The essence of the poem is a stingy knight. Moral and philosophical issues of the tragedy “The Miserly Knight”

The action of the tragedy Stingy Knight"occurs in the era of late feudalism. The Middle Ages have been portrayed in different ways in literature. Writers often gave this era a harsh flavor of strict asceticism and gloomy religiosity. This is medieval Spain in Pushkin’s “The Stone Guest”. According to other conventional literary ideas, the Middle Ages are a world of knightly tournaments, touching patriarchy, and worship of the lady of the heart.

Knights were endowed with feelings of honor, nobility, independence, they stood up for the weak and offended. This idea of ​​the knightly code of honor is necessary condition correct understanding of the tragedy "The Miserly Knight".

“The Miserly Knight” depicts that historical moment when the feudal order had already cracked and life entered new shores. In the very first scene, in Albert’s monologue, an expressive picture is painted. The Duke's palace is full of courtiers - gentle ladies and gentlemen in luxurious clothes; heralds glorify the masterful blows of knights in tournament duels; vassals gather at the overlord's table. In the third scene, the Duke appears as the patron of his loyal nobles and acts as their judge.

The Baron, as his knightly duty to the sovereign tells him, comes to the palace upon first request. He is ready to defend the interests of the Duke and, despite old age, “groaning, climb onto the horse again.” However, offering his services in case of war, the Baron avoids participating in court entertainment and lives as a recluse in his castle. He speaks with contempt of “the crowd of caresses, greedy courtiers.”

The Baron's son, Albert, on the contrary, with all his thoughts, with all his soul, is eager to go to the palace (“At any cost, I will appear at the tournament”).

Both Baron and Albert are extremely ambitious, both strive for independence and value it above all else.

The right to freedom was ensured to their knights noble origin, feudal privileges, power over lands, castles, peasants. The one who had full power was free. Therefore, the limit of knightly hopes is absolute, unlimited power, thanks to which wealth was won and defended. But a lot has already changed in the world. To maintain their freedom, the knights are forced to sell their possessions and maintain their dignity with money. The pursuit of gold has become the essence of time. This restructured the entire world of knightly relations, the psychology of knights, and inexorably invaded their intimate lives.

Already in the first scene, the splendor and pomp of the ducal court are just the external romance of chivalry. Previously, the tournament was a test of strength, dexterity, courage, and will before a difficult campaign, but now it pleases the eyes of illustrious nobles. Albert is not very happy about his victory. Of course, he is pleased to defeat the count, but the thought of a broken helmet weighs heavily on the young man, who has nothing to buy new armor with.

O poverty, poverty!

How she humbles our hearts! -

he complains bitterly. And he admits:

What was the fault of heroism? - stinginess.

Albert obediently submits to the flow of life, which carries him, like other nobles, to the Duke's palace. The young man, thirsty for entertainment, wants to take his rightful place among the overlord and stand on a par with the courtiers. Independence for him is maintaining dignity among equals. He does not at all hope for the rights and privileges that the nobility gives him, and speaks ironically of the “pigskin” - the parchment certifying his membership in knighthood.

Money haunts Albert's imagination wherever he is - in the castle, at a tournament match, at the Duke's feast.

The feverish search for money formed the basis dramatic action"The Stingy Knight" Albert's appeal to the moneylender and then to the Duke are two actions that determine the course of the tragedy. And it is no coincidence, of course, that it is Albert, for whom money has become an idea-passion, who leads the action of the tragedy.

Albert has three options: either get money from the moneylender on a mortgage, or wait for his father’s death (or hasten it by force) and inherit the wealth, or “force” the father to adequately support his son. Albert tries all the paths leading to money, but even with his extreme activity they end in complete failure.

This happens because Albert does not just come into conflict with individuals, he comes into conflict with the century. The knightly ideas about honor and nobility are still alive in him, but he already understands the relative value of noble rights and privileges. Albert combines naivety with insight, knightly virtues with sober prudence, and this tangle of conflicting passions dooms Albert to defeat. All of Albert’s attempts to get money without sacrificing his knightly honor, all of his hopes for independence are a fiction and a mirage.

