The problem of "fathers and children" in Russian literature of the 19th century (second version). EGE Russian language

In the texts for preparing for the exam in the Russian language, there are often problems related to education. We combined them in this work, choosing literary arguments to everyone problematic issue. All these examples from books can be downloaded in table format (link at the end of the article).

The problem of childhood and its role in the formation of a person's personality is clearly displayed in the novel. I.A. Goncharov "Oblomov". Reading about the childhood of Ilya Ilyich Oblomov, we begin to understand why this hero adult life behaves just like that. In their native Oblomovka, everyone did nothing but eat and lie down, everything in their native estate breathed serene laziness. Mother protected little Ilyusha, he grew up like delicate flower. And so Ilya Oblomov grew up as an idle, completely unadapted person who could not even dress himself.
The significance of the childhood period in the development of a person's personality is shown in "Dead Souls" N.V. Gogol. Throughout the entire work, the reader gradually recognizes Pavel Ivanovich Chichikov. And a kind of completion of the disclosure of the image becomes a description of children's and youthful years hero. The father teaches the boy to save a penny, to please the bosses. Young Pavel listens to his father and puts his orders into practice. Chichikov, deprived of many benefits in childhood, seeks by all means to catch up and get everything from life. It is in the childhood of the character that we find the roots of his adventurous nature.

The problem of fathers and children

A textbook example of the disclosure of the problem of relationships between generations can be a novel I.S. Turgenev "Fathers and Sons". Arkady Kirsanov and Yevgeny Bazarov represent the camp of "children", in opposition to them are the Kirsanov brothers (Nikolai and Pavel), who represent the camp of "fathers". Bazarov brings new moods of youth, nihilism. And the old people, especially Pavel Petrovich Kirsanov, do not understand the ideas of denial. the main problem that the characters do not want to understand each other. And this is the main conflict of generations: the inability and unwillingness to accept and hear each other.
Tragically reveals the theme of relationships between generations in the drama A.N. Ostrovsky "Thunderstorm". The boar has long subjugated everyone in her house to her will, she does not even realize that her children are suffering. Daughter Barbara has long learned to lie and be hypocritical, she has adapted to life in the house of the Kabanikhi. Tikhon wants to escape from the house where his mother runs everything. There is no understanding or respect between mother and children. They are in different opposing camps, only the struggle of the "children" does not come to the surface. Varvara's rebellion in her double life: she says one thing to her mother, thinks and does another. Tikhon decides to say his word after Katerina's suicide, and until that moment he will strive to get out of the house that is suffocating him. The conflict of "fathers" and "children" leads to suffering on both sides.

family problem

M.E. Saltykov-Shchedrin in his novel The Golovlevs clearly showed how the specifics of upbringing within the family is reflected in the future life of already grown-up children. Arina Petrovna Golovleva is a mother, she divides children into hateful and favorites, gives them nicknames, which eventually crowd out their names. Children live from hand to mouth, although the estate is quite rich. None of the children of Arina Petrovna grew up in such conditions into a decent person: Stepan, the eldest son, squandered his fortune and returned to Golovlevo at the age of forty, daughter Anna ran away with a hussar, who soon disappeared, leaving a girl with two children, Pavel drinks, Porfiry (Judas) grows up as a cruel, petty person. No one became happy, because there was no happiness and love since childhood.
French writer François Mauriac in "The Monkey" shows how cruelly relationships within the family can affect the life and worldview of the child. The heroine hates her husband, she transfers this feeling to the child because of her unfulfilled hopes. Little Guillou, whom his mother calls "Monkey" grows up in an atmosphere of constant scandals, tantrums, and cruelty. He understands that he interferes with his mother, he is not needed here. And the child commits suicide. In the family of an aristocratic family, de Sernay did not care about the boy, he was a “bone of contention”, the cause of conflicts, and therefore the ending of the story is so tragic.

