The Mastery of Turgenev's Secret Psychology. All school essays on literature

What is the peculiarity of Turgenev's psychologism and which of the Russian classics is close to him in terms of the ways of depicting the personality of the hero?

Pavel Petrovich went out, and Bazarov stood in front of the door and suddenly exclaimed: “Damn it! how beautiful and how stupid! What a comedy we broke off! Learned dogs dance like that on their hind legs. And it was impossible to refuse; after all, he would have hit me, what good, and then ... (Bazarov turned pale at this very thought; all his pride rose on its hind legs.) Then he would have to be strangled like a kitten. He returned to his microscope, but his heart fluttered and the calm necessary for observing was gone. “He saw us today,” he thought, “but is it really he who stood up for his brother like that? And what is the importance of a kiss? There is something else here. Ba! Isn't he in love himself? Of course, in love; it's clear as day. What a binding, you think! .. Bad! - he decided at last, - bad, no matter how you look at it. Firstly, it will be necessary to turn your forehead and in any case leave; and here Arkady ... and this ladybug, Nikolai Petrovich. Bad, bad."

The day passed somehow especially quietly and sluggishly. Baubles as if the world had never happened; she sat in her little room like a mouse in a hole. Nikolai Petrovich looked preoccupied. He was informed that a brand appeared in his wheat, on which he especially hoped. Pavel Petrovich overwhelmed everyone, even Prokofich, with his chilling politeness. Bazarov started a letter to his father, but tore it up and threw it under the table. “If I die,” he thought, “they will know; let me not die. No, I will loom in the world for a long time. ” He told Peter to come to him the next day at dawn for an important matter; Peter imagined that he wanted to take him to Petersburg with him. Bazarov went to bed late, and all night he was tormented by disordered dreams... Odintsova circled before him, she was his mother, a cat with black whiskers followed her, and this cat was Fenechka; and Pavel Petrovich seemed to him a big forest, with which he still had to fight. Peter woke him up at four o'clock; he immediately dressed and went out with him

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Turgenev's psychologism can be called "hidden". The author never reveals the character and worldview of the hero directly, he gives the reader the opportunity to guess them by some external manifestations. Ivan Sergeevich eschewed a personal assessment of the character, giving him the opportunity to express himself and his feelings in dialogues, disputes and actions. This is seen in this passage. In Bazarov's internal monologues, his nervous, fussy state is conveyed, which, according to the hero, is not characteristic of him. Even in a dream, he cannot collect his thoughts, the hero is distracted and unbalanced.

A. S. Pushkin is close to Turgenev in terms of how the characters' personalities are portrayed. The feelings and experiences of the characters are hidden deep in themselves and are revealed thanks to the author's

THE ORIGINALITY OF PSYCHOLOGICAL ANALYSIS IN THE NOVEL "FATHERS AND CHILDREN"

Turgenev is a hidden psychologist. He creates his characters, gives them life and, like Bazarov, studies them under a microscope, which sometimes allows readers to look into. But still, he is not able to change the fate of his heroes.

Of course, Bazarov is the main character, an image in the novel, but he is not as mysterious for the reader as Pavel Petrovich (perhaps for the author).

Pavel Petrovich can be called the aged Pechorin, who lived his life and survived the love that killed him. Turgenev presents us with Pavel Petrovich as a knight, even Bazarov says that he has a knightly character. P.P., like Toggenburg, leads a reclusive life in Maryin (where he settled after the death of Princess R.). Pavel Petrovich is Bazarov's double. Bazarov and Pavel Petrovich had tragic love in their lives.

Turgenev draws a parallel between Bazarov and Pavel Petrovich. Bazarov, like Pavel Petrovich, locks himself in his office (and Ladanov also locks himself in his office after the death of his wife).

Bazarov looks like a frog, and he says that "you and I are the same frogs." Perhaps he cuts frogs not only to find his princess, but also, perhaps, to find out what is inside him. Bazarov is a frog, and a frog can communicate directly with his father, with God. Therefore, Bazarov is closest to God. Bazarov says that he "looks at the sky only when he needs to sneeze." Chichikov also sneezes loudly and blows his nose. Bazarov also says that "a person can understand everything, but cannot understand why another person blows his nose differently from him." Blowing your nose, sneezing - trumpet voice. He, like Christ in Copernaum, heals the sick in Maryina (and his father, Vasily Ivanovich, kept talking about the episode of the plague in Bessarabia). Pavel Petrovich and Bazarov are strangers in Maryino, they both look like Oedipus.

At the beginning of the novel, Bazarov despises Pavel Petrovich, who put everything on the card of love. By the way, Pavel Petrovich played cards very well, but he lost all the time, and Bazarov lost cards to his father Alexei. And those who lose at cards are lucky in love.

But after he met with Odintsova, Bazarov changed, just like Pavel Petrovich. After the love stories they experienced, we can better understand both Bazarov and Pavel Petrovich. We understand that Bazarov is a romantic and a poet at heart (and always has been). And at the end, before his death, Bazarov says very beautifully (like Hamlet): "Blow on the dying lamp, and it will go out ... Now ... darkness ..." (And Oedipus blinds himself.) Before meeting Odintsova, Bazarov deceived himself, hiding his feelings. But Pavel Petrovich was always true to himself, to his views. Pavel Petrovich is the most mysterious hero, and he retains his mystery to the end. In general, all Pavels experience a revolution in their lives (Pavel Chichikov). In Bazarov's dream, Pavel Petrovich is a forest, and Bazarov also says that he would like to strangle him like a kitten.

The turning point in the relationship between Pavel Petrovich and Bazarov is a duel, after which they find much in common with each other.

As if in opposition to Bazarov, Arkady is put. At first, Arkady was subordinate to Bazarov in everything, but then he gradually became more independent. Unlike Pavel Petrovich and Bazarov, Arkady is not a stranger in Maryino. The name Arkady means a happy, doing nothing person. Arkady is a finch, and Bazarov advises him to be a jackdaw and build his own nest. When Katya and Arkady are sitting under an ash tree, he is reading Heine ("Lorelei", perhaps), and soon Bazarov and Odintsova appear. Arkady was never a nihilist, and he hardly liked Bazarov, but he is kind. He feels sorry for the poor peasants, sorry for Bazarov's parents, his mother: "You don't know your mother, Evgeny..." Evgeny did not know mother nature, which killed him.

Two more mysterious figures of the novel are Princess R. and Odintsova. The story of Princess R. plays a big role in the novel. Princess R. is the same fatal woman who killed Pavel Petrovich. She is a sphinx, an eternal mystery. Perhaps Princess R. would never have become a sphinx if Pavel Petrovich had not given her a ring and said that she was a sphinx. During the day she flirted, was a lady of the world, and at night she read the Psalter. She is unpredictable, like Asya, and a little crazy.

Princess R. put an end to the sphinx, that is, to herself. She learned her riddle, comprehended the secret of love and life in exchange for her life. Perhaps Pavel Petrovich is Woland: he has a cane, a mustache, Bazarov hit him in the leg, and when he was lying in bed, "the light from the window illuminated the dead man's face", Pavel Petrovich has empty eyes. And, perhaps, he did not leave Princess R. a choice, giving the ring.

