Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http:// www. allbest. en/

The theme of personality education in the trilogy by L.N. Tolstoy "Childhood. Adolescence. Youth” and the novel by F.M. Dostoevsky "Teenager"

Tolstoy Dostoevsky education personality

Introduction

Chapter 1. Man and the world: the influence of the environment on the education of the individual

1.1 Stages of growing up a person

1.2 Family types:

a) Generic family in L.N. Tolstoy's trilogy

b) "A random family" in the novel by F. M. Dostoevsky

1.3 Factors that determine the formation of personality:

a) The authority of a mentor during childhood and adolescence

b) The natural inclinations of a creative personality in youth

conclusions

Chapter 2 2.1 Moral guidelines on the way to a perfect person

2.2 The results of the artistic study of a person in terms of the theme of personality education in the trilogy of L.N. Tolstoy and the novel by F.M. Dostoevsky

conclusions

Conclusion

List of used literature

Methodical application

Introduction

The theme of this work is one of the most important and complex, ever relevant in world culture. Every philosopher, public figure, writer reflected on the issue of human education. The Russian national geniuses of the 19th century, Lev Nikolaevich Tolstoy and Fyodor Mikhailovich Dostoevsky, who lived, thought and created almost at the same time, are no exception, but never met in their lives. Tolstoy began his career with the autobiographical trilogy Childhood. Adolescence. Youth” (1852-57), where he very thoroughly analyzed the stages of formation and development of a person, revealing the features and complexity of this process that are common to all people. Dostoevsky wrote the novel The Teenager (1875) on this subject, in which the author to a certain extent argues with his contemporary, who depicted a rather favorable (compared to Dostoevsky's novel) picture of the growing up of the protagonist of the trilogy, Nikolai Irtenyev.

The difference in approaches to this problem by the two writers is determined by their philosophy, life experience and the subject of the image. In the center of Tolstoy's attention is the prosperous patriarchal Irtenev family, where the deeply religious, kindest mother, Natalya Nikolaevna Irteneva, sets the tone, who managed to give the child so much love in childhood that this reserve was then enough for a lifetime. Despite all the alarming signals about the impending collapse of the patriarchal foundations of life (not the best economic state of affairs of the family, the rampant lifestyle of the father, the symbolic meaning of the death of the mother, moving from the village to Moscow), nevertheless, on the whole, Tolstoy sings a hymn to the poetic estate life of a wealthy noble family , still firmly protected by the power of tradition from the impending bourgeois world with its cult of individualism, competition, general disunity. Dostoevsky, on the other hand, focuses on this impending world order, where “everything is apart” and “there is no leadership in the chaos of good and evil.” In this regard, he depicts in the novel "The Teenager" A.P. Versilov's "random family", where generosity (the nobleman Versilov) is combined with illegitimacy (Arkady is the illegitimate son of the landowner and his yard Sofya Andreevna), and as if in mockery, fate gives the main to the hero the noble surname Dolgoruky (his formal father, a courtyard man Makar Ivanovich Dolgoruky). Tolstoy was attracted by the idea of a large novel "Four Epochs of Development", where he was going to depict the general laws of human development in each of the epochs: childhood, adolescence, youth and youth. As you know, the last fourth part of "Youth" remained unwritten, and "Youth" was only half written. But in the first three parts, the author managed to “sharply outline the characteristic features of each era of life” using the example of Nikolenka Irtenyev, and each of the parts of the trilogy has a generalizing chapter (chapters: “Childhood”, “Boyhood”, “Youth”), in which the author draws conclusions universal nature, revealing to each reader his own history of the soul. Although we are talking about a boy from a rich noble family, the author constantly refers to the reader's experience, emphasizing the closeness of the experiences of the protagonist with those experienced by each person in the corresponding period of life. Thus, Tolstoy focuses on the universal moments inherent in all people, regardless of the environment of upbringing. The same thing that separates them (environment, upbringing, social status) is also, of course, in the sphere of the author's attention, but is, as it were, in the background. Thus, the era of childhood is characterized by the openness of the soul, love for the whole world; adolescence is characterized by self-doubt, a tendency to philosophize, heightened pride and isolation in one's inner world; youth reveals to a person the beauty of feelings, the desire for the ideal of love and friendship, the realization of the purpose of life. It is no coincidence that when Tolstoy's story entitled "The Story of My Childhood" was first published in the Sovremennik magazine for 1852, the author sent a dissatisfied letter to the editor.

a letter where he wrote: “Who cares about history my childhood?" Dostoevsky, of course, also studies the universal human laws of the spiritual life of the 20-year-old Arkady, taking the example of a wounded, offended soul from birth, carrying through the years this resentment against his father, his origins and the whole world in general. There are many such children at any time, and Dostoevsky is interested in the "history of the human soul", on the example of which he can better study the main question for him - about the nature of good and evil in man, about the innate duality of each person. For a detailed analysis of evil, sin in a person, the writer exacerbates many points, showing the obviously wounded by life, warped, “angry” soul of a teenager, in which, however, there lives a sincere craving for light and goodness. Despite all the difference in the approaches of writers to depicting the history of the soul of a maturing person, they are united, in our opinion, by one most important moral attitude - the search for the spiritual foundations of personality education, moral support, without which a person will be completely lost in the complex world of good and evil. In many aspects, both writers agree, for example, recognizing the paramount importance of the authority of parents, family atmosphere, a sense of belonging to the life of their people.

Among the huge number of literary works on the work of Tolstoy and Dostoevsky, there are also comparative studies. So, already D.S. Merezhkovsky compared two geniuses, both bringing them together and separating them. In his famous work “L. Tolstoy and Dostoevsky” (1902), he wrote: “In Russian literature there are no writers more intimately close and at the same time more opposed to each other than Dostoevsky and L. Tolstoy” [Merezhkovsky 2000: 42 ]. Analyzing Tolstoy's trilogy, Merezhkovsky notes a certain split in the consciousness of the protagonist and explains this by the fact that the author himself is "a weak, lost, painfully divided person, like all people of his time" [Merezhkovsky 2000: 55].

The author also notes that already in this first work, a distinctive feature of Tolstoy's talent was manifested: a strict analysis and moral assessment of his thoughts and actions, without which, obviously, it is impossible to imagine a full-fledged personality: “In any case, he judges himself and his adolescent thoughts, which he calls himself “thinking,” with such severity and honesty in this first work, with which he later never judged himself even on the famous, so burningly repentant and self-flagellation pages of the “Confession” [Merezhkovsky 2000: 15-16]. In Tolstoy, according to Merezhkovsky, two principles are combined: Christian and pagan, moreover, the latter clearly predominates, and Merezhkovsky calls the writer a “mystery of the flesh”, and further comparing Tolstoy and Dostoevsky, he writes: “Such are they in their eternal contradiction and eternal unity, - ... seer of the flesh, Leo Tolstoy, seer of the spirit, Dostoevsky; one striving for the spiritualization of the flesh, the other for the incarnation of the spirit” [Merezhkovsky 2000: 187]. Dostoevsky, according to Merezhkovsky, looked into the "abyss of the spirit" like no one else and saw that "this depth has no bottom" [Merezhkovsky 2000: 187]. Although there is a certain schematicity in Merezhkovsky’s approach (after all, the pagan principle is also present in Dostoevsky’s heroes and sometimes it is even more pronounced than in Tolstoy’s heroes, and Prince Andrei, for example, can hardly be called the embodiment of the carnal elements of life), nevertheless, in his bright work, the author caught the main fundamental difference between the artistic world of Tolstoy and Dostoevsky: showing the unity and struggle of the bodily and spiritual in man, Tolstoy strives for balance in depicting these principles, while Dostoevsky delves into the spheres of thought, the human spirit, while focusing on the darkest of his manifestations. This difference is fully manifested in the comparison of Tolstoy's trilogy with the novel The Teenager.

Even more categorically contrasts Tolstoy and Dostoevsky V.V.Veresaev in the famous book "Living Life" (1910). The chapter on Dostoevsky bears the title "The Man Is Cursed." The researcher notes that Dostoevsky's heroes, in particular, Teenager, are incapable of loving people, humanity (Adolescent says that he "grew up in a corner"2 and most of all wants to "go into his shell", but here are Versilov's words: "In my opinion, man was created with the physical impossibility of loving his neighbor, etc.), the devil has firmly settled in their souls and controls them, malice, the darkest beginnings prevail in people. And the main reason for this: impending death and fear of destruction, disbelief in God: “Without God, it is not only impossible to love humanity, without God, life is completely impossible” [Veresaev 1978: 276]. The researcher correctly notices all the tormenting distortions in the souls of Dostoevsky's heroes, but at the same time focuses on the analysis of these distortions, and in fact, in almost every novel of the writer there are such heroes who have found both God and the inner harmony of the soul and serve as a moral beacon to "misguided" characters. In the novel "The Teenager", this is, first of all, a man from the people - Makar Ivanovich, without whom the upbringing of Arkady would have had different results.