Right and Wrong Education

L.N. Tolstoy in his epic novel "War and Peace" draws several families. The Rostov family can be considered one of the exemplary ones. Rostov's mother brings up feelings of kindness and justice in her children. They grow up as decent people, ready for a feat, self-sacrifice. In the Kuragin family, completely different values were invested in the upbringing of offspring, therefore both Helen and Anatole are immoral inhabitants high society. So, Helen marries Pierre only for his money. Thus, what kind of values are invested in the upbringing of children depends on what kind of people they grow up to be.
In the novel "The Captain's Daughter" A.S. Pushkin the father bequeaths to his son Peter Grinev to protect honor from a young age. These words become a guide for Peter. He checks his every step according to this main testament of his father. That is why he gives a rabbit sheepskin coat to a stranger, does not kneel before Pugachev, remaining true to himself to the end, for which the rebel respects Grinev, leaving him alive. So, thanks to proper upbringing, the hero was able to remain a highly moral and decent person during the terrible peasant revolt.

The problem of parental responsibility for the fate of children

DI. Fonvizin in the comedy "Undergrowth" showed how parents themselves raise stupid, ignorant, spoiled children on their estates. Mitrofanushka is used to the fact that everything in this life revolves around him: the best caftan, and the teachers were chosen so as not to tire the child, and the bride you want. Mrs. Prostakova understands the mistake of her upbringing only at the end of the work, when her native Mitrofanushka tells her: “Yes, get rid of it, mother, how it was imposed ...”.
A.S. Griboyedov in the play "Woe from Wit" using the example of Molchalin, he shows how the covenants of parents are reflected in the character of a person. The father taught Molchalin to seek profit everywhere, and the son, having learned the advice of the parent, enters into life pragmatic, cunning man. He silently endures Famusov's neglect, plays love with his daughter Sophia, and all this for the sake of one goal - career advancement. The author demonstrates that such people appear for a reason, their nature is formed in childhood under the strict guidance of their parents.

Option 1

How is the main conflict of the work outlined in this episode of "Fathers and Sons"?

In this episode, the main conflict of the work "Fathers and Sons" is outlined by pointing out the external differences between the representatives of the "opposing sides", the difference in their external treatment.

So, Bazarov behaves deliberately carelessly, “does not stand on ceremony”: “order only my suitcase to be stolen there and this is my clothes”; stretching, sinks onto the sofa. While Pavel Petrovich Kirsanov and the old servant Prokofich behave according to the aristocratic tradition (Prokofich “took Bazar’s “clothes” with both hands and ... retired on tiptoe”; Kirsanov, greeting his nephew, politely “made a European“ shake hands ”).

Nevertheless, the manifestation of a certain disdain and even arrogance of the “aristocrats” in relation to Bazarov immediately becomes noticeable: Prokofich took the clothes “as if with bewilderment”, and Pavel Petrovich “did not give his hand and even put it back in his pocket”. Further in the work, the reader will see that Bazarov does not have the most flattering opinion about a new acquaintance.

It is also important to note what focuses on the appearance of Pavel Petrovich: he was dressed in fashion, dapper, "retained youthful harmony and aspiration upward, away from the earth." While when describing Bazarov in the previous parts of the novel, his negligence, indifference to his own appearance, stands out.

Thus, already at the meeting of the main characters - "opponents", the author points to a large number of differences between them, which are manifested in appearance and behavior. From the first minutes of their acquaintance, the characters are imbued with distrust of each other, and in the future, the conflict between “fathers and children” continues to grow, and the contradictions become more and more obvious.

In what works of Russian classics is the conflict between representatives different generations and in what ways can these works be compared with Turgenev's "Fathers and Sons"?

In the play by A.P. Chekhov " The Cherry Orchard"Representatives of the "past century" can be called Ranevskaya and Gaev. These are Russian nobles, typical aristocrats who are not ready to say goodbye to their old garden, despite the fact that it is necessary. Only a young entrepreneur finds a way out of their difficult situation. Buying a garden is a big blow for people who lived on the estate in the past. That is how you can call Lyubov Andreevna and her brother.