Odintsova is also a sphinx, Lorelei. She felt an emptiness behind her, an abyss. She is more like Vera Nikolaevna. (In "Faust" the portrait of Vera's mother comes to life, and in Odintsova's house - the statue of Silence, which everyone is afraid of). Odintsova is cold, and Bazarov says to Arkady: "You like ice cream, don't you?" She always breathes calmly and evenly, she is like an inanimate person, a statue. Once, when Odintsova was talking with Bazarov, she began to breathe as if she had just climbed a mountain (Olga and Oblomov; Asya). Odintsova's house is like a castle, everything is in order, and her name is a hint of loneliness.

Nikolai Petrovich is closest to Turgenev. He admires nature, he is a kind man, a "ladybug". Fenechka has an icon of St. Nicholas in her room. Nikolai Petrovich also had a tragedy in his life when his wife died, but he still managed to fall in love with Fenechka. He, like Arkady, love is not fatal. Fenechka loves Nikolai Petrovich, she gathers "an abyss of red and white roses" for him for breakfast.

Katya is ash. Arkady and Katya are two jackdaws. They also settled in Maryino together with Arkady's father and Fenechka. But Pavel Petrovich was left alone and moved abroad. Odintsova married a second time not for love.

Giving a psychological portrait of the heroes, Turgenev regrouped them. In one letter, he wrote: "... in the fate of almost every person there is a tragedy, but it is hidden from the person himself by the vulgar surface of life. Many stop on the surface and do not suspect that they are the heroes of a tragedy. What else is there to want the tragic." That is, Bazarov, Pavel Petrovich, Princess R. and Odintsova are the heroes of the tragedy and they were all alone. With the help of psychological analysis, Turgenev reveals to us the inner world of his heroes.

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One of the manifestations of Turgenev's talent was the invention of his own method of describing the psychological state of the hero, which later became known as "secret psychology".

Ivan Sergeevich Turgenev was convinced that any writer, when creating his work, should be, first of all, a psychologist, depicting the state of mind of his characters and penetrating into the holy depths of their inner state, their feelings and experiences.

So, for example, we know that Turgenev, while working on the novel, kept a diary on behalf of his hero, Bazarov. Thus, the writer could convey his feelings much deeper, because, keeping a diary, the author for a while, as it were, “turned” into Bazarov and tried to evoke in himself those thoughts and feelings that the hero could also experience. However, at the same time, the writer believed that the reader should not be told in detail about the process of origin and development of feelings and experiences in the hero, that only their external manifestations should be described. Then the author will not bore the reader (as Turgenev said, "the best way to get bored is to say everything"). In other words, the writer set himself the goal not so much to explain the essence of the psychological states of his characters, but to describe these states, to show their "external" side.

In this sense, the development of Arkady's condition before leaving Nikolskoye is characteristic.

First, Turgenev shows Arkady's train of thought, what he thinks. Then the hero has some kind of vague feeling (the author does not fully explain this feeling to us, he simply mentions it). After some time, Arkady realizes this feeling. He thinks about Anna Odintsova, but gradually his imagination draws a different image for him - Katya. And finally, Arkady's tear falls on the pillow. At the same time, Turgenev does not comment on all these experiences of Arkady in any way - he simply describes them. So, for example, readers themselves must guess why, instead of Anna Sergeevna, Arkady sees Katya in his imagination and why at that moment a tear drips onto his pillow.

Ivan Sergeevich Turgenev, describing the "content" of his hero's experiences, never claims anything. He describes everything in the form of assumptions. It is said, for example, numerous author's remarks(“possibly”, “maybe”, “should be”). In other words, the author again gives the reader the right to guess for himself what is happening inside the hero.

Also very common reception of Turgen wa when depicting the state of mind of the hero is default. Only the action of the hero is shown, which is not commented at all. Just stating a fact. So, for example, after an explanation with Odintsova, Bazarov goes into the forest and returns only a few hours later, all dirty. With boots wet with dew, disheveled and sullen. Here we ourselves have to guess what the hero felt when he wandered through the forest, what he thought about and what he experienced.

In conclusion, it is worth saying that the principle of secret psychologism makes the novel "Fathers and Sons" extremely fascinating. The reader himself, as it were, becomes the protagonist of the novel, he is, as it were, drawn into the action. The author does not let the reader fall asleep, constantly gives him food for thought. Reading a novel without thinking is almost impossible. You always have to interpret the characters in one way or another. It can also be said that it is partly this principle that makes the novel relatively small in size, which also makes it easier to read.

Test.

Once they somehow hesitated for a long time; Nikolai Petrovich went out to meet them in the garden and,

drawing level with the arbor, he suddenly heard quick steps and the voices of both young people. They were walking on the other side of the pavilion and could not see him.

“You don’t know your father enough,” Arkady said.

Nikolai Petrovich hid.

“Your father is a kind fellow,” said Bazarov, “but he is a retired man, his song has been sung.

Nikolai Petrovich pricked his ear... Arkady made no answer.

The “retired man” stood motionless for about two minutes and slowly trudged home.

"On the third day, I see he's reading," meanwhile Bazarov went on. - Explain to him, please, that this is no good. After all, he is not a boy: it's time to quit this nonsense. And the desire to be a romantic at the present time! Give him something to read.

- What would you give him? asked Arkady.

- Yes, I think Buchner's "Stoff und Kraft" for the first time.

"I think so myself," remarked Arkady approvingly. – “Stoff und Kraft” is written in popular language...

“This is how you and I,” Nikolai Petrovich said to his brother after dinner that same day, sitting in his office, “we ended up in retired people, our song is sung. Well? Maybe Bazarov is right; but, I confess, one thing hurts me: I was hoping just now to get close and friendly with Arkady, but it turns out that I have remained behind, he has gone forward, and we cannot understand each other.

- Why did he go ahead? And why is he so different from us? exclaimed Pavel Petrovich impatiently. - It's all in his head, this signor, this one. I hate this doctor; I think he's just a charlatan; I am sure that with all his frogs, he did not go far in physics either.

- No, brother, don't say that: Bazarov is smart and knowledgeable.

“And vanity, what a disgusting thing,” Pavel Petrovich interrupted again.

“Yes,” Nikolai Petrovich remarked, “he is proud. But without this, apparently, it is impossible; Here's what I just don't get. It seems that I am doing everything to keep up with the times: I arranged for the peasants, started a farm, so that even in the whole province they call me red; I read, I study, in general I try to become up to date with modern requirements - and they say that my song has been sung. Why, brother, I myself begin to think that it is definitely sung.

- Why?

- And here's why. Today I'm sitting and reading... I remember I came across "Gypsies"... Suddenly Arkady came up to me and silently, with a kind of gentle regret on his face, quietly, like a child's, took the book from me and placed in front of me another, German ... smiled, and left, and carried away.

– That's how! What book did he give you?

- This one.

And Nikolai Petrovich took out from the back pocket of his coat the notorious Buchner pamphlet, ninth edition. Pavel Petrovich turned it over in his hands.

- Hm! he muttered. - Arkady Nikolaevich takes care of your upbringing. Well, have you tried reading?

- Tried.

- So what?

“Either I'm stupid, or it's all nonsense. I must be stupid.

- Have you forgotten German? asked Pavel Petrovich.

– I understand German.

Pavel Petrovich again turned the book over in his hands and looked frowningly at his brother. Both were silent.

- Yes bro; Apparently, it's time to order a coffin and fold the arms in a cross on the chest, - Nikolai Petrovich remarked with a sigh.

"Well, I won't give up so soon," his brother muttered. “We will have another fight with this doctor, I foresee it.