The chapter on Tolstoy's work is called by Veresaev "Long live the whole world!". In contrast to the heroes of Dostoevsky, who tend to hide in a corner, Tolstoy's heroes feel their unity with the world, even if they are alone in nature (like Nikolai Irteniev in the forest in the chapter "Youth"). While Dostoevsky's heroes are thinking and trying to rationalize the need to "love people, be moral and noble", Tolstoy's heroes simply live and enjoy life, according to Veresaev. “Tolstoy generally treats reason with the deepest distrust,” the author writes [Veresaev 1988: 339]. In a certain sense, this is true, but aren't deep reflections, philosophizing, the hallmark of the hero of "Adolescence" and "Youth"? Yes, it is impossible to comprehend life only by reason, but at the same time, N. Irteniev is one of the most reflective heroes of Russian literature, and he is very intensely

comprehends everything that happens around him. Trust in nature and life is what keeps Tolstoy's heroes and gives them strength, since Tolstoy, unlike Dostoevsky, does not see evil in nature, he believes in her wisdom and benevolence towards man: “Nature leads man wisely, lovingly and gently according to his life path”… And even more: “God is life, and life is God… Dostoevsky says: find God, and life will come by itself. Tolstoy says: find life, and God will come by itself. Dostoevsky says: the absence of life is from godlessness, Tolstoy says: godlessness is from the absence of life” [Veresaev 1988: 463]. One cannot agree with the researcher that Tolstoy never had a “mystical horror” before death, like the heroes of Dostoevsky, because the theme of death is one of the most important for Tolstoy, starting with the chapter “Woe” in the story “Childhood”. And the absolute cult of life, allegedly taking place in Tolstoy's work, leads to the ideal of a natural person, which in the trilogy, in particular, manifests itself only during certain periods of the spiritual growth of the protagonist (in Nikolenka's childhood, moments in his youth). In general, in Veresaev's book, the emphasis is on the differences in the approach to man between Tolstoy and Dostoevsky, while the writers had much in common on this issue.

L.S. Drobat's article "About Dostoevsky's novel "The Teenager" and Tolstoy's trilogy" contains a comparative analysis of the works of two writers. The author of the article argues that, starting to write the novel "The Teenager", Dostoevsky wanted to create a story of a person growing up in real Russian reality, and not in the mythical one that was depicted in Tolstoy's trilogy. Dostoevsky does not see in the contemporary world those foundations and traditions that existed during the period described by Tolstoy, on the contrary, he finds that “already many such ... tribal families of Russians with irresistible force are passing en masse into random families and merge with them in a general disorder and chaos." The hero of Dostoevsky, in contrast to Nikolenka Irteniev, was given in his childhood "neither an established way of life", nor the "warmth of kindred relations" of a patriarchal family. And therefore, the lack of “connection with “ancestral traditions” makes Arkady’s memories fragmentary, sharp” [Drobat 1984: 73]. As Drobat notes, both Arkady and Nikolenka have bad inclinations, for example, vanity, pride (although their manifestations are different and depend on the environment, era, personality traits). At the same time, it is important that, despite the difference in eras and estates described by Tolstoy and Dostoevsky, the authors equally see in the personality of their heroes and resistance to the bad influences of the environment, a healthy moral core that can keep them from the harmful influences of the outside world, t .e. the author of the article emphasizes the humanistic attitude of both writers to man, faith in him, despite all his delusions and vices. In general, Drobat's article contains many valuable thoughts and deep remarks on the topic of interest to us.

We find a very deep analysis of the work of Tolstoy and Dostoevsky (in their comparison) in the book by G.D. Kurlyandskaya "The moral ideal of the heroes of L.N. Tolstoy and F.M. Dostoevsky." The author carefully studies the understanding of man and the method of depicting his spiritual world in all its inconsistency in two writers. The researcher writes that Tolstoy, of course, learned the lessons of Zh.Zh. Rousseau about the good principles of human nature and the pernicious influence of civilization on the upbringing of a person, but the writer “did not limit himself to Rousseauist achievements in the interpretation of the human personality”, but managed not only to “deepen the artistic tradition of enlightenment thought”, but also “raise it to a qualitatively new level, to say a new word in the depiction of man in his most complex relationship with history and nature” [Kurlyandskaya 1988: 13].

“Enlightenment tendencies in the work of Leo Tolstoy, connected with the opposition of nature, the unconditionally positive essence of the depravity of the social structure that distorts it, are defeated by a dialectical understanding of the inner life of a person,” the author rightly writes [Kurlyandskaya 1988: 24]. Tolstoy, like no one before him, was able to show how complex the process of growth and formation of personality is, how ambiguous all the influences on it are - both external and coming from the depths of the soul of the person himself: “In the experiences of Tolstoy's hero, everything is dialectically complex and intertwined. It is impossible to reduce evil in a person only to the impact of a vicious social environment. Evil and good do not exist in mechanical splits and contrasts; The “dialectics of the soul” consists in depicting subtle and barely perceptible transitions between them… For example, the psychological states of Nikolenka Irtenyev were distinguished by… an interweaving of conflicting internal stimuli. The desire to improve morally imperceptibly ... overflowed into narcissism ... One way or another, this “bodily”, personal brings egoistic shades to the highest states of the soul” [Kurlyandskaya 1988: 25]. And the main problem for the spiritual development of a person lies in his individual limitations on earth, according to Tolstoy the philosopher, egoism prevents him from becoming completely spiritually free. And the whole life of a person, in essence, is fluctuations "between polar extremes: a sacrificial impulse to merge with others" and "a proud consciousness of one's own value." At the same time, as the researcher notes, Tolstoy firmly believes in the ability of a person to overcome the "corporeal", narrow personal and grow up to universal values. Comparing the work of writers, Kurlyandskaya notes that, like Tolstoy, Dostoevsky develops the teachings of the Enlightenment and “turns to a dialectical understanding of the complexity and inconsistency of human nature itself. Good and evil are not external forces, they are rooted in the very nature of man and sometimes merge inseparably with each other, remaining at the same time opposites” [Kurlyandskaya 1988: 59]. Just like Tolstoy, Dostoevsky understood the dual nature of man (spiritual and material at the same time). Evil is hidden in a person very deeply, and often he surrenders to the elements of evil with pleasure, but then he repents and stigmatizes himself the more energetically, sometimes even exaggerating his sins. But in the main thing, as the author of the work writes, “precisely the recognition of the law of life as the law of love, Dostoevsky merges with Tolstoy” [Kurlyandskaya 1988: 63]. These arguments and discoveries of the author are also important for the topic of personality education, because it reveals how writers understood human nature, including the nature of a child. Dostoevsky depicts "the struggle of opposite principles in the personality of the hero" (and a teenager too), who reaches the last line, but does not lose the ability to be revived due to his free spiritual essence. Thus, the author writes, both writers believe, in spite of everything, in the final victory of good principles in man. Kurlyandskaya draws deep conclusions and discoveries in matters of the psychologism of Tolstoy and Dostoevsky, their understanding of the spiritual development of a person, mainly on the material of such novels as War and Peace, Crime and Punishment, Idiot, where adults are depicted (although and young) heroes. And although the discoveries of Kurlyandskaya are quite applicable to Tolstoy's trilogy and the novel "The Teenager", the question of depicting the process of growing up a person, the age-related changes in his soul remains outside the scope of research. Also, the author does not consider the topic of the role of an educator, a person who is a moral authority for a young hero, which, in our opinion, is of extreme importance in childhood and adolescence.

G.S. Pomerants in the book “Openness to the Abyss: Meetings with Dostoevsky” makes a rather bold comparison of Tolstoy and Dostoevsky, who, from the author’s point of view, are united in the rejection of civilization “based on atomism of personality, which put in place the feelings that bind people into a family , society, people, dry egoistic calculation, reeking of pure ash” [Pomerants 2003: 42]. Moreover, according to the author, the beloved characters of Tolstoy and Dostoevsky are very similar, they are distinguished only by the conditions in which they were formed: the thinking hero of Tolstoy, for example, Nikolai Irteniev, is the same Dostoevsky’s “underground” person, but “grown up in preferential conditions” , and Dostoevsky's hero is Nikolai Irteniev, "transferred to extremely unfavorable conditions", which "teared" his nerves, bringing him "to chronic intellectual hysteria" [Pomerants 2003: 21]. And the difference between Tolstoy and Dostoevsky is only in their different attitudes towards the same, relatively speaking, "underground man": if Tolstoy believes that his hero can return to his true rational and good nature, then Dostoevsky is more interested in how one A funny person can "corrupt all mankind". In other words, Tolstoy focuses on the good beginning in man, and Dostoevsky examines evil in human nature through a magnifying glass, although the characters of both writers themselves are very similar. The author of the book even calls Dostoevsky's talent "cruel" after other researchers, since Dostoevsky exaggerates evil in order to better examine it, mercilessly dissecting a person's soul. And yet, it seems that Dostoevsky has not so much a “cruel” as a compassionate talent: after all, revealing evil in human nature, he firmly believes in the victory of the good beginning of the soul. In our opinion, the author of the work is largely right, although such a rapprochement between the heroes of Tolstoy and Dostoevsky still looks somewhat arbitrary: the main thing that distinguishes Tolstoy's heroes is their rootedness in their cultural environment and the harmonious balance of the intellectual and emotional spheres of the personality, as well as the indispensable proximity to folk soil (the image of Natalia Savishna in the trilogy). The author of the work himself further notes that the fundamental difference between Tolstoy and Dostoevsky lies in the fact that Dostoevsky "called to the soil", but this "soil" was not "an established patriarchal way of life" (as in Tolstoy), but "the inner layer of the human soul, which the saints of the Middle Ages discovered in themselves” [Pomerants: 2003: 43]. Continuing this comparison, the author notes that Tolstoy's novel is similar to a "patriarchal aristocratic family", where "everything is in its place, there is a certain order in everything" [Pomerants: 2003: 54], and Tolstoy's heroes are healthy characters, they follow in the footsteps of their fathers and grandfathers. And in the novels of Dostoevsky, representatives of various classes can meet in the same living room, because. all "estate frameworks have collapsed", and tradition does not determine people's lives. And, of course, it is impossible not to recognize the author's conclusion at the end of the chapter as correct: "For both, only in man himself is the only complete human truth" [Pomerants: 2003: 60].