The problem of conflict between the generations of "fathers and children" found a response in many works of Russian classics. One of the most clear examples is the play by A.S. Griboyedov "Woe from Wit", where the representative younger generation, Chatsky, rebels against the immoral order " Famus Society". The young rebel is outraged by the vices of people who have taken on the role of “judges” and educators (“there is no need for another model when the father’s example is in the eyes,” Famusov convinces his daughter). All "old Moscow" is literally rotten from the point of view of morality: servility, lust for power, love of money, fear of enlightenment flourish here. Chatsky, who is “sickening to serve”, does not want to put up with the old order and does not recognize the authority of the older generation, loudly asking: “Who are the judges?”, exposing his vices. This to some extent makes him similar to Turgenev’s Bazarov, who also does not accept the authority of the “old men”, but Turgenev’s object of dispute is not so much moral principles as ideas (after all, Bazarov tried to prove to Pavel Petrovich that “a decent chemist is twenty times more useful than any poet."

But truly " dark kingdom"The generation of "fathers" appears before the reader in the drama of A.N. Ostrovsky "Thunderstorm". The "old men" - Kabanikha and the landowner Dikoy - are zealous keepers of traditional foundations and in their desire to support them reach immoral tyranny and cruelty. “The beggars are clothed, but the household is completely stuck,” Kuligin characterizes Kabanova. It is impossible for young people to make their way into independent life, as everywhere they are surrounded by the "guardianship" of the mother. Protest against oppression manifests itself in various forms, everyone is looking for a way out in their own way: Varvara “took it and left,” Katerina drowned herself, and Tikhon, who was left to “live ... and suffer,” he accuses his mother of Katerina’s death and envies dead wife, freed from the world of petty tyrants .. In the drama "Thunderstorm" the conflict between generations is of a completely different nature than in "Fathers and Sons" by I.S. Turgenev. If in the first one the “old men” achieve respect and obedience with cruelty and emotional oppression, then in Turgenev’s novel the conservative force acts as a rather wise, humane side, although it is also “obsolete” of its age. Yes, and Turgenev’s dispute flares up about “other matters”: about the meaning of art, love, philosophy, the meaning of the human person. And in The Thunderstorm, the characters are just trying to "survive."

Thus, the conflict of generations is reflected in many works, and in each it is shown in its own way, from a certain side. This allows us to conclude that the problem of the relationship between "fathers and children" is complex and multifaceted.

The problem of relationships between generations is reflected in many works of Russian classical literature. In the drama of A. N. Ostrovsky "Thunderstorm" older generation- people who live according to the strict law of Domostroy and demand the same from the rest, and the new generation are the victims of the elderly, dreaming of freedom.

In the play, as well as in AS Griboyedov's comedy "Woe from Wit", "the current century and the past century" oppose each other. And Katerina, in my opinion, has similarities with A. Chatsky, who, like the daughter-in-law of Kabanikhi, is also a “beam of light.” Only Katerina does not accept the foundations of the “dark kingdom”, and A. Chatsky does not accept the Famus society.

Also close to Groza in its own way ideological content I. S. Turgenev’s novel “Fathers and Sons”, which has its own “new man”, the nihilist Yevgeny Bazarov, a representative of the generation of “children”, an opponent of the liberal nobility. As a revolutionary democrat, he opposes the “present age”, generally accepted morality and the autocratic-feudal system.

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DI. Fonvizin, "Undergrowth" 1781

What is hidden behind the phrase A.I. Goncharova: “The Chatskys live and are not translated in society”? Based on the novel by A.S. Pushkin "Eugene Onegin"). Who is to blame for the fact that Onegin and Lensky meet in a duel to the death (based on the novel by A.S. Pushkin "Eugene Onegin")? What role did the event described in this episode play in the future fate of the hero? How does this episode relate to the epigraph to the novel: “Take care of honor from a young age”?

What is main topic of the given fragment and what figurative means contribute to its disclosure? In what works of Russian writers can one meet profit-hungry heroes and how do these works relate to Gogol's poem " Dead Souls"? C5. Why N.V. Gogol called "Dead Souls" a poem?

M.E. Saltykov-Shchedrin "The Tale of How One Man Feeded Two Generals" 1869 Option 1

As in the poem by N.V. Gogol's "Dead Souls" are the story of the "scoundrel" Chichikov and "The Tale of Captain Kopeikin" connected? C1. What role detailed description plays the hero in the composition of Gogol's work? Formulate the main idea of the fragment and briefly comment on the critic's statement: "The famous Bashmachkin remained, in general, a mystery to the reader."

