What caused Bazarov's duel. Duel between Pavel Petrovich and Bazarov
The episode of the duel between Bazarov and Pavel Petrovich Kirsanov occupies an important place in the novel. The duel takes place after the return of Bazarov from Odintsova. After unrequited love for Anna Sergeevna, Bazarov returned as a different person. He withstood this test of love, which consisted in the fact that he denied this feeling, did not believe that it affects a person so much and does not depend on his will. Returning to the Kirsanov estate, he becomes close to Fenechka and even kisses her in the gazebo, not knowing that Pavel Petrovich is watching them. This incident is the reason for the duel, because it turns out that Fenechka is not indifferent to Kirsanov. After the duel, Bazarov is forced to leave for the estate with his parents, where he dies.
Bazarov believes that “from a theoretical point of view, a duel is absurd; but from a practical point of view, this is a different matter," he would not allow himself to be "insulted without demanding satisfaction." This is his attitude to duels in general, and he treats the duel with Kirsanov ironically.
In this episode, as in the previous ones, Bazarov's great pride is manifested. He is not afraid of a duel, a grin can be heard in his voice.
Pavel Petrovich in this episode shows his inborn aristocracy. When challenging Bazarov to a duel, he spoke snobbishly and officially, using long pompous phrases. Pavel Petrovich, unlike Bazarov, takes the duel seriously. He stipulates all the conditions of the duel and is even ready to resort to "violent measures" in order, if necessary, to force Bazarov to accept the challenge. Another detail confirming the decisiveness of Kirsanov's intentions is the cane with which he came to Bazarov. Turgenev remarks: "He used to walk without a cane." After the duel, Pavel Petrovich appears before us not as an arrogant aristocrat, but as a physically and morally suffering elderly man.
Pavel Petrovich Kirsanov from the very beginning did not like his nephew's friend Bazarov. According to both, they belonged to different class groups: Kirsanov did not even shake hands with Bazarov when they first met. They had different views on life, they did not understand each other, opposed each other in everything, despised each other. Often there were clashes and quarrels between them. After a while, they began to communicate, and, consequently, quarrel less, but the spiritual confrontation remained, and it inevitably had to lead to an open clash. The incident with Fenechka became the reason for it. Pavel Petrovich was jealous of Fenechka for Bazarov when he saw them kissing in the arbor, and the next day challenged him to a duel. As for the reason, he said this: “I think ... it is inappropriate to delve into the real reasons for our collision. We can't stand each other. What more? Bazarov agreed, but called the duel "stupid", "extraordinary". It happens the next day early in the morning. They had no seconds, there was only a witness - Peter. While Bazarov measured out steps, Pavel Petrovich loaded pistols. They dispersed, took aim, fired. Bazarov wounded Pavel Petrovich in the leg ... Although they were supposed to shoot again according to the condition, he ran up to the enemy and bandaged his wound, sent Peter for the droshky. They decided to tell Nikolai Petrovich, who had arrived with Peter, that they had quarreled over politics.
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"Secondary school No. 109"
Literature lesson in grade 10
Lesson topic: The role of the duel episode in I.S. Turgenev's novel "Fathers and Sons".
Lesson Objectives:
1. Determination of the compositional and ideological role of the episode: the duel as the completion of ideological disputes, the victory of the human principle over ideological convictions.
Formation of students' moral qualities of personality, attitudes and beliefs.
During the classes:
Teacher's word.
Guys, we continue the conversation about the heroes of the novel "Fathers and Sons". Today is a duel between two ideological opponents: Evgeny Bazarov and Pavel Petrovich Kirsanov.slide 1.
What tasks will we solve during our conversation?
( analysis of the duel episode; revealing the compositional and ideological role of the duel episode in the novel, is it possible to fully understand the ideological opponents).Slide 2.
Why do you think this should be given special attention?(suggested answers: it was the duel that put an end to the ideological disputes between Bazarov and Pavel Petrovich; this is part of the noble life, life, of that era; the duel is used as a literary device - the need to put an end to the relationship of the characters; at the end of the duel episode we see PEOPLE, human relationships.)