In one of the works of recent years, the article by I.N. Kartashov “Problems of Education in the Creative Consciousness of L.N. Tolstoy and F.M. Dostoevsky”, it is noted that in recent years the work of both writers “is increasingly becoming the subject of close pedagogical interest” [Kartashov 2003:377]. The author notes that the heroes of Tolstoy and Dostoevsky are “intellectuals capable of deeply feeling”, including what is moral and what is not. In other words, the development of feelings, thinking increases the chances of correctly navigating in the world of moral values, so the complex spiritual world of the characters is the focus of the authors. Both writers describe in detail the emotional sphere of the child, because. It is this area that plays a decisive role in the development of thinking, the human psyche. And if Nikolenka grows up in an atmosphere that is generally psychologically comfortable in childhood, then Arkady has a lack of communication with both relatives and peers, which leads to the formation of an extremely closed, individualistic character. As already established, "lack of communication is one of the most important causes of delays and deviations in the mental development of the child" [Kon 1982: 29].

Both writers, at the same time, “reserved the right for a person to freely choose between good and evil” [Kartashov 2003: 376], and this showed their special respect for a person, confidence in his ability to understand the complexities of this world himself. It can be noted that the author of the study agrees with the predecessors who dealt with this problem in the most important conclusion: in the matter of moral choice, a special role is played by “conscience, in the understanding of Tolstoy and Dostoevsky, an intuitive evaluation criterion that communicates with God, truth” [Kartashov 2003: 379]. It is impossible not to agree with this conclusion of the author of the work.

The trilogy of Leo Tolstoy has been carefully studied, especially in Soviet literary criticism. For example, in the book Chuprina I.V. “The trilogy of L. Tolstoy “Childhood”, “Adolescence” and “Youth” provides a detailed analysis of Tolstoy's first work: its idea, ideological and artistic conception, place in the literary criticism of that time. The author notes that Tolstoy's main task during the period of work on the trilogy was to show "the process of the moral formation of the personality" [Chuprina 1961: 79]. Tolstoy, according to the researcher, recognizes in a person a “primordially good beginning”, so strong “to resist distorting factors and, ultimately, win” [Chuprina 1961: 74]. The main attention of the author “is directed inside the developing and changing human soul, on its two opposite sides: good and everything that hinders it. The struggle of these opposite sides in a person is the main conflict of the work" [Chuprina 1961: 83]. In the first part of the trilogy, the story "Childhood", Tolstoy shows the most "positive phase" of development, "when natural good prevails", Nikolenka's soul is lovingly open to the whole world; in adolescence, the “deep good spiritual essence” is eclipsed by superficial influences of the environment and personal egoism; and in youth, a moral desire to improve awakens, which begins to deny the false upper layer of the soul. In other words, the semantic center of the trilogy is “the image of the internal evolution of a developing personality, and, moreover, it means first the distortion of the original good essence and then its rebirth” [Chuprina 1961: 73]. Chuprina rightly notes that Tolstoy, solving the issue of personality formation, attaches great importance to the environment in which it occurs, in the trilogy this influence is mostly negative, but in the soul of Nikolai there constantly lives a “natural moral feeling”, which “correctly indicates to him good and evil ". One cannot but agree with the researcher that Tolstoy shows the process of distortion of the natural good essence of a person under the influence of external (environment) and internal (vanity, selfishness) factors. But that would not be entirely true. The environment, external influences for Tolstoy are not only something harmful, applied in the process of personality formation, the outside world, with all its imperfections, is also the most valuable experience for the maturing soul, and it enriches it with knowledge of good and evil.

As for the novel "The Teenager", then, according to the researchers of his work, in general, this work of Dostoevsky is the least studied and appreciated. I would like to note the article by Bursov B. "A teenager - a novel of education", which, in our opinion, contains many interesting discoveries. Bursov writes about the “nobility” and “elevation” of Arkady’s nature, his sensitivity to all moral issues: “Perhaps world literature does not know another hero who would have such a sensitive to any injustice and so often offended soul” [Bursov 1971: 66 ]. It seems, however, that the hero of Tolstoy's trilogy has an equally sensitive soul. The author of the article notes that Dostoevsky is interested in the process of life itself in the novel, and not the result (a kind of “dialectics of life”), Dostoevsky depicts life “not as the past, but as what is happening”, and this is the peculiarity of his style [Bursov 1971: 67] . (And here, for my part, I would like to note a certain parallel with Tolstoy's creative method, his "dialectics of the soul" discovered by Chernyshevsky). Comparing Dostoevsky's novel with the classic European "novel of education" of the 18th-19th centuries (for example, "The Student Years of Wilhelm Meister Goethe"), the author of the article notes that this genre has not taken root in Russian literature, and our writers depicted not only the spiritual development of the hero, but also tied his path to the historical era and always expressed the hope for the victory of good in man. Thus, Bursov writes: “In general, in Dostoevsky’s last two novels, The Teenager and The Brothers Karamazov, the forces of goodness and light are much more distinct and persistent than before” [Bursov 1971: 65]. Analyzing the image of Versilov, the author notes that this is "a man who is confused and does not know the way" like Arkady himself. Both heroes are subject to constant delusions and mistakes. “Versilov is the personification of disorder, the main theme and idea of the novel,” notes Bursov [Bursov 1971: 70]. In this chaos of the novel, Arkady is often lost, he rushes from his father (the bearer of the noble idea) to Makar Dolgoruky (the guardian of folk values) and as a result is enriched by the wisdom of both: “A teenager has no choice but to ... find his own way, somehow connect the experience of his two fathers - Andrei Petrovich Versilov and Makar Ivanovich Dolgoruky," concludes the researcher [Bursov 1971: 71]. Bursov's work is one of the most profound, in our opinion, but it is devoted to only one novel - "Teenager".

Semenov E.I. in his work “Dostoevsky's novel “The Teenager” notes that in the Russian realistic novel of the 19th century the achievements of the “novel of education” of the 18th-19th centuries were “inherited and creatively rethought”. (“Years of the Teaching of Wilhelm Meister” by Goethe (1796); “Emile, or on Education” by J.J. Rousseau (1762); “David Copperfield” by Dickens (1849); “Education of the Senses” by Flaubert (1869) and especially the faith of European writers in man as the creator of his own destiny, in the possibility of improving human nature, social circumstances.In Tolstoy's work, the enlightening nature of man appeared not as an embodied ideal, but as "an ever-fluid, living, never-ending, non-stop process of becoming a person who improves himself in a changing world" [ Semenov 1979: 50].

Many interesting articles about Dostoevsky's novel are contained in the collection F.M. chaotic)… The reader turned out to be unprepared for such a “gift” [The Teenager Novel: Reading Opportunities 2003: 6].

V.A. Viktorovich in the article “The Novel of Knowledge and Faith” notes that modern Dostoevsky criticism failed to read the novel deeply, only Skabichevsky had a hunch that this chaos in the novel is a reflection of chaotic reality. The researcher notes that all the characters in one way or another bear the imprint of duality, moral split personality, this quality is especially pronounced in Versilov and Arcadia, who has a "soul of a spider", while sincerely longing for "beautifulness". The goal of Dostoevsky, according to the author, in spite of everything, is “to believe in the image of God, enclosed in man” [Viktorovich 2003: 27]. At the same time, the author of the article does not develop the idea of how to achieve this “goodness”, what, besides faith in a person, can help along this path. N.S. Izmesteva in the article "The Word that Creates" in the novel "Teenager"

offers a rather original reading of the novel. According to the author, at the beginning of the novel, Arkady is nothing more than a puppet in the hands of others, he is played with without taking him seriously as a person. From this external world, reminiscent of a theater, the hero goes into his sacred inner world and creates his own Universe with the help of the word. “The tragedy of the doll ends with unconsciousness. The disease completely frees the hero from the power of the label and marks the transition to a different type of reality" [Izmest'eva 2003: 162]. The appearance of Makar heals Arkady and is an illustration of the parable of the shepherd and the lost sheep, but the most important event still takes place in connection with the creation by the hero of his inner world through the spiritual word, which are his records of the history of his own soul. One can hardly agree that at the beginning of the novel Arkady “behaves like… a jester, a fool” and “they dress him up like a doll, play with him”, but the conclusion about the importance for Dostoevsky of such a character’s occupation as writing notes, that is, a closer look into the depths of the soul and attempts to understand it.