Which fantasy element and for what purpose does Gogol use it in the story and which of the Russians writers of the 19th-XX centuries resorted to fantasy in his work? How Lermontov defines his main artistic task in the novel "A Hero of Our Time"? How are Pechorin and Werner similar and how do they differ? What are the main ways of depicting the character of the hero in the novel by M.Yu. Lermontov "A Hero of Our Time" and which of the Russian writers of the 19th century continued this tradition?

C1. For what purpose A.N. Does Ostrovsky include Kuligin's story about the city of Kalinovo and its inhabitants in the text of the play "Thunderstorm"? C2. In the works of which Russian writers (poets, playwrights) does the theme of the city appear, and in what way do these works are consonant with Ostrovsky's play "Thunderstorm"? C1. Why is the chapter "Oblomov's Dream" included in the novel? What is the difference, and what, in your opinion, is the similarity between the characters of the servant and the master?

What issues related to the general problems of the work are reflected in this fragment? What theme, important for the whole work, is developed in this fragment of the text? How is the main conflict of the work traced in this episode of "Fathers and Sons"? How do the statements and behavior of the characters in this fragment help to understand the essence of their characters?

Can it be argued that Bazarov became the winner in the conflict of "fathers and children"? Explain the meaning artistic originality and the role of this episode in the work. Based on the novel by I.S. Turgenev "Fathers and Sons".) Can it be argued that in his works I.S. Turgenev creates images of "superfluous people" (based on the novel "Fathers and Sons")? What role did this dialogue play in the fate of the protagonist of the novel? What role did a chance meeting with this man and acquaintance with his family play in the history of Raskolnikov's crime?

What thoughts and feelings did F.M. Dostoevsky "Crime and Punishment"

C2. Remember what details are constantly repeated in the description of St. Petersburg. What do you think becomes major tragedy heroes of the novel "Crime and Punishment", and which heroes of Russian literature have tragic fates? What are the main features of Dostoevsky's psychologism and which of the Russian writers of the 19th century can be called writers-psychologists?

What folklore traditions are represented in the fairy tales of M.E. Saltykov-Shchedrin

What is the meaning of the title of the novel? What two "poles" can the heroes of the novel "War and Peace" be divided into, and according to what principle? C2. In what works of Russian classics are problems similar to those of the above episode touched upon, and how do they echo Tolstoy's "folk thought"? Explain the meaning of the words "war" and "peace" from the point of view of L.N. Tolstoy, which he expressed, that is how he called his novel. What artistic technique is the title based on?

In what works of Russian literature are the images of “natural”, “natural” people revealed, and in what ways can these heroes be compared with Gorky’s Izergil? What dramatic means and how do they help the author to reveal the characters of the characters in the given fragment? What means psychological characteristics and for what purpose are they used by Turgenev in this fragment? As combined in Dead souls» N.V. Gogol "visible to the world laughter and invisible ... tears"?

In one of program works Russian culture - Fonvizin's "Undergrowth" - voiced the idea inherent in many satires and parodies. “I don’t want to study, but I want to get married” traditionally transferred to the plane of criticism of vulgar patriarchal mores, but nevertheless it is of interest from the point of view of the conflict of ages. Mitrofanushka's words are an uncivilized declaration of the desire to move into a new life status, to become a father and teach yourself, and not be the subject of pedagogical violence. The 19th century perceives the recognition of the hero as a slogan of narrow-mindedness, an emblem of "oscotination" and, in its categoricalness, does not notice that its own style of behavior is even worse, since it excludes any desires other than sowing enlightenment or preaching Western philosophies to girls in love, and then gleaned from unimportant books.

The Russian hero does not want to study or get married. The matrimonial impulses of Mitrofanushka are ostracized, ridiculed, but nothing is offered to them in return, except for the “Russian melancholy”, disappointment, reflection, which do not hide, but splash out with the pedagogical energy of the heroes of the century.