2. Definition of "duel". From the history of the duel.
Guys, how do you understand the word "duel"? (children's answers) And now, before starting to study the role of the duel in the life of society and in Russian literatureXIXcentury, it is necessary to find out the meaning of this word in the explanatory dictionary.Slide 3.
1. D.N. Ushakov Big explanatory dictionary of the modern Russian language:
DUEL , duels, female (French duel). A duel that takes place according to certain rules, a battle between two opponents on the call of one of them. A duel between someone and someone. Duel of Pushkin with Dantes. Fight someone in a duel. Challenge someone to a duel.
|| trans. A competition, a struggle between two sides (books, newspapers). Verbal duel between the defender and the prosecutor. Anglo-American duel.
2. Explanatory dictionary of V. Dahl:
DUEL and. single combat, duel; in general, it is customary to call a duel a conditional duel, with already known rituals, on a call. Dueling, pertaining to a duel. Duelist m. combatant, duel, more in meaning. bully, fighter; Breter. ( Breter is an avid, "professional" duelist, ready to fight a duel for any, even the most insignificant reason. Most often, the duel was deliberately provoked by a breter.)
The duel is a class-noble custom that became widespread in Russia in the 18th-19th centuries. (Onegin Encyclopedia).
* In the nobility, especially among the officers, duels were considered as fights in defense of honor, therefore, according to the unspoken internal noble code, refusing to be challenged to a duel was considered a manifestation of cowardice and meant dishonor. A nobleman who refused a duel lost respect and was refused society.
The duel began with a challenge. This, as a rule, was preceded by a collision, as a result of which either side considered itself offended, and as such demanded satisfaction. From that moment on, the opponents were no longer supposed to enter into communication - this was taken over by their representatives - seconds. Having chosen a second for himself, the offended discussed with them the severity of the offense inflicted on him, on which the nature of the future duel depended - from a formal exchange of shots to the death of one or both participants. After that, the second sent a written challenge to the enemy (cartel).
The role of the seconds was as follows: as mediators between opponents, they, first of all, were obliged to make every effort to reconcile. Even on the battlefield, the seconds had to make one last attempt at reconciliation. If reconciliation proved impossible, they drew up written conditions and carefully monitored the strict implementation of the entire procedure.
Which of the authors included duel scenes in their works? For what purpose? (M.Yu. Lermontov "Hero of Our Time" -duel as a result of the confrontation between Pechorin and Grushnitsky, A.S. Pushkin "Eugene Onegin".
(viewing an episode from the film "A Hero of Our Time", a duel scene, an episode from the opera "Eugene Onegin, a duel scene.)
The duel contributes to a more complete disclosure of the characters of Onegin and Lensky. Both heroes understand the fallacy of the decision made and bitterly regret what they have done, but it is not possible to avoid a bloody clash. It is clear to the reader that an accidental quarrel is only a pretext for a duel, but its cause, the cause of Lensky's death, is much deeper. A force enters into the quarrel between Onegin and Lensky, which can no longer be turned back. This is the power of public opinion.). What is the difference between these duels and the duel between Bazarov and Pavel Petrovich? (these two duels are tragic, ending in the death of one of the heroes, and the duel in the novel "Fathers and Sons" is stupid, meaningless and ironic).Slides 4, 5, 6, 7.
3. Working with text.
Teacher:
Why didn't Pavel Petrovich explain the true reason for the duel? * Remember the scene with Fenechka. (expected student responses: Pavel Petrovich was secretly in love with Fenechka, she looked like a book R .., the love of her life, for which he sacrificed everything).
Why do you think this duel didn't happen in chapter 10? (expected student responses: in chapter 10, they could not hear and listen to each other, because both considered themselves right. And in the duel scene, they "agreed" because ideological relations were replaced by human relations. It was not yet time for this duel.)
Is complete understanding between people possible? (Yes, if a person is ready to listen to the opponent. In the duel scene, they realized that they were not so far from each other.)