I.S. Turgenev. "Fathers and Sons"

IN 2. Three of the four characters in the passage belong to the same family. Enter their last name.

AT 3. The text made a omission in place of the word, which is derived from the Latin "nothing", "nothing" and denotes a person who denies the existing order, traditions, foundations. It is one of the key words of the work. Write down this word.

AT 4. In the above fragment four times (once in the speech of Bazarov and three times in the speech of Nikolai Petrovich) there is a phraseological sentence, the meaning of which in the dictionary is interpreted as follows: "someone's life, successes, activities end or ended." Write it down.

AT 5. What is the name of the sharp clash of characters in a literary work that underlies the action that determines the course of the plot?

AT 6. In the above passage, we hear two conversations. First, “children” talk about “fathers”, then “fathers” talk about “children”. What is a conversation between two characters called?

AT 7. Insert instead of the gaps marked with numbers, the surname of the poet, about whom the heroes of "Fathers and Sons" will repeatedly speak throughout the novel (one of his works is named in the above passage). Write the last name in the nominative case.

C1. Is it possible, on the basis of this passage, to speak about the difference in the characters of Nikolai Petrovich and Pavel Petrovich?

C2. What other works of Russian literature raise the topic of generational conflict, and how do these works resonate with Fathers and Sons?

ANSWERS AND COMMENTS

B2 Kirsanovs

B3 nihilist

B4 song sung

B5 conflict

C1. Nikolai Petrovich and Pavel Petrovich are brothers, people who are quite close to each other. However, they have different characters - and in the above dialogue, this

the difference emerged. Nikolai Petrovich is more gentle, he is ready to admit the correctness of the other, he is set to dialogue (both with his son and with his friend Bazarov). His main concern is not to lose contact with Arkady (that’s why he “clung with his ear”, waiting for his son’s reaction to Bazarov’s words about a “retired man” and a “sung song”, that’s why he was so sad when there was no reaction) and the younger generation in general. He is overcome with sadness at the thought that a gulf is emerging between the generations of fathers and children; at the same time he realizes that

this state of affairs is inevitable. Pavel Petrovich, on the contrary, is convinced that he is right. That is why he “impatiently exclaims” in response to his brother’s elegiac remarks, scolds Bazarov (“doctor”, “I hate”, “charlatan”, “what a disgusting pride” - you will not find such words in Nikolai Petrovich). That is why he does not intend to resign himself and is eager to fight (see his last remark).

C2. The topic of generational conflict is raised in many program works: for example, in D. Fonvizin's comedy "Undergrowth", A. Pushkin's story "The Captain's Daughter", A. S. Griboedov's comedy "Woe from Wit", A. Ostrovsky's drama "Thunderstorm", the novel L. Tolstoy "War and Peace", etc. A beautiful move is to turn to Pushkin's "Gypsies", mentioned in the passage.

Test.

The young people entered. The room they found themselves in looked more like a study than a living room. Papers, letters, thick numbers of Russian magazines, mostly uncut, lay on the dusty tables; scattered cigarette butts were scattered everywhere. A lady was reclining on a leather sofa, still young, blond, somewhat disheveled, in a silk, not quite neat dress, with large bracelets on her short arms and a lace scarf on her head. She got up from the sofa and, casually pulling a velvet coat with yellowed ermine fur over her shoulders, said lazily: "Hello, Victor," and shook Sitnikov's hand.

“Bazarov, Kirsanov,” he said curtly, in imitation of Bazarov.

“You are welcome,” she answered, and, fixing her round eyes on Bazarov, between

with which her tiny upturned nose blushed forlornly, she added: “I know you,” and she shook hands with him too.

Bazarov grimaced. There was nothing ugly in the small and nondescript figure of an emancipated woman; but the expression on her face had an unpleasant effect on the viewer. Involuntarily I wanted to ask her: “What are you, hungry? Or are you bored? Or are you shy? What are you up to?" And she, like Sitnikov, always had a scrape in her soul. She spoke and moved very casually and at the same time awkwardly: she obviously considered herself a good-natured and simple creature, and meanwhile, no matter what she did, it constantly seemed to you that this was exactly what she did not want to do; everything came out of her, as the children say - on purpose, that is, not simply, not naturally.

"Yes, yes, I know you, Bazarov," she repeated. (She had a habit, characteristic of many provincial and Moscow ladies, of calling men by their last names from the first day they met.) “Would you like a cigar?

“A cigar with a cigar,” Sitnikov picked up, who had managed to collapse in an armchair and lift his leg up, “and let us have breakfast, we are terribly hungry; Yes, tell us to raise a bottle of champagne.

“Sybarite,” said Eudoxia, and laughed. (When she laughed, her upper gum was exposed above her teeth.) - Isn't it true, Bazarov, he is a sybarite?

“I love the comfort of life,” Sitnikov said with gravity. It doesn't stop me from being a liberal.

- No, it interferes, interferes! - Exclaimed Eudoxia and ordered, however, her servant to dispose of both breakfast and champagne. – How do you think about it? she added, turning to Bazarov. I'm sure you share my opinion.

I.S. Turgenev. "Fathers and Sons"

IN 1. To what genre does the work, an excerpt from which is given above, belong?

IN 2. Insert the name of the heroine in whose house the action of the passage takes place in place of the gap.

AT 3. Write out from the text the phrase that ironically denotes the heroine.

AT 4. What is the name of the image in works of literature (and more broadly - art) of the appearance of the hero, his face, facial expressions, gestures, clothes?

AT 5. What is the name of the image of the interior space of the room, which is often undertaken in order to further characterize the hero?

AT 6. What is the name of the pictorial detail with which the author creates an artistic image (a tiny upturned nose; uncut magazines, etc.)?

AT 7. In the description of the heroine, the author's caustic mockery is felt. What is this type of comic picture called?

C1. Why does Bazarov, despite the questions constantly addressed to him, not seek to participate in the conversation?

C2. What secondary heroes of other literary works can come to mind when meeting Sitnikov and his "girlfriend" and why?

ANSWERS AND COMMENTS

B2 Kukshin

B3 emancipated woman

B4 portrait

B5 interior

B6 detail; artistic detail

B7 sarcasm

C1. Bazarov treats Sitnikov and Kukshina with contempt - this is the reason for his unwillingness to participate in the conversation. They adopt the outward signs of the fashion for nihilism, strive to play progressive people, being in fact petty and ordinary. For Bazarov, with his enormous conceit and sharp mind, such people are not interested. He comes to Kukshina with a goal that he does not hide - to have breakfast and drink champagne. For Sitnikov and Kukshina, Bazarov’s attention is flattering, they are trying to win his favor (therefore they talk a lot), he is an authority and teacher for them.

Sitnikov and Kukshina, on the one hand, set off the personality of Bazarov with their emptiness. On the other hand, they are his doubles, the retinue that accompanies his ideas, the disciples; they cast a satirical gleam on Bazarov himself and on his teachings.

C2. In classical literature there are double heroes or heroes who distort the idea of the main character (Chatsky - Repetilov, Pechorin - Grushnitsky, Raskolnikov - Luzhin - Svidrigailov, etc.).

Raskolnikov's twins are, first of all, Luzhin and Svidrigailov. For them, "everything is permitted", although for different reasons.