The givenness of the plot situation - the absence of a father in the characters - implies a certain way of their self-realization. They need a stage, podium, garden bench, water society, ballroom, noble estates to proclaim, preach, instruct, instruct... The theme is restructured: the son claims his rights to his father's duties and is so carried away by his own importance that, in the heat of controversy, discussions, he forgets about the naturalness of marriage and love: "...Who lacked the mind..."(Chatsky about marriage); “Whenever I wanted to limit my life around the home circle ... What could be worse than a family in the world ...”(Onegin).

The truncation of the collision "fathers - children" in Russian literature has special ideological and aesthetic grounds. The reader does not know anything about the fathers of Eugene Onegin, Pechorin. The conflicts of the novels themselves deny the possibility of the presence of a parental principle. Its non-existence actualizes the wandering motives of Onegin and Aleko, the antithesis of Eugene and Bronze Horseman, allegories of Peter's, state, domestic aspirations; the idea of self-sufficiency of loneliness of a romantic character dreaming of quiet or active happiness.

In “A Hero of Our Time”, the mention of Princess Mother Pechorin is limited to plot information about the family that gave birth to the mysterious figure of a person disappointed in life. The genesis of the tragic state of the world in "Hero" goes back to "Duma", and the very structure of the accusation against "father's mistakes" akin to Chatsky's rhetorical exclamation "Who are the judges?". The denial of anyone's paternal function on the part of young subversives is explained by the development of the ethical and ideological orientations of Russian culture, when a hero engaged in accordance with certain concepts should be free from dogma and illustrate, first of all, an independent philosophical search. Similar situation leads to the fact that the most lonely character appears pseudo orphan a kind of variant educational foundling. But the vector of his movement along the plot is different, the goal is not identification with the social layer, but a socio-destructive idea.

torn family ties, relics patriarchal world represented by a set of disparate relatives (this trend is also inherent in the Western novel). An uncle is obliged to leave an inheritance or become a model of rationality for an overly emotional neophyte nephew (“ ordinary story»); he can embody the idea of state paternity (Uncle Nikolai Rostov, threatening Nikolenka in the phantasmagoria of the dream of the finale of War and Peace). Another image of an uncle-uncle is a mentor-commoner, protecting and loving the undergrowth entrusted to him. In Western literature, this role is played by the nurse, she performs the function of the guardian of the heroine ("Romeo and Juliet"), she is present in all philosophical and pedagogical treatises, starting with Montaigne.

Equally important are the images of the aunts, who communicate with matriarchal antiquity. They are numerous, benevolent to the heroes. Old maids, they are completely devoted to the care of their nephews. Their function in European culture comes down to meekly listening to the categorical assessments of the youth of the familiar and unchanging world, clasping hands and inclining to the correctness of the pupil’s opinion, but then praying for him, asking God for forgiveness for impudent youth. The images of aunts and mothers intersect in plots that represent an indirect description of a character visiting his parent's house on his way to another ideological discussion. The sarcastic mind of Bazarov, the independence of his judgments are hidden, closed with embarrassment when he sees his father and mother - the last reminder of the era of modest heroes who do not spare themselves, like the couple of Pushkin's Mironovs.

Those works of Russian literature of the 19th century, in the plot of which the theme "father - son" is given, are turned to history, so extracting the main element turns out to be impossible: the analogy with in a patriotic way natural chain of times. The murder of Andriy in Taras Bulba, in addition to the meanings of the triumph of patriotism, fidelity to duty and the romantic motive of passion prevailing over blood union, is a ritual punishment for a person who has violated the patriarchal paternal law, which cannot be doubted. It is given for unconditional fulfillment, as a command of being, its violation is punished by the very father-law. The plot of "Taras Bulba" develops the endless European heroic times in Russian literature. Gogol complicates the conflict, the dominant idea of blood solidarity is confirmed by the death of heroes belonging to bygone eras, and for whom the love romantic motivation of Andriy's actions cannot be understood. The theme of fathers and children comes into contact with the theme of friendship, but already in the motive of betrayal, and its invariant is characterized by a plot collision of a clash of love interests of related representatives different ages("First Love" by Turgenev, "The Brothers Karamazov" by Dostoyevsky).