Pushkin, however, makes it clear to us that Albert’s dreams of independence would have remained illusory even if Albert had succeeded his father. He invites us to look into the future. Through the mouth of the Baron, the harsh truth about Albert is revealed. If “pigskin” does not save you from humiliation (Albert is right in this), then an inheritance will not protect you from them, because luxury and entertainment must be paid not only with wealth, but also with noble rights and honor. Albert would have taken his place among the flatterers, the “greedy courtiers.” Is there really independence in the “palace antechambers”? Having not yet received the inheritance, he already agrees to go into bondage to the moneylender. The Baron does not doubt for a second (and he is right!) that his wealth will soon transfer to the moneylender’s pocket. And in fact, the moneylender is no longer even on the threshold, but in the castle.

Thus, all paths to gold, and through it to personal freedom, lead Albert to a dead end. Carried away by the flow of life, he, however, cannot reject the knightly traditions and thereby resists the new time. But this struggle turns out to be powerless and in vain: the passion for money is incompatible with honor and nobility. Before this fact, Albert is vulnerable and weak. This gives birth to hatred of the father, who could voluntarily, out of family responsibility and knightly duty, save his son both from poverty and humiliation. It develops into that frenzied despair, into that animal rage (“tiger cub,” Herzog calls Albert), which turns the secret thought of his father’s death into an open desire for his death.

If Albert, as we remember, preferred money to feudal privileges, then the Baron is obsessed with the idea of ​​power.

The Baron needs gold not to satisfy the vicious passion for acquisitiveness and not to enjoy its chimerical brilliance. Admiring his golden “hill,” the Baron feels like a ruler:

I reign!.. What a magical shine!

Obedient to me, my power is strong;

In her is happiness, in her is my honor and glory!

The Baron knows well that money without power does not bring independence. With a sharp stroke, Pushkin exposes this idea. Albert admires the outfits of the knights, their “satin and velvet.” The Baron, in his monologue, will also remember the atlas and say that his treasures will “flow” into “torn satin pockets.” From his point of view, wealth that does not rest on the sword is “wasted” with catastrophic speed.

Albert acts for the Baron as such a “spendthrift”, before whom the edifice of chivalry that has been erected for centuries cannot withstand, and the Baron also contributed to it with his mind, will, and strength. It, as the Baron says, was “suffered” by him and embodied in his treasures. Therefore, a son who can only squander wealth is a living reproach to the Baron and a direct threat to the idea defended by the Baron. From this it is clear how great the Baron’s hatred is for the wasteful heir, how great his suffering is at the mere thought that Albert will “take power” over his “power.”

However, the Baron also understands something else: power without money is also insignificant. The sword was laid at the feet of the Baron of Dominion, but did not satisfy his dreams of absolute freedom, which, according to knightly ideas, is achieved by unlimited power. What the sword did not complete, gold must do. Money thus becomes both a means of protecting independence and a path to unlimited power.

The idea of ​​unlimited power turned into a fanatical passion and gave the figure of the Baron power and grandeur. The seclusion of the Baron, who retired from the court and deliberately locked himself in the castle, from this point of view can be understood as a kind of defense of his dignity, noble privileges, centuries-old life principles. But, clinging to the old foundations and trying to defend them, the Baron goes against time. The conflict with the century cannot but end in the crushing defeat of the Baron.

However, the reasons for the Baron's tragedy also lie in the contradiction of his passions. Pushkin reminds us everywhere that the Baron is a knight. He remains a knight even when he talks with the Duke, when he is ready to draw his sword for him, when he challenges his son to a duel and when he is alone. Knightly virtues are dear to him, his sense of honor does not disappear. However, the Baron's freedom presupposes undivided dominance, and the Baron knows no other freedom. The Baron's lust for power acts both as a noble quality of nature (thirst for independence), and as a crushing passion for the people sacrificed to it. On the one hand, lust for power is the source of the will of the Baron, who has curbed “desires” and now enjoys “happiness,” “honor,” and “glory.” But, on the other hand, he dreams that everything will obey him:

What is beyond my control? like some kind of demon

From now on I can rule the world;

As soon as I want, palaces will be erected;

To my magnificent gardens

The nymphs will come running in a playful crowd;

And the muses will bring me their tribute,

And the free genius will become my slave,

And virtue and sleepless labor

They will humbly await my reward.