In the book "Literary Preface: Questions of History and Poetics" Lazarescu O.G. writes about the special importance for Tolstoy of the moral side of art, and this is manifested even in the most artistic form, genre. According to the author, Tolstoy shows the path of "spiritual trials" of "a hero changing beyond recognition" [Lazarescu 2007: 306]. The author of the work analyzes the features of the novel "War and Peace", but the ideas expressed are directly related to the trilogy, where also "the ideal of distinguishing between" good and evil "is the semantic core of the work. As the researcher notes further, in Dostoevsky's novel The Teenager, the preface "acts not only as a metaphor for the 'superfluous' or 'past', but as a structural part of the novel itself" [Lazarescu 2007: 310], and the work itself tells about the preliminary period, which is as if a preface to the beginning of a new real era in the life of the hero.

“The preface in this new genre is… a way of creating new forms” [Lazarescu 2007: 311] of beauty and order, while Dostoevsky “problematized the very understanding of completeness”, which became very conventional and rather conveys the “spirit of the times”. For our topic, of particular interest is the author's idea that the novel "The Teenager" "is built on the combination, synchronization and interchange of various discourses: fact and idea, which the hero is obsessed with and which replaces the fact for him; “notes” about life and life itself, experienced as writing a novel… Such a combination introduces new coordinates into the novel discourse, opening up new possibilities for the hybridization of the novel genre” [Lazarescu 2007: 310]. Such a combination of different discourses also conveys the "spirit of the times", so the need to describe one's life in a teenager does not arise by chance, this craving for order, "beauty" also carries an educational meaning.

One of the latest works on the work of Dostoevsky is the dissertation of Makarichev F.V. "Artistic individualology in the poetics of F.M. Dostoevsky", in which the author proposes a new approach to the study of the system of images in Dostoevsky's novels. Makarichev takes a critical approach to the typological approach that has existed so far in interpreting Dostoevsky’s images, he argues: “A whole series of traditionally distinguished “types” (ideologist, double, holy fool, hooker, etc.) reveal the properties to be mated in one image of the hero, so that typological boundaries blurring between them…” [Makarichev 2017: 15]. Thus, in one image "in different plot conditions" one or another typical property comes to the fore. The images of Dostoevsky's heroes are distinguished, in the author's opinion, by the dynamic synthetic character of properties and features. The scientist sees in the novel "The Teenager" an expression of the theme of "accommodation" in a simplified form - Arkady under Versilov and Makar, and the type of double in the novel is represented by the image of Versilov ("especially on the eve of the tragic split of his personality"). It seems, in our opinion, that the image of Arkady also bears the stamp of duplicity: the best qualities coexist in him (disinterestedness, craving for communication, family instinct) and isolation, the desire to go to his own corner, even cynicism. At the same time, the author of the study notes that often the role of the hero, for example, the "holy fool" is inherent in almost all significant characters in Dostoevsky's novels, and in the scenes of "anguish" and "breaks" there is always an element of foolishness. Here you can add on your own that there is this feature in the image of Arkady, who plays the fool, for example, in the boarding house Tushara.

The researcher sees in the system of images of Dostoevsky's novels two poles, between which all the characters are located: a rationalist, a skeptic (for example, Versilov) and a believer in the Divine Principle (Makar).

It is of interest to analyze the image of Versilov, which, according to the author of the work, combines two opposite ideas: Westernism and Slavophilism, which is expressed by Versilov in a special talent for acting. Moreover, Versilov considers “the ability to introduce himself” as a characteristic feature of the nobility, thereby revealing his moral inferiority, the tragic split. Thus, we can continue this thought in the light of our topic: Dostoevsky shows how difficult it is for the younger generation to decide in life if the "fathers" themselves are deprived of an integral worldview. The type kills the personality, according to the author of the work, but Dostoevsky's hero-images are able to "surrender to different elements of human nature" [Makarichev 2017: 41], they are synthetic and polyfunctional. Makarichev's work undoubtedly deserves great attention and study by all who are interested in questions of Dostoevsky's poetics.

In this work, the author, of course, relies on all those discoveries that were made in the works of earlier researchers of the work of Tolstoy and Dostoevsky. At the same time, an attempt will be made to develop and concretize ideas related to the topic of personality education in the considered works of writers. At the same time, the emphasis will be placed on the fact that Tolstoy and Dostoevsky, having deeply studied psychology and issues of moral development, came to similar conclusions about the ways of educating a perfect person, but expressed this in different ways in their works.

Subject this work is relevant at the present time, since the great writers touched on the deep issues of personality education, and their discoveries in this area will always be in demand by society. The prosperous Irtenev family and the "random" family in Dostoevsky's novel are equally relevant for our time, since in modern realities one can find such families to one degree or another.

Object of study in this work are two classic works of Russian literature on the subject of personality education, in which this issue is studied in great detail: the trilogy of L.N. Tolstoy “Childhood. Adolescence. Youth” and F.M. Dostoevsky’s novel “The Teenager”.

Subject of study This work is the problematics of these works: the stages and ways of becoming a personality, factors influencing the formation of character, the moral ideal of a person in the understanding and depiction of L.N. Tolstoy and F.M. Dostoevsky, artistic techniques for disclosing this topic.

Target of this work: to find out what L.N. Tolstoy and F.M. Dostoevsky and what distinguishes them, as well as what ideas of the authors can be in demand at the present time in the education of the personality of a modern person.

To achieve this goal, it is necessary to solve the following tasks: 1) study the scientific literature on the topic; 2) to summarize the ideas and scientific discoveries of literary critics who dealt with this topic; 3) determine the influence of the environment on the formation of personality in the novels of two writers; 4) to determine ways to achieve the ideal of a perfect person through an analysis of the stages of personality formation in selected novels.

Research novelty lies in the primary attention to what unites the two writers on the issue of personality education, and how their discoveries can be used in our time.

Goals And tasks research has predetermined the following work structure: this work includes introduction, two chapters And conclusion. Chapterfirst contains a comparison of the positions of writers on the influence of the environment on the formation of personality, the ratio of external (social) and internal (“labor of the soul”) factors of life in the formation of a person, the importance of the family for the child, his social position on

example of the works studied in the work.

Chapter Two considers such a problem as the idea of Tolstoy and Dostoevsky about what a perfect person is in general, whether it is possible to become one and how this can be achieved in a socially unjust society.

Attached at the end of the work list of used literature.

Chapter 1. Man and the world: the influence of the environment on the education of the individual

1.1 Stages of growing up a person

L.N. Tolstoy paid special attention to the child all his life and was himself an innovative teacher, the author of pedagogical articles and new teaching methods (while teaching at the Yasnaya Polyana school). Tolstoy wrote: “In all ages and for all people, the child is a model of innocence, sinlessness, goodness, truth and beauty. A person will be born perfect - there is a great word spoken by Rousseau, and this word, like a stone, will remain solid and true. And although later the writer complicated his attitude to the concept of Rousseau, nevertheless, in Tolstoy's work, the child, in many ways, remained the standard of moral purity and goodness. Therefore, it is deeply symbolic that the first published work of the writer is devoted to the theme of childhood: the first part of the trilogy “Childhood. Adolescence. Youth "" was published in the 9th issue of the Sovremennik magazine for 1852, when the author was 24 years old. And in his declining years, creating “Memoirs” (1901), Tolstoy notes that from birth to 14 years old he experienced “an innocent, joyful, poetic period of childhood”, followed by “a terrible 20-year period ... serving ambition, vanity” . It is these years from 10 to 16 years old (partly) that are described in Tolstoy's trilogy. Moreover, the author was interested, first of all, not in the external events of the hero’s life, but in his inner world, “the history of the human soul” during its growing up. Such an artistic depiction of the inner world of a small person was a new word in literature. As is well known, this gave grounds to criticize Chernyshevsky in an article about Tolstoy's early works to define the new artistic method of the novice writer as "dialectics of the soul", that is, a description of "the mental process itself" [Chernyshevsky 1978: 516], its forms, its laws. The reader saw the world for the first time through the eyes of a 10-year-old child, Nikolai Irteniev, a sensitive, complex, morally gifted person. Tolstoy was able to show the inherent value of the spiritual world of the child, the uniqueness of his childish view of the world, and even in some ways his superiority over adults. It seems that Tolstoy could rightly say: “When I wrote Childhood, it seemed to me that no one before me had felt and portrayed all the charm and poetry of childhood” (1908). The deep psychological essence of this period of a person's life, regardless of the environment, is what is most important for the author of the trilogy. Interestingly, in the original version of the story "Childhood" (a sketch of "Four Epochs of Development" - summer 1851), the main character is the illegitimate son of a certain princess, who explains his misfortunes by "accident", i.e. external circumstances, but later Tolstoy departs from this plan and the theme of the "environment" manifests itself in a different way. The main thing in the trilogy is the "history of the soul" in its deep processes and the universal aspects in the psychology of the child.