Svidrigailov put himself outside of morality, he has no pangs of conscience, and, unlike Raskolnikov, he does not understand that his actions and deeds are immoral. So, for example, rumors about Svidrigailov's involvement in several crimes are repeated in various interpretations. It is characteristic that Svidrigailov finds “some kind of common point” between himself and Raskolnikov, says to Raskolnikov: “We are the same field of berries.” Svidrigailov embodies one of the possibilities for implementing the ideas of the protagonist. The permissiveness of Svidrigailov becomes scary in the end and Raskolnikov. Svidrigailov is also terrible to himself. He takes his own life.

Raskolnikov's double is Pyotr Petrovich Luzhin. Luzhin's idea is that you must love yourself first of all, "for everything in the world is based on personal interest." According to Raskolnikov, it follows from Luzhin's theory that "people can be cut" for their own benefit. The image of Pyotr Petrovich Luzhin serves as a living example of what Raskolnikov could have come to, gradually implementing his principle of omnipotence and power, “Bonapartism”. The difference between Raskolnikov and Luzhin lies in the fact that Raskolnikov's views were formed as a result of solving humanistic problems, and the views of his double serve as an excuse for extreme selfishness, are based on calculation and benefit.

Such a technique as the creation of systems of twins is used by the author to reveal the image of Raskolnikov, a comprehensive analysis and debunking of his theory.

Pechorin's twins (M. Lermontov. "A Hero of Our Time") can be called Grushnitsky, Werner, Vulich. The young cadet is a kind of parody of the protagonist of the novel. Both characters constantly play with feelings, experiences, play with life itself. Pechorin is also cynical, cold, detached from the surrounding life, like Werner. But, unlike Werner, Pechorin is deeper and more complex. He is completely indifferent to his own life, as well as to the lives of other people. Werner pretends to be a cynic more than he is. Pechorin's cynicism is his inner philosophy, born in deep and painful thoughts about the meaning of life, about the place of man in this world.

Pechorin is the same fatalist as Vulich. But if Vulich surrenders to the will of fate, then Pechorin wants to control his own destiny. Throughout his life he struggles with fate.

Test.

Pavel Petrovich went out, and Bazarov stood in front of the door and suddenly exclaimed: “Damn it! how beautiful and how stupid! What a comedy we broke off! Learned dogs dance like that on their hind legs. And it was impossible to refuse; after all, he would have hit me, what good, and then ... (Bazarov turned pale at this very thought; all his pride rose on its hind legs.) Then he would have to be strangled like a kitten. He returned to his microscope, but his heart fluttered and the calm necessary for observing was gone. “He saw us today,” he thought, “but is it really he who stood up for his brother like that? And what is the importance of a kiss? There is something else here. Ba! Isn't he in love himself? Of course, in love; it's clear as day. What a binding, you think! .. Bad! - he decided at last, - bad, no matter how you look at it. Firstly, it will be necessary to turn your forehead and in any case leave; and here Arkady ... and this ladybug, Nikolai Petrovich. Bad, bad." The day passed somehow especially quietly and sluggishly. Baubles as if the world had never happened; she sat in her little room like a mouse in a hole. Nikolai Petrovich looked preoccupied. He was informed that a brand appeared in his wheat, on which he especially hoped. Pavel Petrovich overwhelmed everyone, even Prokofich, with his chilling politeness. Bazarov started a letter to his father, but tore it up and threw it under the table. “If I die,” he thought, “they will know; let me not die. No, I will loom in the world for a long time. ” He told Peter to come to him the next day at dawn for an important matter; Peter imagined that he wanted to take him to Petersburg with him. Bazarov went to bed late, and all night he was tormented by disordered dreams... Odintsova circled before him, she was his mother, a cat with black whiskers followed her, and this cat was Fenechka; and Pavel Petrovich seemed to him a big forest, with which he still had to fight. Peter woke him up at four o'clock; he immediately dressed and went out with him. I.S. Turgenev, Fathers and Sons.

B1	What is the genre of the work from which the fragment is taken?
	Answer:

B2	What event in the life of Bazarov and Pavel Petrovich is immediately preceded by this episode?
	Answer:

VZ	Establish a correspondence between the three characters appearing (mentioned) in this fragment and their inherent personality traits. For each position in the first column, select the corresponding position from the second column.
	Answer:

B4	Establish a correspondence between the three main characters appearing in this fragment and their future fate. For each position in the first column, select the corresponding position from the second column.
	Answer:

B5	What is the name of the technique in literary criticism, which consists in the direct reproduction of the thoughts and experiences of the character (for example: “He saw us today,” he thought ..., “I’ll die,” he thought ...”)?
	Answer:

B6	What artistic technique does I.S. Turgenev to depict the state of Fenichka in the second paragraph of the fragment?
	Answer:

B7	What is the name of one of the forms of allegory in which a specific image is used to express an abstract concept or state (Bazarov's dream: images of a "cat", "forest")?
B1		novel
B2		duel
B3
B4
B5		internal monologue
B6		comparison
B7		allegory

C1. What means of psychological characterization and for what purpose are used by Turgenev in this fragment?

C2. What is the peculiarity of Turgenev's psychologism and which of the Russian classics is close to him in terms of the ways of depicting the personality of the hero?

Turgenev's psychologism lies in the fact that he shows the reader Bazarov's thoughts, describes his dream, which conveys the hero's hidden feelings and experiences. We see the day as if through the eyes of Bazarov, who notes that “Baubles seemed to have never happened in the world”, “Pavel Petrovich suppressed everyone.” Evgeny is a “psychologist” who analyzes his own and other people's actions.

Similar ways of depicting heroes were used by A.S. Pushkin. For example, in the novel in verse "Eugene Onegin" the writer conveys to us Onegin's thoughts and feelings in his letter. This helps the reader understand the character.

M.Yu. Lermontov in the novel "A Hero of Our Time" is close to Turgenev in terms of how the hero's personality is portrayed. Pechorin analyzes himself and other people, he "plays" with society. To reveal the inner world of the protagonist, most of the work is written in the genre of a diary.

Part 1

Read the text below and do tasks B1-B7; C1-C2.