I will whistle, and obediently, timidly

Bloody villainy will creep in,

And he will lick my hand and my eyes

Look, there is a sign of my reading in them.

Everything obeys me, but I obey nothing...

Obsessed with these dreams, the Baron cannot gain freedom. This is the reason for his tragedy - in seeking freedom, he tramples it. Moreover: the lust for power degenerates into another, no less powerful, but much baser passion for money. And this is no longer so much a tragic as a comic transformation.

The Baron thinks that he is a king to whom everything is “obedient,” but unlimited power belongs not to him, the old man, but to the pile of gold that lies in front of him. His loneliness turns out to be not only a defense of independence, but also a consequence of fruitless and crushing stinginess.

However, before his death, knightly feelings, which had faded, but did not disappear completely, stirred up in the Baron. And this sheds light on the whole tragedy. The Baron had long convinced himself that gold personified both his honor and glory. However, in reality, the Baron's honor is his personal property. This truth pierced the Baron at the moment when Albert insulted him. In the Baron’s mind everything collapsed at once. All the sacrifices, all the accumulated treasures suddenly seemed meaningless. Why did he suppress desires, why did he deprive himself of the joys of life, why did he indulge in “bitter thoughts”, “heavy thoughts”, “daytime worries” and “sleepless nights”, if before in a short phrase- “Baron, you are lying” - is he defenseless, despite his enormous wealth? The hour of powerlessness of gold came, and the knight woke up in the Baron:

So raise the sword and judge us!

It turns out that the power of gold is relative, and there are such human values, which are not bought or sold. This simple thought refutes life path and the Baron's beliefs.

Updated: 2011-09-26

Useful material on the topic

“- Pushkin depicts avarice that has turned into an all-consuming passion, with all its repulsive ugliness. The Baron is not only the “master” and owner of his wealth, but also slave his. He himself says that he is “above desires,” but in fact this is not true, because the passion for acquisition does not stop in its development.

The highest pleasure of the stingy knight, his “lucky day”, when he can pour a handful of gold “into the sixth chest, not yet full.” It is clear that his desires are not satisfied or satiated by this; While he is alive, he would like to accumulate more and more gold, to fill his chests. There is something demonic in the gloomy figure of the baron; when he wants to unlock the chest to pour a handful of gold into it, he says terrible words:

My heart is tight
Some unknown feeling...
Doctors assure us: there are people
Those who find pleasure in killing.
When I put the key in the lock, the same
I feel what I should feel
They are stabbing the victim with a knife: nice
And scary together...

Pushkin. Stingy knight. Audiobook

As always, from one main vice others are born. We see this clearly in the example of the stingy knight. From stinginess he developed ruthlessness; it is enough to recall the unfortunate widow with three children, who brought her husband’s debt and begged the baron to take pity on her. Looking at the handful of gold in his hand, he remembers:

There is an old doubloon... here it is. Today
The widow gave it to me, but first
Half a day in front of the window with three children
She was on her knees, howling.
It rained, and stopped, and then started again,
The pretender did not move; I could
Drive her away, but something whispered to me,
What husband's debt she brought me
And he won't want to be in jail tomorrow...

What ruthlessness, what heartlessness in this callous soul! From stinginess, the baron developed complete unscrupulousness and unscrupulousness in his means; he is indifferent to how Thibault, the “lazy, rogue,” got the money he owed him: “he stole, of course,” or maybe robbed, killed someone

"There on high road, at night, in the grove..."
…………………………
Yes [says the Baron] if all the tears, blood and sweat,
Spilled for everything that is stored here,
Suddenly everyone emerged from the bowels of the earth,
It would be a flood again - I would choke
In my cellars of the faithful...