Of course, Tolstoy's hero Nikolai Irteniev is shown as a socially determined character. And all his sensitivity fits into the culture of the aristocratic family where he was born and grows, although the author focuses on the universality of the laws of childhood. As a realist writer, Tolstoy accurately reflects the habits, customs, and culture of precisely the circle to which he himself belonged, and therefore, even in childhood, when a child is ready to love the whole world, starting from ants in the forest, the social, class principle is somehow manifested in German For example, in the chapter "Natalya Savishna" a scene of Nikolenka's resentment against a kind old woman is described: "Natalya Savishna, just Natalia, speaks me you and also beats me in the face with a wet tablecloth, like a yard boy. No, it's terrible! . In these thoughts, the gentleman is already clearly visible, although the hero is only 10 years old! Thus, as Kurlyandskaya writes, the spiritual basis of life lying in the depths of the “I”, which is the essence of man, manifests itself as conditioned, historically, socially determined” [Kurlyandskaya 1988: 94]. But nevertheless, this “free spiritual essence” also takes its toll in this scene: first, Nikolenka cries “out of anger”, and then after reconciliation with the old woman, “tears flowed even more abundantly, but not from anger, but from love and shame” . Thus, depicting the inner world of the hero, the author clearly captures all external influences on the soul of Nikolenka the child and differentiates purely psychological, social and age-related motives of feelings and experiences. If we compare all parts of the trilogy in this aspect, then it is in the story "Childhood" that the hero is the most autonomous and happy in his children's world, because. he is less able to comprehend external events. His childishness protects his serene inner world from the invasion of everything negative, and if it nevertheless penetrates his soul, it does not leave deep traces. So, the negative effect of dissatisfaction with Karl Ivanych in Chapter 1, failures in hunting, separation from mother, etc., quickly passes. Even the death of his mother really frightened Nikolenka only when he heard a cry of horror from a peasant girl who saw the face of the deceased mother in the coffin: “... and the thought that ... the face of the one I loved more than anything in the world could excite horror, as if for the first time revealed to me the bitter truth and filled my soul with despair. Describing the era of childhood, Tolstoy notes those features that make her happy, in spite of any external events. This is, first of all, the inner mood of the child, in whom "the two best virtues - innocent gaiety and the boundless need for love - were the only motives in life." Of course, the childhood of a noble boy in a relatively prosperous family should be like this, but nevertheless, an internal attitude to love for everything (“You will still pray that God will give happiness to everyone, so that everyone will be happy ...”) makes the era of childhood the best, according to the thought Tolstoy, stage of life.

1.2 Family types

Of great importance, at the same time, is the environment of adults, which creates the conditions for the manifestation of these best childhood personality traits. In the story, these are, first of all, members of the Nikolenka family, who do the most important thing for him - they love him and evoke a reciprocal feeling in him: mama, Natalya Savishna, Karl Ivanovich, and others. The central image in this series is, of course, the image of mother Natalya Nikolaevna Irteneva. Interestingly, Tolstoy himself lost his mother early: he was one and a half years old when Maria Nikolaevna died, and Tolstoy did not remember her, and in the story "Childhood" the image of mother is, of course, the main moral and semantic center, the pivot on which a prosperous spiritually the world of the child. Thus, Tolstoy emphasizes the idea that without a mother there cannot be a truly full-fledged happy childhood, and, creating a picture of the ideal world of Nikolenka in the first part of the trilogy, Tolstoy deviates from the autobiographical truth and describes the death of his mother when the main character is already 10 years old. The presence of a loving mother is an indispensable condition for the formation of a healthy personality of a child, her love (even in the form of memories, ideas about her, if she passed away early) will then accompany a person all his life and is always an invisible support in the psychological sense. It is noteworthy that Tolstoy himself also manifested this even in the last years of his life. Here is Tolstoy’s note (he is 78 years old!) dated March 10, 1906, about the desire to “cling to a loving, pitying creature and ... be consoled”: “Yes, she, my highest idea of \u200b\u200bpure love ... earthly, warm, maternal ... you, mother, you caress me. It's all crazy, but it's all true." And in “Memoirs”, written in his declining years, Tolstoy draws the following image of a mother: “She seemed to me such a high, pure, spiritual being that often (in the middle period of my life) during the struggle with the temptations that overcame me, I prayed to her soul asking her to help me, and this prayer has always helped me.

No less significant is the image of Natalia Savishna, who performs the function of a nanny, grandmother, a very loving person close to Nikolenka. Mamenka and Natalya Savishna are the two closest images to Nikolenka, and it is they who create that morally healthy atmosphere, which is a solid psychological foundation for the rest of her life. It is no coincidence that the last chapter of the story "Childhood" is devoted to memories of Natalya Savishna and mother and a description of the death of an old woman, who, as the author writes, "had such a strong and good influence on my direction and development of sensitivity." It can be said that Nikolenka was lucky in childhood to see before him such examples of virtue as Natalya Savishna, mother, and it was a real example and experienced bright, warm moments that brought up his soul and gave him moral strength for moral guidelines in the future life. “Her whole life was pure, disinterested love and selflessness,” the author writes about Natalya Savishna. In fairness, such people are not very common in life, so it is impossible to hope that every person is as lucky in childhood as Nikolenka. The protagonist himself managed to appreciate the soul of Natalia Savishna, having already become an adult, and as a child, as Tolstoy writes, “it never occurred to me what a rare, wonderful creature this old woman was.” As N.Yu. Belyanin rightly writes, “the formation of Nikolenka as a personality under the influence of Karal Ivanych, Natalya Savishna, maman, will open up the prospect of the harmony of the universe” [Belyanin 2003: 355]. the fact that both mother and Natalya Savishna are described as deeply religious personalities. Meekness, humility, patience and self-denial - such virtues distinguish them both. It is no coincidence that an entire chapter of "Grisha" is devoted to the holy fool "great Christian", whose faith was so strong, and the prayer that the children overheard made such a strong impression on Nikolenka that memories of him, as Tolstoy writes, "will never die in my heart." memory". The theme of the role of religion in education is one of the main ones in the trilogy, and therefore it is no coincidence that in the story "Youth", which describes the revival of the soul of the protagonist, there are chapters "Confession", "A trip to the monastery", in which the author returns to the theme of faith, repentance , Christian humility. As a child, Nikolenka saw living examples of truly Christian behavior: mother, Natalya Savishna, Grisha, and he will keep these memories for the rest of his life. For Tolstoy, this topic is especially important, since he himself came to true religiosity in old age (already consciously) and admitted that the faith of the common people helped him a lot in this. Analyzing the manifestation of religious feelings in different periods of growing up, Tolstoy wrote in drafts for the novel Four Epochs of Development:

“The feeling of love for God and for neighbors is strong in childhood, in adolescence these feelings are drowned out by voluptuousness, arrogance and vanity, in youth by pride and a tendency to philosophize, in youth worldly experience revives these feelings.”

The extreme importance of family conditions in the formation of personality is noted by the modern psychologist I.S. Kon: “There is practically not a single social or psychological aspect of the behavior of adolescents and young men that would not depend on their family conditions in the present or in the past” [Kon 1982: 77 ]. It can be said that Nikolenka received in early childhood such a strong inoculation against evil and lies, which he will see in the world in large numbers, that he will no longer be able to get too seriously lost and morally fall, despite all life's difficulties. As Belyanin writes, Nikolenka "brought the harmony of his worldview out of life's trials, which testifies to the rootedness of Christian virtues in his mind" [Belyanin 2003: 358]. So, everything that Nikolai received in childhood is so deeply rooted in him that it constitutes the essence of his soul and subconscious.

Analysis of the trilogy of works

Main character

The plot is based on the life of Nikolai Irtenyev, a nobleman from a noble family, who is trying to find the meaning of existence, to build the right relationship with the environment. The characteristics of the protagonist are quite autobiographical, so the process of finding spiritual harmony is especially important for the reader, who finds parallels with the fate of Leo Tolstoy. It is interesting that the author seeks to present the portrait of Nikolai Petrovich through the points of view of other people whom fate brings together with the main character.

Plot

Childhood

In the story "Childhood" Kolenka Irteniev appears as a modest child who experiences not only joyful, but also mournful events. In this part, the writer maximally reveals the idea of the dialectic of the soul. At the same time, "Childhood" is not without the power of faith and hope for the future, since the author describes the life of a child with undisguised tenderness. Interestingly, there is no mention of Nikolenka's life in the parental home in the plot. The fact is that the formation of the boy was influenced by people who did not belong to his immediate family circle. First of all, these are the tutor Karl Ivanovich Irtenyev and his housekeeper Natalya Savishna. Interesting episodes of "Childhood" are the process of creating a blue picture, as well as playing rowers.

adolescence

The story "Boyhood" begins with the thoughts of the protagonist who visited him after the death of his mother. In this part, the character touches on the philosophical issues of wealth and poverty, intimacy and loss, jealousy and hatred. In this story, Tolstoy seeks to convey the idea that the analytical mindset inevitably reduces the freshness of feelings, but at the same time does not prevent a person from striving for self-improvement. In Boyhood, the Irtenev family moves to Moscow, and Nikolenka continues to communicate with his tutor Karl Ivanovich, to receive punishments for bad grades and dangerous games. A separate storyline is the development of the relationship of the protagonist with Katya, Lyuba, and also a friend Dmitry.

Youth

The finale of the trilogy - "Youth" - is dedicated to the protagonist's attempts to get out of the labyrinth of internal contradictions. Irteniev's plans for moral development are collapsing against the backdrop of an idle and petty lifestyle. The character is faced here with the first love anxieties, unfulfilled dreams, the consequences of vanity. In "Youth" the plot begins with the 16th year of Irtenyev's life, who is preparing to enter the university. The hero experiences the joy of confession for the first time, and also faces difficulties in communicating with friends. Tolstoy seeks to show that life has made the main character less sincere and kind towards people. Neglect, pride of Nikolai Petrovich leads him to expulsion from the university. The series of ups and downs does not end, but Irtenyev decides to create new rules for a good life.