- Would you like to charge? asked Pavel Petrovich, taking the pistols out of the drawer. - Not; charge you, and I will measure the steps. My legs are longer,” Bazarov added with a grin. - One, two, three ... - Yevgeny Vasilyich, - Peter murmured with difficulty (he was trembling, as if in a fever), - it's your choice, I'll go away. - Four ... five ... Move away, brother, move away; you can even stand behind a tree and plug your ears, just don't close your eyes; and if someone falls down, run to pick it up. Six ... seven ... eight ... - Bazarov stopped. - Enough? - he said, turning to Pavel Petrovich, - or two more steps to throw? - As you like, - he said, driving in the second bullet. Well, let's take two more steps. - Bazarov drew a line on the ground with the toe of his boot. - That's the barrier. And by the way: how many steps each of us from the barrier move away? This is also an important question. There was no discussion about this yesterday. “I suppose ten,” answered Pavel Petrovich, handing Bazarov both pistols. - Kindly choose. - I agree. And you must admit, Pavel Petrovich, that our duel is unusual to the point of ridiculousness. Just look at the face of our second. - You all want to joke, - answered Pavel Petrovich. - I do not deny the strangeness of our duel, but I consider it my duty to warn you that I intend to fight seriously. A bon entendeur, salut! 1 - Oh! I have no doubt that we have decided to destroy each other; but why not laugh and join the utile dulci? 2 That's it: you tell me in French, and I tell you in Latin. “I will fight seriously,” Pavel Petrovich repeated, and went to his place. Bazarov, for his part, counted ten steps from the barrier and stopped. - You are ready? asked Pavel Petrovich. - Absolutely. - We can get together. Bazarov quietly moved forward, and Pavel Petrovich went at him, putting his left hand in his pocket and gradually raising the muzzle of his pistol ... “He is aiming right at my nose,” thought Bazarov, “and how diligently he squints, robber! However, this is an unpleasant feeling. I'll look at the chain of his watch...' Something sang sharply near Bazarov's very ear, and at the same moment a shot rang out. “I heard, so it was nothing,” he managed to flash through his head. He took another step and, without aiming, crushed the spring. Pavel Petrovich trembled slightly and clutched his thigh with his hand. A trickle of blood ran down his white trousers. Bazarov threw the pistol aside and approached his opponent. - Are you hurt? he said. - You had the right to call me to the barrier, - Pavel Petrovich said, - and this is nothing. According to the condition, everyone has one more shot. “Well, excuse me, that’s until another time,” answered Bazarov, and embraced Pavel Petrovich, who was beginning to turn pale. - Now I am no longer a duelist, but a doctor, and first of all I must examine your wound. Peter! come here, Peter! where did you hide? "It's all nonsense... I don't need anyone's help," Pavel Petrovich uttered at a slow pace, "and... I must... again..." rolled over and he fainted. - Here's the news! Fainting! Why would! Bazarov involuntarily exclaimed, lowering Pavel Petrovich onto the grass. Let's see, what's this thing? - He took out a handkerchief, wiped off the blood, felt around the wound ... - The bone is intact, - he muttered through his teeth, - the bullet went shallowly through, one muscle, vastus externus 3, was hurt. Even dance in three weeks!.. And fainting! Oh, these people make me nervous! Look, the skin is so thin. - Killed, sir? Peter's trembling voice whispered behind him. Bazarov looked around. - Go for water as soon as possible, brother, and he will outlive us with you. Bazarov shook Pyotr by the collar and sent him for the droshky. 1 He who has ears, let him hear! (French). 2 Useful with pleasant (lat.). 3 Broad muscle of the thigh. (I.S. Turgenev, "Fathers and Sons".)
When completing tasks B1-B7, write down your answer in the answer sheet No. 1 to the right of the number of the corresponding task, starting from the first cell. The answer must be given in the form of a word or a combination of words. Write each letter in a separate cell legibly. Write words without spaces, punctuation marks and quotation marks.
B1	Name the literary direction, the main principles of which were embodied in the work of I.S. Turgenev.
	Answer:

B2	To the memory of which famous Russian critic did I.S. Turgenev's novel "Fathers and Sons"?
	Answer:

VZ	What is the name of the form of a detailed statement of the hero, addressed to himself: “He is right in the nose of the target,” thought Bazarov, “and how diligently he squints, robber! However, this unpleasant feeling…”?
	Answer:

B4	What socio-psychological type, well-known in literary criticism, is traditionally attributed to the image of Pavel Petrovich Kirsanov?
	Answer:

B5	What term is used to describe the sharp clash of views and ideological positions of the characters, which underlies the development of the plot?
	Answer:

B6	What is the name of the expressive detail, with the help of which the writer creates artistic images of heroes (“white trousers” by Pavel Petrovich, “boots” by Bazarov)?
	Answer:

B7	What terms are used to describe the behavior of these characters in Turgenev's novel "Fathers and Sons"?

B1		realism
B2		Belinsky
B3		internal monologue
B4		extra person
B5		conflict
B6		detail
B7		antite

Part C

C1. Do you agree with the statement that the duel between Bazarov and P.P. Kirsanov is depicted as an absurdity (argument your position)?

C2. In what works of Russian literature are there descriptions of fights between heroes and how do these episodes relate to the scene from the novel by I.S. Turgenev "Fathers and Sons"

Part 1

Read the text below and do tasks B1-B7; C1-C2.

Arkady's heart sank little by little. As if on purpose, the peasants met all shabby, on bad nags; like beggars in tatters stood roadside willows with peeled bark and broken branches; emaciated, rough, as if gnawed, cows greedily plucked the grass in the ditches. It seemed that they had just escaped from someone's formidable, deadly claws - and, caused by the miserable sight of exhausted animals, in the midst of a red spring day, a white ghost of a bleak, endless winter arose with its snowstorms, frosts and snows ... "No," thought Arkady , - this region is not rich, it does not strike either contentment or hard work; it’s impossible, it’s impossible for him to stay like this, transformations are necessary ... but how to carry them out, how to proceed? .. ”Arkady thought so ... and while he was thinking, spring took its toll. Everything around was golden green; everywhere the larks burst forth in endless, ringing streams; the lapwings either screamed, hovering over the low-lying meadows, or silently ran across the hummocks; beautifully blackening in the delicate green of still low spring loaves, rooks walked; they disappeared in the rye, already slightly whitened, only occasionally their heads showed up in its smoky waves. Arkady looked and looked, and, gradually weakening, his thoughts disappeared ... He threw off his overcoat and looked at his father so cheerfully, like such a young boy, that he again hugged him. “Now it’s not far,” Nikolai Petrovich remarked, “it’s only worth climbing this hill, and the house will be visible. We will live happily with you, Arkasha; You will help me with the housework, unless it bores you. We need to get close to each other now, get to know each other well, don't we? "Of course," said Arkady, "but what a wonderful day it is today!" - For your arrival, my soul. Yes, spring is in full bloom. But by the way, I agree with Pushkin - remember, in Eugene Onegin: How sad your appearance is to me, Spring, spring, it's time for love! What a ...- Arkady! - Bazarov's voice came from the tarantass, - send me a match, there is nothing to light a pipe with. Nikolai Petrovich fell silent, and Arkady, who began to listen to him not without some amazement, but also not without sympathy, hastened to get a silver box of matches from his pocket and sent it to Bazarov and Pyotr. (I.S. Turgenev, "Fathers and Sons".)
When completing tasks B1-B7, write down your answer in the answer sheet No. 1 to the right of the number of the corresponding task, starting from the first cell. The answer must be given in the form of a word or a combination of words. Write each letter in a separate cell legibly. Write words without spaces, punctuation marks and quotation marks.
B1	What literary genre does the work from which the fragment is taken belong to?
	Answer:

B2	Indicate the name of the literary direction in which I.S. Turgenev?
	Answer:

VZ	Give the name of the plot-compositional element of the work of art, which is a description of nature (“Everything around was golden green, everything was wide and softly agitated and glossy under the quiet breath of a warm breeze, everything is trees, bushes and grasses…”).
	Answer:

B4	Name the artistic device used by the author in the following phrase: Like beggars in rags, there were roadside willows.
	Answer:

B5	What is the means of artistic representation, widely used by the author in the above fragment (“ formidable, deadly claws", " hopeless, endless winter”, etc.).
	Answer:

B6	What is the name of a special type of questions that do not require an answer? it’s impossible, it’s impossible for him to remain like this, transformations are necessary ... but how to fulfill them, how to start?..»
	Answer:

B7	What technique of hidden opposition does the writer use in the sentence “... but for now he thought, spring was taking its toll»?
B1		epic
B2		realism
B3		landscape
B4		comparison
B5		epithet
B6		rhetorical
B7		antit

C1. What issues related to the general problems of the work are reflected in this fragment?

C2. What underlies the character of Bazarov and which heroes of Russian classics are close to the "Bazarov" type of personality?