Passion joins stinginess lust for power , intoxication with one’s power: “I reign!” exclaims the baron, admiring the shine of gold in the open chest. But this passion for power in him is aimless, empty, not like that of Tsar Boris, who sought to use his power for the good of the people, for the good home country. "The Miserly Knight" is only intoxicated consciousness strength and power, the consciousness that he “like some kind of demon can rule the world,” that with his gold he can enslave “both free Genius,” “both virtue and sleepless labor.” –

I will whistle, and obediently, timidly
Bloody villainy will creep in,
And he will lick my hand and my eyes
Look, there is a sign of my reading in them.
Everything obeys me, but I obey nothing...

He enjoys the consciousness of this power, the consciousness of the availability to him of all the pleasures of the world, but because of his stinginess he will never spend a single handful of accumulated treasures; on the contrary, he would like to hide his basement from “the eyes of the unworthy” until his death and even after death:

Oh, if only from the grave
I could come as a sentry shadow
Sit on the chest and away from the living
Keep my treasures as they are now!

The knight slanderes his son, denigrates him in the eyes of the duke only out of fear that he will spend the money accumulated by his father.

And at the same time the Baron - alive soul, he still has human feelings; remorse has not yet died in him, he knows their torment:

Conscience,
A clawed beast, scraping the heart, conscience,
Uninvited guest, annoying interlocutor,
The lender is rude; this witch
From which the month and the graves fade
They get embarrassed and send out the dead!

Apparently the baron suffered a lot in the struggle with his conscience, trying to drown out its voice.

Stingy knight. Painting by K. Makovsky, 1890s

Next to the Baron, in contrast to him, stands before us the much more sympathetic image of his son Albert. The ardent young man suffers from the pitiful situation in which his father keeps him, from the “shame of bitter poverty.” But this poverty does not develop in him stinginess, which would be so easy to become infected “under the same roof as his father”; Albert does not become a miser: he has no money, but we see that he sends the last bottle of wine given to him through his servant to the sick blacksmith. He cannot love his father, but how indignant he is, how shocked he is when he understands the hint of the Jewish moneylender suggesting that he poison his father! Driven to despair by this terrible, vile proposal of the Jew, Albert decides to go to the Duke, complain and “seek justice.” The same ardent, stormy indignation engulfs his honest, noble soul when he hears his father’s disgusting slander being leveled against him. Such injustice and lies drive him to the point where he shouts in his father’s face: “You are a liar!” - and accepts the challenge thrown at him by the baron.

In a few strokes, the figure of the Jew Solomon with his unprincipled, selfish soul is depicted in an unusually vivid and realistic way. This knows the value and power of money! The fear of the weak before the strong and at the same time his greed petty soul is felt in his cautious expressions and reservations: when it is unclear, in half hints, he talks about the “wonderful bargaining” of his friend, Tobias, Albert impatiently asks:

“Your old man sells poison?” "Yes -
AND poison..."

Solomon answers. This " And“The Jew tries to soften his vile proposal to poison the baron.

In three short scenes of “The Miserly Knight,” Pushkin concisely, vividly and realistically depicts the characters of all characters, the deep tragedy of a man who has become callous in his vices and perishes from them.

In “small tragedies” Pushkin confronts the mutually exclusive and at the same time inextricably linked points of view and truths of his heroes in a kind of polyphonic counterpoint. This combination of opposite principles of life is manifested not only in the figurative and semantic structure of the tragedies, but also in their poetics. This is clearly manifested in the title of the first tragedy - “The Miserly Knight”.

The action takes place in France, in the late Middle Ages. In the person of Baron Philip, Pushkin captured a unique type of knight-usurer, generated by the era of transition from feudal relations to bourgeois monetary ones. This is a special social “species”, a kind of social centaur, bizarrely combining the features of opposite eras and ways of life. Ideas about knightly honor and his social privilege are still alive in him. At the same time, he is the bearer of other aspirations and ideals, generated by the growing power of money, on which a person’s position in society depends, to a greater extent than on origin and titles. Money undermines, blurs the boundaries of class and caste groups, and destroys the barriers between them. In this regard, the importance of the personal principle in a person increases, his freedom, but at the same time responsibility - for himself and others.