Let's comment on the scene of the call by Pavel Petrovich Bazarov. Let's consider the details. (One student reads an excerpt from the text: “Here is my opinion,” he began ...<...>... I despise you, and if you are unhappy with this ...”). What is Bazarov's attitude to challenging him to a duel? (1. Extremely surprised: “Bazarov goggled his eyes: “With me?”, Bazarov is a raznochinets, and Kirsanov is a nobleman, the duel should be between people of the same class; 2. Ironically refers to the challenge: “Fine,” said Pavel Petrovich. ..<...>- Can; why!”, lexical repetitions by Bazarov, which shows the irony of the situation).
We saw how Bazarov relates to the duel. And how do you feel about this way of clarifying the relationship? And what about I.S. Turgenev? (expected student responses: as always through a description of nature.) Is a description of nature given in the duel scene? How? (expected student responses: the author begins the description of the morning duel with an image of nature. In this episode, the contrast between the landscape, the appearance of a peasant with horses and the upcoming duel is manifested: the peasant was forced to get up early by work, and Bazarov and Pavel Petrovich - their own stupidity.)
What else is the irony of the duel scene? (expected student responses: exchanging remarks, the duel participants pronounce phrases in different foreign languages, this manifests their desire to oppose themselves to each other.During the duel, the author depicts in detail the psychological state of Bazarov, because the duel is a critical moment - the moment of truth at which the essence of a person is manifested. At the climax of the duel, Bazarov continues to sneer: “He aims right in the nose, ... and how diligently he squints, robber!”, “- And you must admit, Pavel Petrovich, that our duel is unusual to the point of ridiculous ...”. Pavel Petrovich is as serious as ever, he behaves like a true duelist: he diligently aims and squints. The phrase: "A trickle of blood ran down his white trousers" has the effect of a scene from a beautiful, romantic French novel.Pavel Petrovich's fainting and the behavior of the "improved" lackey give an ironic character to the denouement of the duel. Both heroes after the duel, while waiting for the droshky, feel depressed. They understand the pointlessness of their duel. The second appearance of a peasant with horses emphasizes the stupidity of the duel between Bazarov and Pavel Petrovich.)
How and how the duel ends? (expected student responses: having wounded Kirsanov, Bazarov, like a real doctor, immediately helps him. As a result of their experiences before and during the duel, they became different people.After the duel, restraint and emphasized politeness towards each other appeared in the behavior of the heroes. When leaving the Kirsanov Bazarov estate, he feels bad. Bazarov's departure is the denouement in the conflict between "fathers" and "children".The duel scene is also important because it shows that no matter what the differences between generations, liberals and democrats, first of all - they are people. And this means that in difficult times they will be able to find a common language and exist together.)
Slide 8.9.
4. The results of the lesson.
Let's sum up the lesson. What goals did we set for ourselves at the beginning of the lesson? Have we reached them? (expected student responses: we understood that the episode of the duel became a point in the relationship between the nihilist raznochintsy and the liberal aristocrat, what is the compositional role of the duel scene; in the duel episode, the ideological contradictions between the characters gave way to human relations - this is the ideological role of the duel scene.)slide 10.
And now we will see how the on-screen heroes perform before us. (viewing an episode of the film with a duel scene).
Did the director of the film manage to realize the author's intention?
What other way did the director find to show the confrontation between our heroes?
Discussion of a movie episode.
Homework. Write a miniature essay, answering the question: "What moral lesson does I.S. Turgenev give us?"
The episode of the duel plays one of the key roles in the work. It includes the climax and denouement of the conflict that arose between Evgeny Vasilyevich Bazarov and Pavel Petrovich Kirsanov. This conflict is not only a confrontation between two people, but also between two generations and their views – “fathers and children”.
The reason for this duel is Kirsanov's hatred towards Bazarov.
At first, Pavel Petrovich despises Bazarov for his nihilistic views. Also, Pavel Petrovich is annoyed and outraged by the behavior of Bazarov. Yevgeny Vasilievich does not consider it his duty to respect Kirsanov just because he is a representative of the aristocracy, and this offends and shocks him. The last straw that overflowed Kirsanov's patience is the kiss of Bazarov and Fenechka in the gazebo. Pavel Petrovich finally gets a worthy reason to challenge his opponent to a duel.
