that chance, fate and all other transpersonal forces, which were given such importance, actually seem strong only because a person of such abilities, such firmness of such will has not yet appeared.

It is from here that the thread runs to the Fatalist. The word "chance" has a special meaning. In fact, with the same case, with his power Pechorin faces in "Fatalist".

Literally before his eyes, the same type of event occurs twice with Vulich: he gets something exceptional, really one case in a thousand. The first time there is a misfire of a loaded pistol and exactly at the moment when Vulich shoots himself, the second time - a meeting with a drunken Cossack, the intersection at one point in time and space of the whimsical and winding paths of two people. It should be noted that the uniqueness of the incident is specially emphasized: if the pistol was simply not loaded, the incident could be called almost commonplace; It was not just a meeting that led Vulich to death - he also approached the Cossack and spoke to him. But with this general exclusivity, the two incidents are opposite in result: for the first time, as a result of the incident, Vulich remains to live, and in the second, he dies. Is it because Pechorin was shocked when he learned about Vulich's death, because before his eyes, chance again demonstrates its strength, omnipotence, unpredictability, and lack of control? Chance governs a person's life, chance does what it wants. Is it because the events of the "Fatalist" are recorded in the diary because Pechorin cannot come to terms with what he saw, and what he saw precisely when it was just remembered and written down to the smallest detail how the character wins this very case (the duel with Grushnitsky)?

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

So, fight against chance. Constantly asking who is who. And a permanent victory, at least within the framework of the novel.

Lesson 48. Final on the creativity of M. Yu. Lermontov

The purpose of the lesson: to reveal the assimilation of the topic.
During the classes