Tolstoy's trilogy was realized with an interesting compositional idea. The author does not follow the chronology of events, but the stages of personality formation and turning points in fate. Lev Nikolayevich conveys through the main character the basic values of a child, a teenager, a youth. There is also an instructive aspect in this book, since Tolstoy appeals to all families not to miss the most important moments in raising a new generation.

According to many literary critics, this is a book about the most important role of kindness, which helps a person to stay away from cruelty and indifference, even despite serious life trials. Despite the seeming ease of narration and the fascination of the plot, Tolstoy's novel hides the deepest philosophical overtones - without hiding moments from his own life, the author seeks to answer the question of what challenges of fate a person has to answer in the process of growing up. Moreover, the writer helps the reader decide what kind of answer to give.

Trilogy L.N. Tolstoy is an amazing work. Here, an adult wise man wrote about his childhood, so often the thoughts of the protagonist are uncharacteristic for a child. Here we hear the voice of the author himself.
This trilogy is very well thought out. It was important for him to express his thoughts about Russian life, Russian society, and literature. Therefore, in these works everything is very important, there is nothing unnecessary - Tolstoy thought through every detail, every scene, every word. Its task is to show the development of a person's personality, the formation of his character, beliefs. We see the main character, Nikolenka Irtenyev, at different periods of his life. This is childhood, adolescence and youth. Tolstoy chose these periods because they are the most important in a person's life. In childhood, the child is aware of his connection with the family and the world, he is very sincere and naive; in adolescence, the world expands, new acquaintances occur, a person learns to interact with other people; in youth there is an awareness of oneself as a unique personality, separation from the surrounding world. Nikolenka also goes through all these stages.
The writer constructed the scene of action in such a way that it coincided with his main idea. The action of the first book takes place in the Irtenevs' estate, the boy's home; in the second book the hero visits many other places; finally, in the third book, the hero's relationship with the outside world comes to the fore. And here the theme of the family is very important.
The theme of the family is the leading theme of the trilogy. It is the connection with the family, with the house that strongly affects the main character. Tolstoy deliberately shows in each part some sad event in the Irtenev family: in the first part, Nikolenka's mother dies, and this destroys harmony; in the second part, the grandmother, who was Nikolenka's support, dies; in the third part, the stepmother appears, the new wife of the father. So gradually, but inevitably, Nikolenka enters the world of adult relationships. I think he is getting angry.
The story in the trilogy is told in the first person. But this is not written by Nikolenka himself, but by the already adult Nikolai Irtenyev, who recalls his childhood. In Tolstoy's time, all memoirs were written in the first person. In addition, the story in the first person brings the author and the hero closer together, so the trilogy can be called autobiographical. In many ways, in this book, Tolstoy writes about himself, about the maturation of his soul. After the release of the entire trilogy, the writer admitted that he had departed from his initial plan.
In the trilogy, six years from the life of Irtenev pass before us, but they are not described day by day. Tolstoy shows the most important moments of the boy's fate. Each chapter carries an idea. They follow each other so as to convey the development of the hero, his emotions and feelings. Tolstoy chooses circumstances in such a way that they show the character of the hero brightly and strongly. So, Nikolenka finds herself in the face of death, and here conventions do not matter.
Tolstoy characterizes his heroes through a description of their appearance, manners, behavior, because this is how the inner world of heroes is manifested. Even a foreign language serves to characterize the hero: aristocrats speak French, the teacher Karl Ivanovich speaks broken Russian and German, ordinary people speak Russian.
All this allowed L.H. Tolstoy to analyze the psychology of the child and adolescent. In the trilogy, the inner world of a person and the external environment are constantly compared. Tolstoy brilliantly reveals to us the soul of his hero. Many of Nikolenka's thoughts are similar to the thoughts of today's guys. I believe that this trilogy can help them understand themselves.

1. Introduction. A.K. Tolstoy as a playwright

2.2 The opposition of human and historical truth in the trilogy

2.5 The image of Tsar Fedor is the creation of Tolstoy's creative fantasy

2.6 Boris Godunov as interpreted by Tolstoy

2.7 The play "Tsar Boris" - the disaster of the trilogy

3 Conclusion. Tolstoy's trilogy is a bright page of Russian historical dramaturgy

Bibliography

1. Introduction. A. K. Tolstoy as a playwright

Aleksey Konstantinovich Tolstoy (1817-1875), a writer of bright and multifaceted talent, was distinguished throughout his entire creative career by an invariable interest in historical topics. How organically history enters, for example, into Tolstoy's lyrics, can be seen from the poem, without which it is generally impossible to imagine this poet: “My bells, steppe flowers ...” Of all the wild flowers, the poet chooses the bell - “flower-bell”; and what the poet hears in the ringing of bells - this is said in the initial version of the poem:

You call about the past

distant time,

About everything that has faded,

What is no more...

The secret of the originality and charm of this poem is how intimately and lyrically the historical theme is felt here.

Following this most popular poem, let us recall the most significant prose work of Tolstoy - the historical novel "Prince Silver". The prehistory of the creation of the novel is marked by an interesting detail: turning (at the end of the 40s) to this topic, Tolstoy, apparently, initially tried to realize his plan in the form of a drama. Thus, a test of strength was made in the very field of creativity to which, many years later, the writer devoted himself entirely: historical dramaturgy. Seven years of his life (1863 - 1869) the mature artist gave to the creation, which became the pinnacle of his work - a dramatic trilogy based on the material of Russian history of the 16th century. Tolstoy turned to those times when the Russian state was shaken by internal cataclysms, when an ancient dynasty was cut short and Russia found itself on the threshold of the Time of Troubles. The image of this entire era - one of the most dramatic in Russian history - was captured by Tolstoy the playwright in his historical triptych, in three tragedies: "The Death of Ivan the Terrible", "Tsar Fyodor Ioannovich" and "Tsar Boris".

2. The main part. Historical trilogy by A.K. Tolstoy

2.1. Reasons for the author's appeal to Russian history of the 16th century

The trilogy is connected into a single whole not only by chronology - the sequence of three reigns, but also by the unity of the problematic: in three different manifestations, the playwright presented the central idea of the "tragic idea of autocratic power" (in the words of the well-known literary critic, academician N. Kotlyarevsky). This problem was objectively relevant in Russian society in the 00s of the 19th century, when the crisis of autocracy became so clear (after the Crimean War), and for Tolstoy personally it was acutely urgent. In conditions of tense ideological and political struggle, when the formation of a revolutionary democratic ideology and aesthetics became the central event, Tolstoy's position was very peculiar. He did not hide his rejection of the revolutionary-democratic movement, seeing in it nothing but "nihilism" - and at the same time, taking advantage of his closeness to Emperor Alexander II, stood up for the condemned Chernyshevsky; on the other hand, being an aristocrat by birth and way of thinking, Tolstoy was sharply critical of government circles and openly opposed autocratic despotism, the dominance of bureaucracy, and censorship arbitrariness. Tolstoy's ideology can be defined as an "aristocratic opposition" - and in it, the romantic idealization of the disappeared "aristocratic-chivalrous" forms of life is inseparable from his artistic nature, which did not find its own ideals of freedom, love and beauty in modern reality. “Our entire administration and general system is a clear enemy of everything that is art, from poetry to the arrangement of the streets” - a statement very characteristic of Tolstoy. The poet does not accept the bureaucratization of the Russian state system, he is depressing by the grinding and degeneration of the “monarchical principle”, he is sad about the disappearance of the “chivalrous principle” in public and private life, he is repelled by unreasonableness, deformities, lawlessness, inertia in any of their manifestations - in a word, his the thirst for a harmonious arrangement of Russian life remains unsatisfied.

The rejection of modern reality, a keen sense of the crisis state of Russian statehood, reflections on the roots of the crisis and the fate of Russia in general - all this led Tolstoy the playwright to turn to Russian history of the 16th century, to three successive reigns: Ivan the Terrible, Fedor and Boris Godunov.

2.2 Contrasting human and historical truth in the trilogy

Already from the titles of the tragedies it is clear that Tolstoy focuses on the personalities of the three monarchs: not social conflicts, but the psychological springs of individual characters, with their inner passions, are the driving force of these historical tragedies. At the same time, Tolstoy's artistic-historical method is characterized by the primacy of moral categories: he assessed historical events from the point of view of ethical laws, which seemed to him equally applicable to all times. The playwright was repeatedly pointed out to the "dissimilarity" of his heroes with real historical figures; to this he answered (in a note entitled “Project for staging the tragedy“ The Death of Ivan the Terrible ”): “The poet ... has only one duty: to be true to himself and create characters so that they do not contradict themselves; human truth is his law; it is not bound by historical truth. She fits into his form - so much the better; does not fit - he manages without it. Contrasting "human" and "historical" truth, Tolstoy defended his right to evaluate any historical reality from the standpoint of universal moral meaning and recreate this reality with the help of his "moral and psychological historicism."

2.3 The concept of Russian history in the view of Tolstoy - the artist

In order to understand why the playwright chose the reign of Ivan the Terrible to begin his trilogy, one must recall the peculiar conception of Russian history by Tolstoy the artist.