Kirsanov comes to Bazarov's room and offers him a duel. During their conversation, Bazarov, as usual, jokes in a relaxed and ironic way and shows absolutely no fear or uncertainty. But no matter how indifferent he may seem, the feelings in his soul are alive. Bazarov even begins a letter to his father, and it is his kind of farewell before a possible death. And this means that despite the mask of indifference, the main character loves his parents very much. But still, reason prevails over his feelings, and he tears up this letter. Bazarov confidently and indifferently says to himself that he will be looming in the world for a long time to come. He chooses exactly the word “loom”, and not “live”, because we cannot say that Bazarov really lived - experienced emotions, loved, rejoiced, was afraid, like an ordinary person with his weaknesses. He kept renouncing simple human life for his nihilistic views.
Finally, the next day comes - the day of the duel. On the way to the forest, in which the clash of the two opposing sides will take place, Bazarov is a little nervous and even shudders twice, which again testifies to the emotions of the hero. He is worried, but when meeting with an opponent in a duel, he does not give it away and still continues to joke. Kirsanov still remains serious and does not betray feelings. During the duel, Bazarov wounds Kirsanov and then performs a noble deed - and immediately, like a doctor, rushes to the aid of the wounded. But even in such a situation, pride takes over Kirsanov, and at first he refuses Bazarov's medical help. After a moment, he loses consciousness, and this is strange, because, according to Bazarov, his wound is completely non-serious and cannot cause fainting. Most likely, this is a fright and weakness of nerves and character. After coming to his senses, Kirsanov does not want reconciliation with Bazarov, although he is ashamed of his arrogance, and after returning home, he jokes unusually a lot, especially with Bazarov. At parting before the departure of the protagonist, they coldly shake hands with each other, and this is where their confrontation ends.
Analyzing this episode, we see that Bazarov is in fact the same person as everyone else, even though he wears the mask of an invulnerable and mocking nihilist. And Kirsanov stops bickering with Bazarov. Even though he continues to despise Bazarov, at the same time he develops respect for his opponent.
This episode is inextricably linked with others in the work. It is a logical continuation of the tenth chapter, in which the conflict between Kirsanov and Bazarov begins.
From all of the above, we can conclude that this episode is one of the most important and key in the work. It reflects not only interpersonal conflict, but also the conflict of two generations. The ideological meaning of this work lies in the clash of absolutely opposite views.
"Asya Turgenev" - V.G. Perov. MOU Tominskaya secondary school. 2009 - 2010 academic year. Turgenev Ivan Sergeevich The story "Asya". The story "Asya" (1858). Portrait of I.S. Turgenev. 1872. Prepared by Chuyduk N.A., teacher of the Russian language and literature of the 1st category. V.A. Nedzvetsky. Turgenev Ivan Sergeevich (1818-83), Russian writer.
"Mumu lesson" - T.G. Buchugina. Forms of work in the lesson: frontal; individual. Course of the lesson I. Introductory speech of the teacher (goal setting) II. Technical means: use of Mmd-presentation; use of audio recording. General conclusion. Class hands – Masagutova N.A. Russian teacher. language and literature – Madanova G.D. 1994 - 2002 education in the Staromaynskaya secondary school No. 1.
"I.S. Turgenev Asya" - Drawings for the story: (Michukov M., Morozova N.). Sociologists Who is to blame for the separation of heroes? Drawings for the story. Sociologists (the number of landscapes in the story). “... she (the story) is lovely, how good. Strong feelings in heroes are often accompanied by music (chapters 1,2,9,19). Meaning of the name. Based on the pages of I.S. Turgenev's story "Asya".
"Asya Turgenev's lesson" - M.E. Saltykov-Shchedrin. That's what Asya is. Why N.N. ended up in a provincial German town? I.S. Turgenev (1818-1883). Lesson 1. Mr. N.N. Gagin, Asya are the main characters of the story. Did Mr. N.N. new acquaintances? Why? Asya image. The story "Asia". Do you see a contradiction in the character of the hero?
"Biruk" - Biryuk. Scenery. With what feeling does the hunter-narrator describe Biryuk's place of residence? How does the landscape relate to the development of the whole story? What is a landscape? Find in the text and expressively read the description of the forester's hut. What is an interior? Interior. Orally draw a picture that presented itself to you while reading.