Part 1

At the age of twenty-eighth he was already a captain; a brilliant career awaited him. Suddenly everything changed.

In the second half of the 19th century, when a huge number of ideas and thoughts broke through in all forms of social consciousness, in Russian realistic literature the tendency to ever deeper penetration into the inner world of man became especially obvious.

The discovery of the complex sphere of human thoughts and feelings is the main side of the realistic method of artistic creation, and the psychologically reliable disclosure of the inner world of a person on the basis of his connections with the outside world has long been a lasting artistic achievement.

In the research literature, the question of the great significance of the contribution of I. S. Turgenev to the treasury of human studies has long been raised.

Back in the 18th century, in the 50s, N. Ch. Chernyshevsky formulated the definition of many types of psychological analysis based on the analysis of L. Tolstoy's psychological manner: "Count Tolstoy's attention is most of all drawn to how some feelings and thoughts develop from others; he is interested to observe how a feeling immediately arising from a given position or impression, subject to the influence of memories and the power of combinations represented by the imagination, passes into other feelings, again returns to the previous starting point and again wanders, changing along the chain of memories, as the thought born of the first sensation leads to other thoughts, gets carried away further and further, merges dreams with a real feeling, dreams of the future with reflection on the present.Psychological analysis can take different directions: one poet is more and more occupied with the outlines of characters; another - the influence of social relations and everyday collisions on characters; - the connection of feelings with actions; the fourth - ana liz passions; Count Tolstoy is more and more - the mental process itself; its forms, its laws, the dialectic of the soul, to put it in a definite term.

A contemporary of I. S. Turgenev, critic P. V. Annenkov, wrote that Turgenev was "undoubtedly a psychologist", "but secret." The study of psychology in Turgenev "is always hidden in the depths of the work," he continues, "and it develops along with it, like a red thread put into the fabric."

This point of view was shared by a number of critics during the life of Turgenev, and it received recognition in the subsequent period - up to the present day. In accordance with this point of view, Turgenev's psychologism has an objective and final character: although the mental, inner, innermost is comprehended, but not through a kind of unveiling from the secrets of the soul, when a picture of the emergence and development of the hero's feelings is revealed to the reader, but through the artistic realization of them. in external manifestations in posture, gesture, facial expressions, deed, etc.

Knowledge of the human heart, the ability to reveal its secrets to us - after all, this is the first word in the description of each of those writers whose works we re-read with surprise.

Since the middle of the 19th century, psychological analysis in Russian literature has acquired a new quality: heightened artistic attention to the psychological development of the individual as a subject of depiction has become a general the trend in the development of critical realism, which was explained by deep socio-historical changes. The second half of the XIX century - the era of breaking the foundations of the old, patriarchal serfdom Russia, when "the old is irrevocable, it was collapsing before everyone's eyes, and the new was only fitting in." The process of historical movement accelerated. “In a few decades, transformations took place that took whole centuries in some European countries,” wrote V.I. Lenin about this era. Serf Russia was replaced by capitalist Russia. This economic process was reflected in the social sphere by "a general rise in the feeling of personality."

The deepening of psychological analysis in Russian literature of the middle and second half of the 19th century, associated with a new solution to the problem of personality, found its individually unique expression in the works of Turgenev and Goncharov, Tolstoy and Dostoevsky. These writers are united by the desire to understand the inner world of a person in its contradictory complexity, incessant change and struggle of opposing principles. They considered the psychology of personality as multi-layered, in the correlation of root properties and superficial formations that arose under the influence of a socially vicious environment. At the same time, the method of psychological analysis was carried out by our remarkable writers in an individual and original way, in accordance with their understanding of reality, with their conception of man.

Comparative ideological and artistic characteristics of kindred writers as representatives of the main, opposite, and at the same time inextricably linked trends in Russian psychological realism of the 19th century, is of great importance for understanding not only the individual originality of each of them, but also the laws of the literary process.

According to M. B. Khranchenko, "typological unity does not mean a simple repetition of literary phenomena, it implies their affinity - the similarity of some essential internal features." The writers of the psychological movement, Russian critical realism, are especially characterized by the depiction of the diverse conflicts of the individual and society, in contrast to the writers of the so-called sociological movement, who are interested in conflicts caused by deep contradictions between the needs of the nation, the people and the dominant social order, the autocratic-feudal system.

The inner world of the characters becomes the object of close artistic study in the works of the psychological direction. "The history of the human soul" was recognized by Lermontov "almost more interesting and not more useful than the history of an entire people." L. Tolstoy believed that the main goal of art was to "tell the truth about the human soul." He considered art to be a microscope that leads the artist to the secrets of his soul and shows these secrets common to all people. Goncharov was also completely occupied with "images of passions". He constantly depicted "the process of various manifestations of passion, that is, love", because "the play of passions will give the artist a rich material of live effects, dramatic situations and give more life to his creations."

The "inner man" in the new literature of Europe existed even before the appearance of this phrase. Literature - and, of course, philosophy - understood what was happening "inside" in different ways; the perception of thought and the relationship of thought with the word, designed to express it, to verbalize, changed. By psychopoetics, Etkind understands the area of philology that considers the relationship between thought and word, and the term "thought" here and below means not only a logical conclusion (from causes to effects or from effects to causes), not only a rational process of understanding (from essence to phenomenon and vice versa), but also the totality of the inner life of man. Thought (in our usual language) conveys the content that Jean-Paul put into the concept of "inner man"; however, we will often use this combination, bearing in mind the diversity and complexity of the processes taking place in the soul. To begin with, we note that verbalization, that is, the expression of thought by external speech, is significantly different in different cultural and stylistic systems.

The "inner man" and psychology - this problem is considered by E. Etkind as relevant. He noted that Zhukovsky was looking for "verbal means - to express the inexpressible. Russian narrative poetry and novelistic prose of the 19th century strives to unite the world of the "inner man" conquered by the Romantics with the psychologism they rejected. Romantics cast aside character - Novalis decisively declared: "The so-called psychology is the laurels that have taken the places in the sanctuary assigned to the true gods." The writers of the 19th century, who had overcome romanticism, were engaged in the rehabilitation of psychology. N. Ya. Berkovsky remarked: "Characters are unacceptable for romantics, because they constrain the personality, put limits on it, lead it to some kind of hardening"

Russian prose (and before it, Pushkin's "novel in verse") is ever more insistent and resolute in removing this erroneous notion. None of our great novelists has even a trace of such "hardening": the psychology of the heroes of Goncharov and Turgenev, Dostoevsky and Tolstoy, Garshin and Chekhov is distinguished by flexibility, many-sided depth, variability, and unpredictable complexity. Each of them has his own idea of the internal dominant: for Goncharov, this is the struggle of the natural essence of a person with bookishness; in Dostoevsky, the birth in the mind of an irresistibly growing idea that subjugates the whole person, leading to a splitting of the personality, to pathological "duality"; Tolstoy has a struggle between the spiritual and sinful-carnal forces within the body and soul, a struggle that determines both love and death; Chekhov has a conflict between the social role and the intrinsically human in man. These fluent formulas are involuntarily lightweight, the reader will find more detailed and serious judgments in the proposed book (Etkind E.G. Inner Man and External Speech.: Essays on the Psychopoetics of Russian Literature of the 18th-19th centuries - M., 1999.-446s).