Tolstoy repeatedly expounded his historical ideas, judgments, likes and dislikes in poetic form; but one of his ballads is, as it were, a "creed", where the main idea of his peculiar "romantic historicism" is expressed. This ballad is "Someone else's grief." The lyrical hero of Kolokolchikov, galloping on a horse in the steppe expanse, seems to be turning here into a kind of conditionally historical “Russian hero”: his free run is fettered by a dense forest, in which three uninvited riders sit behind him, personifying a long-standing, but inescapable grief of Russia. These are “Yaroslav's grief” (Old Russian princely strife), “Tatar grief” (Mongolian yoke) and “Ivan Vasilyich's grief” (the reign of Ivan the Terrible). For Tolstoy, the darkest event in Russian history is the Mongol yoke: it not only destroyed Ancient Rus' (bleeded by feudal strife), but also gave rise on Russian soil to those forms of autocratic despotism (most fully embodied in Ivan the Terrible) that distorted the essence of national life, such as it took shape in ancient Rus'.

2.4 The main idea of the play "Death of Ivan the Terrible"

The cruel and bloody despotism of Ivan the Terrible was for Tolstoy one of the three main evils of all Russian history; it is not surprising that the poet repeatedly referred to this era in his work (the ballads "Vasily Shibanov", "Prince Mikhailo Repnin", "Staritsky Governor", the novel "Prince Silver"). When he began work on the tragedy "The Death of Ivan the Terrible" (it was created in 1803 - early 1804) and he needed numerous historical materials, their main source was the book, which for many years was the poet's favorite reading "History of the Russian State" Karamzin. "Excellent reason", clouded by the cruel suspicion of a tyrant; deep passions and a strong will that fell into "servility to the most vile lusts" - this portrait of the "monster", vividly and pathetically drawn by Karamzin, became a prototype for Tolstoy's John. However, the playwright built the material borrowed from Karamzin's "History" in a very peculiar way: the action takes place in the year of the tsar's death (1584) - and by this year Tolstoy "pulled", timed many events that actually took place both earlier and later this year. This was done primarily with the aim of the most acute "psychologization" of the image of the protagonist. With this preference for "dramatic psychologism" Tolstoy's "chronicle" stood out sharply among his contemporary playwrights, who gravitated toward the genre of historical chronicle (which, in Tolstoy's opinion, was not drama, but "history in dialogues"). In his dramatic practice, he defended the right to "retreat from history" for the sake of artistic and ideological tasks; and the internal ideological and artistic integrity of the work should serve as a justification for this free treatment of historical facts.

This integrity is in the tragedy "Death of Ivan the Terrible". The most important dynastic event of the last years of the life of Ivan IV - the murder of the heir to the throne, Ivan - the playwright transfers from 1581 to 1584; moreover, he makes this event a kind of "prologue" to his tragedy. From this “last villainy”, which exhausted the “long-suffering of God's abyss”, John's sinister “fall” begins, which ultimately reveals the terrible spectacle of the “disintegration” of the entire state - the result of his insane tyranny. The entire construction of the tragedy is oriented, “aimed” at revealing this main idea, which in the finale focuses with some even “didacticism” (which is generally characteristic of the entire trilogy) in the words of the boyar Zakharyin (the only “bright” character in this play): “Here is the punishment of autocracy ! Here is the disintegration of our outcome! The playwright himself commented on this moral and political result of his tragedy, explaining its general idea in the "Project" of the production. Speaking of the fact that Terrible's "jealous suspicion" and "unbridled passion" prompt him to destroy everything that, in his opinion, could damage his power ("the preservation and strengthening of which is the goal of his life"), the playwright summarized the result of his tragedy: “... serving one exceptional idea, destroying everything that has a shadow of opposition or a shadow of superiority, which, in his opinion, is one and the same, at the end of his life he remains alone, without helpers, in the middle of a disordered state, defeated and humiliated by his enemy Batory, and dies without even taking with him the consolation that his heir, the feeble-minded Fyodor, will be able to adequately deal with the dangers bequeathed to him, with the disasters caused and called upon the earth by John himself through the very measures with which he dreamed of elevating and assert your throne.

The great Russian writer Lev Nikolaevich Tolstoy was very fond of children and youth. In them, he saw ideal people, not yet spoiled by the vices and troubles of life. This pure, primordial light illuminated the beginning of his famous trilogy “Childhood. Adolescence. Youth". The protagonist of the trilogy Nikolenka Irteniev wakes up because Karl Ivanovich hit him with a firecracker and a fly fell on his head. This made the boy very angry, and he begins to analyze the behavior of his mentor in an aloof and cold way. Even his dressing gown, cap and tassel seem disgusting to Nikolenka. But Nikolenka is a very kind boy, and his attitude towards his mentor is quickly changing for the better. The irritation of a suddenly awakened person passes, giving way to a more natural state of love and gratitude for the teacher for the boy.

The author himself acts here as a psychologist. He scrupulously examines the behavior of the child at various points in his life. Another episode with Nikolenka is not outwardly connected with the first, but an internal psychological connection is seen. Nikolenka returns from the hunt and decides to draw everything he has seen over the past day. But since he had only blue paint, he very vividly depicted a blue boy riding a blue horse and blue dogs. The boy is in a great mood, he admires his blue creations, but suddenly the thought comes to his mind: are there blue hares? Having asked his father about this and received an affirmative answer, Nikolenka drew a blue hare, but remade it into a blue bush, and made a blue tree out of the bush, then clouds instead of a tree, and so on. All this eventually angered him, and he tore up the drawings. Why was there annoyance this time? After all, at first the boy drew blue dogs, and he liked them. It's simple: when the boy gave himself up to the creative process, without thinking about anything, no questions arose before him, but as soon as he began to explore the creative process, irritation immediately arose. Tolstoy seems to be saying that the immediacy of a living feeling is always more harmonious than a cold, rational attitude to life. Immediacy is inherent in children from birth, but as they grow older, this gift disappears for many people. Tolstoy often refers to the analysis of this moment. For example, when he describes children's games, a similar situation occurs: the children sat on the ground and, imagining that they were sailing on a boat, began to “row”. Only Nikolenka's brother Volodya sat motionless. When they reprimanded him, he said that it was all nonsense and that no matter how much or how little they waved their hands, nothing would change. It seems that Volodya was right, but to agree with him means to spoil the whole game. The chapter ends like this: “If you really judge, then there will be no game. And there will be no game, what will be left then? Indeed, cold reason shows that there are no blue hares, that sitting on the grass and waving your arms you won’t swim away, and Karl Ivanovich’s cap and dressing gown are really not so attractive. But in love, kindness and fantasy there is truth that adorns our lives.

I noticed that Tolstoy's little hero overcomes irritation with the world by his love for the people around him. And these people, with their reciprocal love for Nikolenka, help him overcome various temporary negative emotions, as, for example, in the case of a fly.

After the release of the second part of the trilogy - "Boyhood" N.G. Chernyshevsky wrote: "Extraordinary observation, subtle analysis of spiritual movements, distinctness and poetry in the pictures of nature, elegant simplicity - a distinctive feature of Count Tolstoy's talent."

I got the impression that all six years of the life of Nikolenka Irtenyev passed before my eyes (the reader meets the boy when he is 10 years old, and breaks up when he is 16), but in the trilogy there is no consistent, day by day, description of the life of heroes. This is a story of just a few, but significant episodes.

So, in "Boyhood" the author tells about the saddest days in Nikolenka's life, when he received a unit, was rude to the teacher, opened his father's briefcase and broke the key. Tolstoy tells in detail over six chapters how the hero was punished and how his punishment ended.

In Youth, three days are especially highlighted: the day after entering the university, the day following it, when Nikolenka makes visits, and then his visit to the Nekhlyudov family.

Nikolenka and Nekhlyudov discover a new moral law. But it turned out to be very difficult to correct all of humanity, because even sincere and persistent attempts at self-improvement most often failed. Behind all these lofty concepts, ordinary vanity, narcissism, arrogance often hid.

In my opinion, the last part of the trilogy is more devoted not to the throwing of heroes, but to the author's attempt to prove to himself the possibility of moral perfection.

In his youth, Nikolenka constantly plays some role with varying success. Either the role of a lover with an eye on the novels he read, then a philosopher, since he was little noticed in the world, and thoughtfulness could mask his failure, then a great original. All this pushed into the background his real feelings and thoughts.

Nikolenka strives to be loved, tries to please. But no matter how much the hero wants to resemble the people around him, the author shows that this cannot be done because the world is morally alien to him. These people never created moral values and did not try to follow them, all the more they did not suffer from the fact that they could not be realized in life. They, unlike Nikolenka, always used those moral laws that were accepted in their environment and were considered mandatory.

As a reader, I believe that Nikolenka, for all her failures, will never stop in her moral quest. It is not for nothing that at the end of the trilogy he again sits down to write the rules of life with the conviction that he will never do anything wrong, will not spend a single minute idly and will never change his rules. I understand that this impulse was inherent in the writer himself. Tolstoy either renounced his entire past life, or affirmed the truth that had been revealed to him anew. But for us, he remained a man who constantly strived for moral self-improvement, full of doubts and contradictions, and therefore real.