Literature early XIX centuries, comprehending the school of romantic individualism, consciously resists the patriarchal integrity of the family, thereby simplifying the author's task in portraying the hero-ideologist, independent of the locality of family conflict. The customary morality of society becomes the application of the forces of the subverter of dogmas, therefore paternal moralizing oversimplifies the universalism of negative intentions. Introduce Pushkin, Lermontov into the structure of the father's narrative, the didactic rhetoric of the patriarchal reasoner would lead to the creation of War and Peace. However, the theme of the father is present in the novels of Russian authors in an indirect metaphysical sense: pain internal state characters, psychological eldership, vital omniscience are integrated into the self-perception of youth. In this synthesis, a romantic attitude to the unprecedentedness of feeling can be found, but the mechanisms of its construction are based on the allegorical contamination of various age-related forms of reflection. The intensity of living and experiencing life by the characters testifies to the procedural comprehension of the world (an attribute of youth) and the constant appeal to their own mastered experience of spiritual old age. This decision is primarily "noble" plots of culture, when the carriers of the original thought come into conflict with traditional ideas about life and with role models.

A catastrophic situation is created in the literature: the family connection is interrupted. Taras kills his son old-world landowners, Korobochka, Sobakevich are childless, young heroes shy away from the fair sex, waste themselves in monologues and unpromising love affairs. Lomonosov's hope that the Russian land would give birth to its own Newtons and Platons, grotesquely developed by Mitrofanushka's dream, has lost its relevance. Heroes-ideologists do not seek the favor of women, but are passionate about travel, overcoming and rethinking the path traveled by the enlighteners, the finale of which no longer promises unity with the world. The heroines themselves are also not inclined to marriage with personalized reflection, their chosen ones are less interesting, but more reliable. The unproductiveness of the character is felt within the culture itself: the likely chosen ones are either disappointed or already married. It is not accidental in connection with these processes that the appearance in the 50-60s of « Turgenev girls», different from their predecessors in that they are prepared for love special people; brought up outside the traditions of house building, free, sensitive, they expect the appearance in remote noble nests of the only one who would embody perfect images culture.

Turgenevskaya "Bride Fair" is a literary necessity. Previously, the characters of Pushkin and Lermontov were invited to travel all over Russia in order to return to make their choice, or to explore villages, small southern cities to make sure that the love of a mountain woman is no different from the feeling of a secular young lady. But representatives of the generation of the 1920s and 1930s leave the main plot, and Turgenev’s young ladies have a painful meeting with a person who, by inertia, follows the already archaic "superfluous" ideals (Rudin), progressively minded, but burdened with the burden of love of the past (Lavretsky), in a fever of doom leading to change (Insarov). The life-giving potential of female images remains unclaimed. The chosen ones are already betrothed to death by all sorts of tragic circumstances, or unable to take responsibility for themselves, let alone those they love. philosophical underground begins to loom before the hero as an opportunity to hide from the world of the demands of feeling, but he does not yet know the way to it. Male types of Russian literature are in a state of evolution from abstract ideas to effective self-realization, which explains the impossibility of harmonizing them with the already established female myth of culture.

The theme of the education of feelings is not limited to textual intuition and is expressed not only in the limitation or expansion of the functions of the plot spaces of the characters. In the 60s, it is declared as a clash of life and ideological concepts in Turgenev's novel Fathers and Sons. The dispute between Pavel Petrovich and Bazarov is a symptomatic phenomenon for the cultural situation in Russia and for the moralizing genre itself. Turgenev once again (after Pushkin and Gogol) attempts to create a kind of encyclopedia of ideas and test their practicality and metaphysical character in a dialogic form. The main antagonists are deliberately removed from the framework of kinship, which excludes the possibility of natural sympathy and the assumption of an alternative denouement. The logic of the opponents is categorical, the evidence is vulnerable, the arguments are subjective; objectified ideas are opposed to the abstraction of universals. Victory in this dispute can only belong to a third party who is not bound by the obligation to share anyone's position, accepting all points of view with due diligence and moderation. There is a need for an arbitrator with a code unified system criteria. This role is played by the author, the image of nature is offered by him as an emblem of self-sufficient being, leveling the polemical enthusiasm of the participants in the dispute with the idea of emancipation from the actual social need and the eternal layers of multiple meanings.