Of course, writers-psychologists were not supporters of pure psychologism, passive contemplative immersion in the hero's inner world as a self-contained and pointless stream of associative connections. Through the psychology of personality, they revealed the essence of social relations. The history of intimate personal experiences made it possible to reveal the moral and psychological states of representatives of antagonistic social forces and tendencies. No wonder V. G. Belinsky wrote: "Now the novel and the story do not depict vices and virtues, but people as members of society, and therefore, depicting people, they depict society."

The psychological drama of personality was socially conditioned, generated by some significant processes of social history. But, as G. Pospelov noted, only "symptoms" of the social circumstances that created them manifest themselves in the works of art of the psychological trend, and in the characters of the heroes, in contrast to the works of the sociological direction, in which typical circumstances appear directly.

The psychologism of I. S. Turgenev's prose has repeatedly attracted the attention of researchers, including the author of this monograph. Back in the 1954 article "The Artistic Method of Turgenev the Novelist (Based on the Materials of the Novels Rudin", "The Noble Nest", On the Eve", "Fathers and Sons")", and then in the book "The Method and Style of Turgenev the Novelist", forms of psychological analysis in Turgenev's works in connection with his worldview and method.Portrait drawing, the originality of the psychological detail, the content of the author's position, the nature of the narrative style - everything was studied by me in connection with the forms of Turgenev's psychological analysis.

Of the works specifically dedicated to the specifics of Turgenev's artistic manner, one should mention the old book by A. G. Zeitlin "The Mastery of Turgenev as a Novelist", published by the "Soviet Writer" in 1958. A significant part of G. Byaly's monograph "Turgenev and Russian Realism" is devoted to the study of the writer's novels from the point of view of the connection between their ideological content and the peculiarities of the artistic form, in the perspective of the ideological-political and ethical-philosophical worldview. The components of style are considered in accordance with the person, taking into account the concept of character, Turgenev's solution to the problem of personality, which gives the analysis an organic unity, despite the diversity and diversity of the material involved.

In the books "Problems of the Poetics of I. S. Turgenev" (1969), "The Artistic World of I. S. Turgenev" (1979), S. E. Shatalov practically continues the traditions of his predecessors, considering the evolution of Turgenev's psychologism from an objective, external image of the soul to a more deep analytical penetration into the inner world of a person. In addition to the mentioned monographic works, there are separate articles devoted to the forms of psychological analysis in this or that work of Turgenev.

Turgenev was opposed to that self-observation which so sharpened Tolstoy's powers of observation, accustoming him to look at people with penetrating eyes. According to N. G. Chernyshevsky, Tolstoy "exceedingly carefully studied the secrets of the life of the human spirit in himself", this knowledge "gave him a solid foundation for studying human life in general, for unraveling the characters and springs of action, the struggle of passions and impressions." Turgenev, on the other hand, seemed to be in this concentrated attention to himself the reflection of an extra person: “How fed up and tired of all these subtle reflections and reflections on one’s own feelings.” Turgenev associated the old "psychological fuss", which constitutes "positively Tolstoy's monomania", with the capricious, obsessive and fruitless introspection of the "superfluous person". This concentration of the "Russian Hamlet" on his purely individualistic experiences seemed to the writer petty, selfish, leading to disunity with humanity.

Turgenev rightly objected to the detailed description of minor phenomena of the psyche in the works of Tolstoy's epigones, to their use of the method of psychological decomposition. When the pursuit of subtle semitones becomes an end in itself, then psychological analysis acquires a subjectively one-sided character. Turgenev advised N. L. Leontiev: “Try ... to be as simple and clear as possible in the matter of art; your trouble is some kind of confusion, although true, but too small thoughts, some unnecessary richness of posterior ideas, secondary Feelings and hints. Remember that no matter how subtle and complex the internal structure of some tissue in the human body, skin, for example, but its appearance is clear and uniform "(P., II, 259). Turgenev wrote to him: "... your techniques are too subtle and exquisitely smart, often until dark" (P., IV, 135). Welcoming the gift of psychological analysis by L. Ya. Stechkina, Turgenev finds that this gift "often turns into some kind of painstaking nervousness," and the writer then falls into "pettiness, into a whim." He warns her against striving to “catch all the fluctuations of mental states”: “Everyone in you is constantly crying, even sobbing, feeling terrible pain, then immediately an extraordinary lightness, etc. I don’t know,” concludes Turgenev, “ how much have you read Leo Tolstoy; but I am sure that for you the study of this - undoubtedly the first Russian writer - is positively harmful.

Turgenev appreciated the amazing power of psychological analysis inherent in Tolstoy, the fluidity, mobility, dynamism of his mental drawing, but at the same time he had a negative attitude towards the endless decomposition of feelings in Tolstoy's works (P., V, 364; VI, 66; VII, 64-65, 76 ). Turgenev regarded the form of a direct representation of the mental process as "capriciously monotonous fuss in the same sensations", as "the old manner to convey vibrations, vibrations of the same feeling, position", as "psychological fuss". It seemed to him that it was due to the petty decomposition of feeling into its component parts.

This dissatisfaction with the microscopic analysis of the "soul" was not accidental for Turgenev: it is connected with the deepest foundations of his worldview, with a certain solution to the problem of personality.

Tolstoy did an excellent job of dynamically transforming inner speech. Turning the idiomatic Inner Speech into a syntactically organized and understandable to others, Tolstoy created a literary imitation of inner speech, trying to preserve its features - undividedness and condensedness. But to Turgenev, this transformation of the undivided flow of speech thinking into speech understandable to everyone did not seem correct and, most importantly, possible. He was not satisfied with Tolstoy's transition from inner speech to outer speech, as a rationalistic intrusion into that area of human consciousness that is not subject to analytical decomposition and designation.

Turgenev was to some extent right when he protested against the rationalistic understanding of the "spirituality" of the human personality, against the verbal, therefore, logical depiction by means of the internal monologue of the mental flow, still vague and completely unconscious at the earliest rudimentary stages of its development. In any case, Turgenev's conviction that the first movements of nascent life, the first unconscious manifestations of consciousness are not amenable to precise verbal designation, is in full agreement with the provisions of modern scientific psychology.

Turgenev's negative attitude towards the method of rational designation of all phases of the mental process becomes clear, especially in the light of L. S. Vygotsky's achievements in the study of thinking and speech.

Protesting against those who consider the relationship between thought and word as independent, independent and isolated processes, as well as against those who identify these processes, L. S. Vygotsky at the same time admits that "thought and word" are not connected with each other by the original connection. This connection arises, changes, grows in the course of the very development of thought and word. " In the same work "Thinking and Speech," the scientist writes: "We did not agree with those who consider inner speech as something that precedes the outer, as its inner side . If external speech is the process of transforming thought into word, the materialization and objectification of thought, then here we observe a process in the opposite direction, a process, as it were, going from outside to inside, the process of evaporation of speech into thought. But speech does not disappear at all in its inner form. Consciousness does not evaporate at all and does not dissolve in pure spirit. Inner speech is still speech, i.e., thought connected with the word. But if a thought is embodied in a word in external speech, then the word dies in internal speech, giving birth to a thought. Inner speech is to a large extent thinking in pure meanings... ". Expressing his idea as a result of carefully conducted experiments, L. S. Vygotsky notes: "This flow and movement of thought does not directly and immediately coincide with the development of speech. Units of thought and units of speech do not match. One and the other processes reveal unity, but not identity. They are connected with each other by complex transitions, complex transformations, but they do not cover each other, like straight lines superimposed on each other. It is easiest to be convinced of this in those cases when the work of thought ends unsuccessfully, when it turns out that the thought did not go into words, as Dostoevsky says.