Grandmother is a countess, one of the most important figures in the trilogy, as if representing the past majestic era (like Prince Ivan Ivanovich). The image of B. is fanned by universal reverence and respect. She knows how to give a word or intonation to understand her attitude towards a person, which for many others is a decisive criterion. The narrator portrays her not so much with the help of static characteristics, but through the description of her interaction with other characters who arrive to congratulate her on her name day, her reactions and words. B. seems to feel his strength and power, his special significance. After the death of her daughter, Nikolenka's mother, she falls into despair. Nikolenka catches her at the moment when she is talking to the deceased as if she were alive. Despite the importance of the old woman, he considers her kind and cheerful, but her love for her grandchildren is especially intensified after the death of their mother. Nevertheless, the narrator compares her with a simple old woman, housekeeper Natalya Savishna, finding that the latter had a greater influence on his worldview.

Valakhina Sonechka is the daughter of an acquaintance of the Irtenevs, Mrs. Valakhina. Nikolenka meets her at her grandmother's birthday party and immediately falls in love. Here is his first impression: “... A wonderful twelve-year-old girl in a short open muslin dress, white pantaloons and tiny black shoes came out of the muffled person. There was a black velvet ribbon on her white neck; the head was all in dark blond curls, which went so well in front to her beautiful swarthy face, and in the back to her bare shoulders ... ”He dances a lot with S., makes her laugh in every possible way and is jealous of other boys. In Youth, Nikolenka, after a long separation, meets again with S., who has grown ugly, but "the lovely bulging eyes and a bright, good-natured cheerful smile were the same." The grown-up Nikolenka, whose feelings require food, is again carried away by it.

Grap Ilinka - the son of a foreigner who once lived with the grandfather of the Irtenevs, owed something to him and considered it his duty

send them I. "A boy of thirteen, thin, tall, pale, with a bird's face and a good-natured submissive expression." They pay attention to him only when they want to laugh at him. This character - a participant in one of the games of the Ivins and Irtenevs - suddenly becomes the object of general mockery, ending with him crying, and his hunted appearance painfully affects everyone. The narrator's recollection of him is associated with remorse and, according to him, is the only dark spot of his childhood.

“How did I not approach him, protect him and comfort him?” he asks himself. Later, I., like the narrator, enters the university. Nikolenka admits that he is so used to looking down on him that he is somewhat unpleasant that he is the same student, and he refuses father I.'s request to allow his son to spend the day with the Irtenevs. From the moment of entering the university, I., however, comes out from under the influence of Nikolenka and keeps up with a constant challenge.

Grisha is a wanderer, holy fool. "A man of about fifty, with a pale oblong face pitted with smallpox, long gray hair and a sparse reddish beard." Very tall. “His voice was rough and hoarse, his movements hurried and uneven, his speech was meaningless and incoherent (he never used pronouns), but the accents were so touching, and his yellow ugly face sometimes took on such an openly sad expression that, listening to him, it was impossible to resist from some mixed feeling of regret, fear and sadness. The main thing known about him is that he goes barefoot in winter and summer, visits monasteries, gives icons to those he loves, and speaks mysterious words that are taken for predictions. To see the pood chains that he wears, the children peep how he undresses before going to bed, they see how selflessly he prays, evoking a feeling of tenderness in the narrator: “Oh, great Christian Grisha! Your faith was so strong that you felt the closeness of God, your love is so great that the words poured out of your mouth by themselves - you did not believe them with your mind ... "

Dubkov - adjutant, friend of Volodya Irtenyev. “... A small wiry brunette, no longer the first youth and a little short-legged, but not bad-looking and always cheerful. He was one of those narrow-minded people who are especially pleasant precisely because of their narrow-mindedness, who are unable to see objects from different angles and who are always carried away. The judgments of these people are one-sided and erroneous, but always sincere and fascinating. A big fan of champagne, trips to women, playing cards and other entertainments.

Epifanova Avdotya Vasilievna - a neighbor of the Irtenevs, then the second wife of Pyotr Aleksandrovich Irtenyev, Nikolenka's father. The narrator notes her passionate, devoted love for her husband, which, however, does not in the least prevent her from loving to dress beautifully and go out into the world. Strange, playful relations are established between her and the young Irtenyevs (with the exception of Lyubochka, who fell in love with her stepmother, who reciprocates her feelings), hiding the absence of any kind of relationship. Nikolenka is surprised at the contrast between that young, healthy, cold, cheerful beauty that E. appears before the guests, and a middle-aged, exhausted, yearning woman, sloppy and bored without guests. It is her slovenliness that robs her of her final respect as a storyteller. About her love for her father, he remarks: “The only purpose of her life was to acquire the love of her husband; but she did, it seemed, on purpose everything that could only be unpleasant for him, and everything with the aim of proving to him the full strength of her love and readiness for self-sacrifice. E.'s relationship with her husband becomes a subject of special attention for the narrator, since the “family thought” already occupies Tolstoy at the time of the creation of the autobiographical trilogy and will be developed in his subsequent writings. He sees that in their relationship, “a feeling of quiet hatred, that restrained disgust for the object of affection, which is expressed by an unconscious desire to do all possible minor moral troubles to this object,” begins to appear.

Zukhin is Nikolenka's comrade at the university. He is eighteen years old. Ardent, receptive, active, riotous nature, full of strength and energy wasted in revelry. Drinks from time to time. The narrator meets him at a meeting of a circle of students who have decided to prepare for exams together. “... A small dense brunette with a somewhat swollen and always glossy, but extremely intelligent, lively and independent face. This expression was especially given to him by a low, but humpbacked forehead above deep black eyes, bristly short hair and a frequent black beard, which always seemed unshaven. He never seemed to think about himself (which I always especially liked in people), but it was clear that his mind was never left without work. He does not respect and does not like science, although they are given to him with extreme ease.

3. - a type of commoner, intelligent, knowing, although not belonging to the category of people comme il faut, which at first causes the narrator "not only a feeling of contempt, but also some personal hatred that I felt for them for not being comme il faut, they seemed to consider me not only equal to themselves, but even good-naturedly patronized me. Despite his irresistible disgust at their untidy appearance and manners, the narrator feels something good in Z. and his comrades and is drawn to them. He is attracted by knowledge, simplicity, honesty, poetry of youth and daring. In addition to the abyss of shades that make up the difference in their understanding of life, Nikolenka cannot get rid of the feeling of inequality between him, a wealthy person, and them, and therefore cannot “enter into even, sincere relations with them.” However, he is gradually drawn into their life and once again discovers for himself that the same 3., for example, judges literature better and more clearly and in general not only is not inferior to him in anything, but even surpasses him, so that the height, with which he, a young aristocrat, looks at Z. and his comrades - Operov, Ikonin and others - is imaginary.

Ivin Seryozha is a relative and peer of the Irtenevs, “a swarthy, curly-haired boy, with an upturned hard nose, very fresh red lips that rarely completely covered the slightly protruding upper row of white teeth, dark blue beautiful eyes and an unusually lively expression on his face. He never smiled, but either looked completely serious, or laughed heartily with his sonorous, distinct and extremely captivating laugh. His original beauty strikes Nikolenka, and he falls in love with him like a child, but he does not find any response in I., although he feels his power over him and unconsciously, but tyrannically uses it in their relationship.

Irteniev Volodya (Vladimir Petrovich) is Nikolenka's older (for a year and several months) brother. The consciousness of his seniority and primacy constantly prompts him to actions that hurt his brother's pride. Even the condescension and grin, with which he often honors his brother, turns out to be a reason for resentment. The narrator characterizes V .: “He was ardent, frank and fickle in his hobbies. Carried away by the most heterogeneous subjects, he indulged in them with all his soul. He emphasizes the "happy, nobly frank character" of V. However, despite occasional and brief disagreements or even quarrels, relations between the brothers remain good. Nikolenka is involuntarily carried away by the same passions as V., but out of pride she tries not to imitate him. With admiration and a feeling of some envy, Nikolenka describes V.'s admission to the university, the general joy in the house on this occasion. V. has new friends - Dubkov and Dmitry Nekhlyudov, with whom he soon disagrees. His favorite pastimes with Dubkov are champagne, balls, cards. V.'s relationship with the girls surprised his brother, because he "did not allow the thought that they could think or feel anything human, and even less allowed the possibility of discussing anything with them."

Irteniev Nikolenka (Nikolai Petrovich) is the main character on whose behalf the story is being told. Nobleman, Count. From a noble aristocratic family. The image is autobiographical. The trilogy shows the process of internal growth and formation of N.'s personality, his relationship with other people and the world, the process of comprehending reality and himself, the search for peace of mind and the meaning of life. N. appears before the reader through his perception of different people with whom one way or another confronts his life.

Tolstoy's famous trilogy. Trilogy L.N

Send your good work in the knowledge base is simple. Use the form below

Introduction

Chapter 1. Man and the world: the influence of the environment on the education of the individual

1.1 Stages of growing up a person

1.2 Family types:

a) Generic family in L.N. Tolstoy's trilogy

b) "A random family" in the novel by F. M. Dostoevsky

1.3 Factors that determine the formation of personality:

a) The authority of a mentor during childhood and adolescence

b) The natural inclinations of a creative personality in youth

conclusions

Chapter 2

2.1 Moral guidelines on the way to a perfect person

2.2 The results of the artistic study of a person in terms of the theme of personality education in the trilogy of L.N. Tolstoy and the novel by F.M. Dostoevsky

conclusions

Conclusion

List of used literature

Methodical application

Introduction

Chapter 1. Man and the world: the influence of the environment on the education of the individual

1.2 Family types

Similar Documents