The system of images of the novel, which somewhat compensates for the violation of the genre tradition, becomes another tool for neutralizing positions that are convincing in their own way and alarming by frank declarativeness. The plot activity of Arkady, Nikolai Petrovich, it would seem, creates the illusion of the proper conclusions of the dispute, but the quiet transformative activity is not entirely convincing. The struggle was too emotional to end with a picture of economic innovations and unchanging everyday life, dear to the heart of the author and reader. We need stronger consequences of the dispute between fathers and children, more convincing resolution of the conflict.

In the image of Odintsova, Turgenev offers an example of reasonable behavior. The heroine's remarks are restrained, her emotions are sparse, her position illustrates the resolution of the conflict stated in the title. Loyalty to everything that does not concern the specific facts of existence, a reasonable balance between the real and the ideal, acceptance and getting used to circumstances - Turgenev's position, personified in the worldview of the heroine. Alternative plot position of Odintsova, her poise psychological state reflected in the surname, personifying the task of removing the conflict between sentimental old age and the wisdom of children. In Dostoevsky and Tolstoy, a similar solution will be realized in the dialogism of the characters' internal distortions, in the motif of the character's philosophical duality, in the polyphonic structure of the novels. The boundaries of the classical dispute will be extended to categorical oppositions ("Crime and Punishment", "War and Peace").

In the 60s, another metamorphosis takes place with the theme of fathers and children, the range of motives associated with it expands.

European literature of the 19th century is largely influenced by the ideas of the Enlightenment, when any form of protest of youth is perceived as an attack on patriarchal dogmas; Romantic subjectivism and egocentrism are elevated a priori into a filial rebellion, destroying the dualistic tension between the seeming mechanical vacuity and the illusion of superbeing. The titanic impulse of the romantics led to the alienation of the sphere of ideas from the world of archaic signs and provokes the reader to a non-trivial comprehension of the individualistic search. However, philosophical escapism from reality, marked by the deliberate conventionality of what is happening, framed in exotic passions, incredible adventure and fatal accidents, becomes predictable. Thus, the basis is being prepared for saturating the artificial antinomy “present-past” with the attributes new system predicting the behavior of heirs and the functioning of recurrent processes.

The description of restless youth in the passive voice no longer satisfies philosophical and aesthetic reality. A person suddenly feels his own belonging to something that has always been on the periphery of thinking. Free will, the life-creating impulse glorified by culture, reveals a stronger motivation. The ethical tautology of the theme of children and parents is rethought by naturalism. Physiological formulas are used by E. Zola to study the phenomenon of social heredity. He's writing "biological and public history one family""Rougon-Macquart", removing the literary bashfulness of abstract romantic aesthetics. Blood, death, decay become strong spectacular gestures in creating images of people and families that are physiologically degrading and doomed.

The motive of the hero's farewell to his native land is receding into the past, dreams of conquering the capitals and the task of verifying one's own capabilities or verifying the truth of any idea seem naive. The purpose of the new fugitives is unclear, the future is drawn in the most vague colors. The story of the daughter's flight in Pushkin's "The Stationmaster" appears as a model for the behavior of the heirs of Plyushkin and Golovlev. Half-mad fathers curse, search, die. The theme of hatred for the father pervades plots that exclude maternal kindness and care, and characterizes the behavior of Tolstoy's Princess Marya, Rogozhin, Smerdyakov, Ivan Karamazov from the novels of Dostoevsky, Sonya from Chekhov's play"Uncle Ivan".

"Random Families" Dostoevsky, illegitimate children, discord in the family - a consequence of poverty and depravity - culminate in the conflicts of the beginning of the century, selfless manifestos of new thought and protective views still full of persuasiveness. Relations between generations acquire a metaphysical character. Children inherit senile wisdom, fathers, forgetting Pushkin "... funny and windy old man, funny and sedate young man", suddenly discover a craving for pranks and love activity. Debauchery, mistresses, lustfulness organize the destructive world of fathers, who select sophisticated intellectual explanations for the entropy of spirituality. Physical doom "boys" Dostoevsky is prepared by the expansion of the bodily volume of senile voluptuousness, which claims to dominate.