"Bazarov" - Bazarov turns out to be higher and nobler than all the characters in the novel. - Which assessment of the main character is correct? 1) Sitnikov 2) Prokofich 3) Bazarov 4) Arkady Kirsanov. Key episode! - What artistic medium dominates in the description of Sitnikov and Kukshina? Bazarov about Pavel Petrovich. Bazarov. Bazarov and social activities.
Total in the topic 43 presentations
The first "duel" is a verbal duel in chapter 6. This is more likely not a dispute, but a kind of preparation, Pavel Petrovich's intelligence. He raises several topics: 1) about the success of the Germans in the natural sciences, 2) about authorities, 3) about poets and chemists, 4) about the non-recognition of art, 5) about faith in authorities (almost secondary). Bazarov objects very reluctantly and sluggishly, and Nikolai Petrovich, as always, intervenes in the conversation, when he "smells of fried", he acts as a softener, a buffer.
Before the main ideological battle (Chapter X) in the previous chapter, Turgenev specifically places the episode with Fenechka and the child. Here, for the first time, some of Bazarov's true qualities are revealed, which, however, as always, are hidden behind harsh and cynical rhetoric. Bazarov speaks enthusiastically and lovingly about plants, and most importantly, a child willingly goes into his arms, which indicates the hero’s healthy gut: children always behave calmly with kind, strong and loving people.
Chapter X is the main ideological duel of heroes. All disputes are started by Pavel Petrovich, for whom everything in Bazarov is unacceptable - from appearance and habits to character, lifestyle and views. Bazarov does not rush into battle, but only briefly parries Kirsanov's blows, but only until the time when he touched him to the quick, offending his filial feelings.
Pavel Petrovich and Bazarov disagree on the following issues:
on the issue of changing society for the better (Pavel Petrovich - for gradual, minor reforms, Bazarov wants to break everything at once);
On the question of the principles and meaning of life (Bazarov laughs at Kirsanov's "principles" and denies the very phenomenon of principles;
on the question of attitude towards the people (Pavel Petrovich honors his patriarchy, adherence to antiquity, faith, humility, and Bazarov despises him for the same and considers the peasant’s consent to slavery, drunkenness and ignorance to be a vice);
On the issue of patriotism (Pavel Petrovich considers himself a patriot and loves the people theoretically, Bazarov is somewhat closer to the people, easier to deal with the peasant, but no less alien and incomprehensible to the peasant - his name is “pea jester”, since the work of a naturalist is not capable of accepting work.
Bazarov does not want to recognize any authorities, because he believes that everything created thanks to these authorities is subject to demolition, destruction. Bazarov's trust extends only to the knowledge and experience gained by him during experiments and research.
Gradually, even before the duel, with all Turgenev’s sympathy, with all the sympathy for the Kirsanovs who are closer in spirit to him, and with all the limitations of the nihilist Bazarov, a certain superiority of the nihilist over the “fathers” is more and more clearly revealed. This superiority hurts the author's heart, and it is objectively not good in everything. The author, for example, highly appreciates the dignity, nobility and will of Pavel Petrovich, the sensitivity, kindness, aesthetics of Nikolai Petrovich, the emotionality, delicacy and goodwill of Arkady.
Finally, the reader begins to fully understand Bazarov's "self-indulgence", the peculiar sacrifice of his figure, and after that his painful split and loneliness. Hiding behind the usual cynical mask of the destroyer, his feelings begin to burst the shell of the mask from the inside. He is infuriated by the fact that he cannot explain his sympathy for Fenichka in the usual way - only by physiological needs; that during and after the duel (romantic absurdity!) he is forced to show nobility towards the enemy; that he feels in himself a desire to see next to him a more serious friend and follower than Arkady; finally, he is overtaken by a real feeling of love for Odintsova - that is, exactly what he denied in every possible way and over which he frankly teased.