The process of the birth of feelings and thoughts is presented to Turgenev as a mysterious laboratory, closed to any writer. The first movements of emotionality do not tolerate cold analytical dissection: they are mysterious and cannot immediately become conscious. It was at the first stages of its development that Turgenev expressed his cherished convictions in the indecomposability of a spiritual process that proceeds secretly in connection with the intimate experiences of Liza and Lavretsky: “Lavretsky gave himself all to the will that carried him away - and rejoiced; soul of the girl: it was a mystery to herself. No one knows, no one has seen and will never see how the grain, called to life and flourishing, is poured and ripens in the bosom of the earth "(VII, 234). This comparison of an abstract psychological concept with a grain that is pouring and ripening in the bosom of the earth reveals Turgenev's understanding of the process of an emerging feeling as being beyond the control of external observation.

According to Turgenev’s deep conviction, it is impossible to designate with an exact word that which in itself is elusive, incomprehensible due to the richness of shades and the complexity of the internal contradictory unity, due to the insufficient awareness of these still forming, just emerging feelings. That is why Turgenev abandoned the microscopic analysis of the vague, undifferentiated flows of a person’s inner emotional life, but mainly depicted, by means of an internal monologue, mature and fully conscious feelings, fully completed thoughts, that is, after all, the results of a mental process. It is no coincidence that by means of epithets and their coupling, he conveyed stable signs of the spiritual make-up of his heroes in the situation of the moment, when depicting their changing moods.

It should be noted that the sphere of the subconscious and various levels of consciousness were very occupied by Turgenev the psychologist, but to identify these areas, he almost did not use the means of internal monologue. But we will return to this topic below.

Turgenev and Tolstoy are antipodes in their psychological method, in their ideological and creative, ethical and philosophical position.

The sober realism of Tolstoy, completely alien to romantic idealization, was reflected in the methods of psychological analysis, in the desire to decompose the entire process of the origin and development of feelings, to designate the deepest direct movements of consciousness with an exact word. With his merciless analysis, Tolstoy reached the last depths of the personality, clearly revealing the very first manifestations of the inner consciousness, even the most diffuse. During the course of the mental process, Tolstoy was occupied with the most unsteady connections and relationships of the smallest particles of mental life, their bizarre linkages and transformations, in a word, the complex pattern of the inner, mental. Through an exhaustive analysis, the writer went to a synthetic representation of the moral and psychological structure of the personality of a literary hero, who is experiencing a complex history of liberation from the yoke of estate class ideas and norms.

For Tolstoy, everything in a person is clarified - both superficial and fundamental. The innermost things in a person were revealed to them with exhaustive fullness, with a sober consciousness of the truth, in complete freedom from romantic illusions. “For all the complexity of the spiritual life of a person, which Tolstoy recreates it, for him in the psychology of people there is not that mystery, mystery that attracts Dostoevsky,” wrote M. B. Khrapchenko. “The spiritual world of Tolstoy’s heroes appears clear in its origins, in correlation of the main elements, in their main interconnections".

Tolstoy's rationalistic position, which was primarily reflected in the depiction of the elementary particles of the microcosm of mental life, undoubtedly irritated Turgenev, who considered the deep essence of the human personality to be rationally incomprehensible and therefore not subject to decomposition into the smallest indivisible elementary particles. The psychology of elementary particles seemed to him "monotonous fuss in the same sensations." He was a staunch opponent of the educational, rationalistic approach to the human personality, to its "spirituality", i.e., the opponent of Tolstoy's "dialectic of the soul", the removal of the covers from the spiritual life of a person down to its simplest components.

Deprived of boundless faith in the power of the word and reason, in their ability to express what is in itself mysterious and not subject to external definition, i.e. designation, Turgenev, in full agreement with romantic aesthetics, believed that only music transmits with the greatest immediacy of a person's emotionality. So, summing up the lonely, familyless and joyless life of Sanin, who suddenly unexpectedly found a cross given to him by Gemma and received her response letter from America, Turgenev remarks with all certainty: “We do not undertake to describe the feelings experienced by Sanin when reading this letter. There are no such feelings satisfactory expression: they are deeper and stronger - and more direct than any word. Music alone could convey them "(XI, 156).

The emotional element of music puts a person in direct relation with the verbally inexpressible flow of inner life, all the richness of overflows and transitions of feelings, illuminated by the light of a certain consciousness; attaches him to the ideal, raises him above ordinary human life. Musical art becomes for Turgenev the perfect language of the heart, the passionate impulse of the mysterious stranger from the story "Three Meetings", the sublime love of Liza and Lavretsky. Poetic love of a Russian girl! could only be expressed by the wondrous, triumphant sounds of Lemma's composition. Attention to the world of the inner man in the works of Turgenev receives a romantic coloring associated with the desire for a synthetic image, as well as for "a generalized symbolic reflection of individual mental states."

Turgenev's concept of personality, which originates in the romantic philosophical idealism of the people of the 1940s, leads us to an understanding of the internal organic connections between the writer's creative method and the forms of his psychological analysis. The realistic method of Turgenev becomes romantically active due to the understanding of the individual as mysterious, mysterious and incomprehensible in its substantial basis. “After all, only that is strong in us that remains a semi-suspicious mystery for us,” says the writer, explaining Marianne’s closeness, completely unconscious to her, to romance, to poetry (XII, 100).

Protesting against the literary imitation of the most diffuse stages of inner speech, still associated with the subconscious depths of our spiritual "I", Turgenev created the theory of "secret psychology", according to which "the psychologist must disappear in the artist, as the skeleton disappears from the eyes under a living and warm body, to which it serves as a strong but invisible support." "The poet must be a psychologist," Turgenev explained to K. N. Leontiev, "but secret: he must know and feel the roots of phenomena, but he represents only the phenomena themselves - in their heyday or withering" (P., IV, 135) .

One of the manifestations of Turgenev's talent was the invention of his own method of describing the psychological state of the hero, which later became known as "secret psychologism".

So, for example, we know that Turgenev, while working on the novel, kept a diary on behalf of his hero, Bazarov. Thus, the writer could convey his feelings much deeper, because, keeping a diary, the author for a while, as it were, “turned” into Bazarov and tried to evoke in himself those thoughts and feelings that the hero could also experience. However, at the same time, the writer believed that the reader should not be told in detail about the process of origin and development of feelings and experiences in the hero, that only their external manifestations should be described. Then the author will not bore the reader (as Turgenev said, "the best way to get bored is to say everything"). In other words, the writer set himself the goal not so much to explain the essence of the psychological states of his characters as to describe these states, to show their "external" side.

In this sense, the development of Arkady's condition before leaving Nikolskoye is characteristic.

Ivan Sergeevich Turgenev, describing the "content" of his hero's experiences, never claims anything. He describes everything in the form of assumptions. This is evidenced, for example, by numerous author's remarks ("possibly", "maybe", "should be"). In other words, the author again gives the reader the right to guess for himself what is happening inside the hero.

Also, a very common method of Turgenev when depicting the state of mind of the hero is silence. Only the action of the hero is shown, which is not commented at all. Just stating a fact. So, for example, after an explanation with Odintsova, Bazarov goes into the forest and returns only a few hours later, all dirty. With boots wet with dew, disheveled and sullen. Here we ourselves have to guess what the hero felt when he wandered through the forest, what he thought about and what he experienced.