Violation of the natural balance of ages was prepared by the entire course of development culture XIX century, the struggle of ideas led to the formal triumph of innovation. Heroes-ideologists, having sowed doubt, left, solemnly contemplating the scale of their deed, demonstrating the universality of the methods of struggle, which will soon be turned against their followers, who are more intimate and psychologically subtle. Ballroom discussions have lost their relevance, the boundaries of the plot have closed, leaving alone the doubts of youth and old age, seeking revenge at any cost.

The female theme in Russian literature does not remain indifferent to this conflict. The emerging feminist tendencies require a more frank and radical solution. The ideal of the patriarchal family does not meet the new challenges of suffragist ideology. More representative is the clash between daughter and mother, which recodes the matriarchal nature of personal relationships with new material. The grotesque transmission of everyday experience is demonstrated by the plots of Chernyshevsky and the motive of secular education in Tolstoy's novels. Symptomatic for cultural trends is the way of nominating the heroine "What is to be done?". The naming of the name and patronymic with the truncation of the sentimental surname, in addition to the respectful admiration of the author, is explained by the independence and “self-construction” of Vera Pavlovna, who translates theory into everyday practice. With truly masculine energy, she transforms ideas into vital material. The unfeminineness of her behavior is alarming; calculation, principles are elevated to the rank of ethical categories, which cuts off from the heroine a number of motives that traditionally accompany female image. A man begins to be interpreted as a colleague in aspirations, an object of feelings, temporarily free from creative activity. In such a plot, there is no possibility of developing and reconstructing the theme of father, mother and child. Social creativity is perceived to be so fascinating that children who are able to evaluate its results are not taken into account.

In Russian literature, unlike, for example, French, women almost never give birth. The exception is Turgenev's Fenechka, Tolstoy's little princess... In works from folk life, autobiographical trilogies there are many children, but they either do not belong to the main characters, or are more interesting as spokesmen developmental psychology. Marriage and childbearing are not included in the plot duties of the characters. Men preach, women listen with interest, and then run to get carried away by universal human problems, suffer and repent. In Chekhov's "Woman's Kingdom" a total matriarchal situation is set. Anna Akimovna, perhaps, is one of the few heroines who confesses her desire to have a child, but there are almost no men around. The childlessness of Gogol's characters is conveyed by the tragedy of Lesk's Saveliy Tuberozov and Natalya, to whom God did not give children. In France, Maupassant will be horrified "mothers of freaks" while the heroines, not yet poisoned by greed or suffragism, get married and have children. In Russian literature, new superfluous people find solace in simplification and protest against the life of their fathers (Misail - “My Life”), mourn their parents (“Three Sisters”), are afraid to start a family (“Ionych”), play dirty tricks (“ petty imp» F. Sologub), perceive their suffering and triumph as evidence, resigning themselves and not accepting. Prodigal son only arrives at his father's grave, and the image of the Madonna and Child shines through as a grotesque allegory in the plot of the lady with the dog.

QUESTIONS FOR REFLECTION AND DISCUSSION

"DRAMAS OF RUSSIAN LIFE" A. N. OSTROVSKY

Russian human comedy from Gogol to Ostrovsky: a) attention to a person who is identical to the prudent vulgarity of the surrounding society; b) rejection of the demonic personality of the ideological hero, interest in typical figures of reality; c) the theme of marriage intentions and the motive for the destruction of the social hierarchy; farcical logic of love claims, images of matchmakers, monetary relations in the plays of Gogol and Ostrovsky.
The poetics of Ostrovsky's dramas: a) the use of fable formulas in the titles of works: a visual designation of the main theme; b) endowing the characters with folklore, non-academic forms speech behavior, the originality of the merchant language; V) compositional structure plays: slow exposure, creating situations that carry potential conflict; dynamic conversations of characters; instant metamorphoses of the characters' existential states; d) characters: between the temptation of freedom and the obligatory nature of patriarchal rules; conflict between fathers and children; self-interest as a hidden and obvious leitmotif of actions; e) the genre of family drama: elements of moral descriptive essay; the role of melodramatic monologues and self-confessions of characters; tragicomic pathos of denouement; methods of narrative prose in monologues-memoirs of actors.