Analysis of the episode of the pre-duel explanation of Bazarov and Pavel Petrovich (Chapter XXIV)
Between the ideological duel in Chapter X and the pre-duel explanation, a whole series of events take place in Bazarov's life, significantly softening the harsh image of the beginning of the novel. The following contributes to this:
· a dispute with Arkady in a haystack, where Bazarov, perhaps for the first time, acutely felt his loneliness and admitted his self-loathing;
· a visit to the parents, which highlighted the new, soft facets of the hero's soul, his careful attitude towards his parents, habitually hidden under a rudely ironic mask;
· a meeting with Odintsova and an absurd scene of a declaration of love, which for the first time showed Bazarov to helplessly passionate and not entirely understood;
· the scene in the pavilion with Fenechka, reflecting the process of intensifying the hero's struggle with his nature.
What makes this scene special? It is interestingly built compositionally: the characters seem to seize the initiative from each other several times. In addition, it is here that, after a long break, “fathers” and “children” clash with even greater sharpness. More clearly than before, in this episode, the characters of the two heroes appear. Not like before, this last of the psychological duels ends, and the heroes suddenly find themselves on the verge of real, physical bloodshed.
Before this duel, the heroes feel differently. Bazarov is in an unusual state of confusion for him, his usual work is not going well. He is annoyed with himself after two clumsy actions in a row in relation to two women - to Odintsova in the scene of a declaration of love and to Fenechka in the scene with a kiss in the gazebo. However, as before, he is completely indifferent to Pavel Petrovich and does not seek further quarrels with him. At the same time, Pavel Petrovich's indignation against Bazarov reached its highest point, and the last straw was a kiss in the arbor.
However, unlike past disputes that arose spontaneously, Kirsanov is preparing for this duel, and this is his initial advantage.
At the beginning of the scene, Bazarov is unusually unsure of himself. After Bazarov's first remark, the author's words come: "... answered Bazarov, in whom something ran across his face as soon as Pavel Petrovich crossed the threshold of the door." Previously, Turgenev did not characterize the state of Bazarov (according to the laws of "secret psychology") with indefinite pronouns.
And further - when Pavel Petrovich spoke about the duel, the author writes: "Bazarov, who stood up to meet Pavel Petrovich, sat down on the edge of the table and folded his arms." Half-gestures “got up”, “sat down” are also not typical for Yevgeny. Immediately after being challenged to a duel: "Bazarov's eyes widened."
Bazarov's confusion at this moment is reflected in his speech. He usually spoke rudely, abruptly, abruptly. And here are the usual turns of the type “yes, no matter what!” are accompanied by phrases more characteristic of Kirsanov: "Very well, sir", "You have a fantasy to test your chivalrous spirit on me."
In turn, Pavel Petrovich tries to restrain his excitement, firstly, by excessively emphasized politeness and formality of tone. Secondly, a “beautiful cane” specially taken for such an occasion, a symbol of aristocratic superiority, helps him not to throw off this mask and maintain the set tone. The cane, as a symbolic detail, went through the whole episode. Bazarov called it a "stick" - an instrument of possible violence.
After Kirsanov's confession, "I despise you," the quarrel culminated: "Pavel Petrovich's eyes sparkled ... They also flared up at Bazarov." It is at this moment that Bazarov takes control of himself and uses the usual weapon of irony, starting to mimic his opponent, repeating almost verbatim the endings of each of Kirsanov's remarks. It doesn't go unnoticed. Kirsanov says: "You keep joking..." But this time Pavel Petrovich won't lose his temper, as he used to. Why? Bazarov, although joking, did not overstep the bounds of what was permitted. In addition, the cane that was present nearby helped - a kind of reminder of aristocracy, a symbol of patience, support.
Each of the characters throughout the scene diligently hides his true feelings from the other. Kirsanov behind a screen of politeness hides resentment, jealousy, indignation, and Bazarov behind a screen of irony - confusion and irritation with himself.
It seems that this psychological duel is won by Pavel Petrovich, who has achieved his goal on almost all counts. And Bazarov, after his departure, even more lost his inherent inner calm, dissatisfied with himself, experiencing remorse and moral feelings that were not inherent in him, having discovered Pavel Petrovich's secret love for Fenechka.
During the duel itself, after the shots, both opponents behave with dignity. Bazarov fulfills his medical and human duty, showing the nobility that he had recently hated, and Pavel Petrovich courageously and even with humor endures pain and loses all resentment towards Bazarov.