Baron Philip - large, complex nature, a man of great will. His main goal is to accumulate gold as main value in the emerging new way of life. At first, this accumulation is not an end in itself for him, but only a means of gaining complete independence and freedom. And the Baron seems to achieve his goal, as evidenced by his monologue in the “basements of the faithful”: “What is not under my control? As a certain demon, I can now rule the world...”, etc. (V, 342-343). However, this independence, power and strength are bought at too high a price - the tears, sweat and blood of the victims of the baron's passion. But the matter is not limited to turning other people into a means of achieving his goal. The Baron ultimately turns himself into only a means of achieving this goal, for which he pays with the loss of his human feelings and qualities, even such natural ones as those of a father, perceiving his own son as his mortal enemy. So money, from a means of gaining independence and freedom, unnoticed by the hero, turns into an end in itself, of which the Baron becomes an appendage. It is not for nothing that his son Albert speaks about money: “Oh, my father sees them not as servants or friends, but as masters, and he himself serves them... like an Algerian slave, - Like a chained dog” (V, 338). Pushkin, as it were, rethinks the problem posed in " Caucasian prisoner": the inevitability of finding slavery on the paths of individualistic escape from society instead of the desired freedom. Egoistic monopassion leads the Baron not only to his alienation, but also to self-alienation, i.e. to alienation from his human essence, from humanity as its basis.

However, Baron Philip has his own truth, which explains and to some extent justifies his position in life. Thinking about his son - the heir to all his wealth, which he will get without any effort or worries, he sees in this a violation of justice, the destruction of the foundations of the world order he affirms, in which everything must be achieved and suffered by the person himself, and not passed on as an undeserved gift from God (including the royal throne - here arises interesting roll call with the problems of “Boris Godunov”, but on a different life basis). Enjoying the contemplation of his treasures, the Baron exclaims: “I reign!.. What a magical shine! Obedient to me, my power is strong; In her is happiness, in her is my honor and glory!” But after this he is suddenly overcome by confusion and horror: “I reign... but who, after me, will take power over her? My heir! Madman, young spendthrift. The interlocutor of debauched debauchees!” The Baron is horrified not by the inevitability of death, parting with life and treasures, but by the violation of the highest justice, which gave his life meaning: “He will waste... And by what right? Did I get all this for nothing... Who knows how many bitter abstinences, curbed passions, heavy thoughts, Daytime worries, sleepless nights All this cost me? that he acquired with blood" (V, 345-346).

There is a logic here, a harmonious philosophy of strong and tragic personality, with its consistent, although it did not stand the test of humanity, truth. Who is to blame for this? On the one hand, historical circumstances, the era of advancing commercialism, in which the unrestrained growth of material wealth leads to spiritual impoverishment and turns a person from an end in itself into merely a means of achieving other goals. But Pushkin does not relieve responsibility from the hero himself, who chose the path of achieving freedom and independence in individualistic isolation from people.

With the problem of choice life position The image of Albert is also connected. It is simplistic to see his common interpretation as a shredded version of his father's personality, in which, over time, the traits of chivalry will be lost and the qualities of a moneylender-hoarder will triumph. In principle, such a metamorphosis is possible. But it is not fatally inevitable, because it also depends on Albert himself whether he will retain his inherent openness to people, sociability, kindness, the ability to think not only about himself, but also about others (the episode with the sick blacksmith is indicative here), or will he lose these qualities, like his father. In this regard, the Duke’s final remark is significant: “Terrible age, terrible hearts.” In it, guilt and responsibility seem to be evenly distributed - between the century and the “heart” of a person, his feeling, mind and will. At the moment of development of the action, Baron Philippe and Albert act, despite their blood relationship, as bearers of two opposing, but in some ways mutually correcting truths. Both have elements of both absoluteness and relativity, tested and developed in each era by each person in his own way.

In “The Miserly Knight,” as in all other “small tragedies,” Pushkin’s realistic mastery reaches its peak - in the depth of penetration into the socio-historical and moral-psychological essence of the characters depicted, in the ability to consider in the temporal and particular - the enduring and universal. In them, such a feature of the poetics of Pushkin’s works as their “dizzying brevity” (A. Akhmatova), which contains the “abyss of space” (N. Gogol), reaches its full development. From tragedy to tragedy, the scale and content of the depicted images and characters, the depth, including moral and philosophical, of the depicted conflicts and problems increases. human existence- in its special national modifications and deep universal “invariants”.

This lesson extracurricular reading carried out after studying several works by A.S. Pushkin: the drama “Boris Godunov” (episode “Scene in the Miracle Monastery”), the story “ Stationmaster" and "Blizzard".

Lesson objectives:

• teach to analyze a dramatic work (determine the theme, idea, drama conflict),
• give the concept of dramatic character;
• develop the ability to work with the text of a literary work (selective reading, expressive reading, reading by role, selection of quotes);
• bring up moral qualities personality.

During the classes

1. The history of the creation of “Little Tragedies” by A.S. Pushkin(teacher's word).

In 1830, A.S. Pushkin received a blessing to marry N.N. Goncharova. The troubles and preparations for the wedding began. The poet had to urgently go to the village of Boldino Nizhny Novgorod province for the arrangement of the part of the family estate allocated to him by his father. The cholera epidemic that suddenly began kept Pushkin in rural solitude for a long time. Here the miracle of the first Boldino autumn happened: the poet experienced a happy and unprecedented surge of creative inspiration. In less than three months, he wrote the poetic story “The House in Kolomna”, the dramatic works “The Miserly Knight”, “Mozart and Salieri”, “A Feast during the Plague”, “Don Juan”, later called “Little Tragedies”, and also created “Belkin’s Stories”, “History of the Village of Goryukhin”, about thirty wonderful books were written lyric poems, the novel “Eugene Onegin” is completed.

Relationships between a person and those around him people-relatives, friends, enemies, like-minded people, casual acquaintances - a topic that always worried Pushkin, so in his works he explores various human passions and their consequences.

In “Little Tragedies” the poet seems to travel through space and time along Western Europe, along with him the reader finds himself in later Middle Ages(“The Miserly Knight”), during the Renaissance (“The Stone Guest”), the Enlightenment (“Mozart and Salieri”).

Each tragedy turns into a philosophical discussion about love and hate, life and death, the eternity of art, greed, betrayal, true talent...

2.Analysis of the drama “The Miserly Knight”(frontal conversation).

1) -Which of the following topics do you think this drama is dedicated to?

(Theme of greed, the power of money).

What money-related problems might a person have?

(Lack of money, or, conversely, too much of it, inability to manage money, greed...)

Is it possible to judge the theme and idea of ​​the work by the title of this drama?

2) "The Miserly Knight" - can a knight be stingy? Who were called knights in medieval Europe? How did knights appear? What qualities are characteristic of knights?

(Children prepare answers to these questions at home. This can be individual messages or homework ahead of time for the whole class.

The word "knight" comes from the German "ritter", i.e. rider, in French there is a synonym “chevalier” from the word “cheval”, i.e. horse. So, initially this is what they call a horseman, a warrior on a horse. The first real knights appeared in France around 800. These were fierce and skillful warriors who, under the leadership of the leader of the Frankish tribe Clovis, defeated other tribes and by 500 conquered the territory of all of present-day France. By 800 they also owned most of Germany and Italy. In 800, the Pope proclaimed Charlemagne Emperor of Rome. This is how the Holy Roman Empire arose. Over the years, the Franks increasingly used cavalry in military operations, invented stirrups and various weapons.

By the end of the 12th century, chivalry began to be perceived as a bearer of ethical ideals. Chivalric Code honor includes such values ​​as courage, courage, loyalty, and protection of the weak. Betrayal, revenge, and stinginess caused sharp condemnation. There were special rules behavior of a knight in battle: it was forbidden to retreat, disrespect the enemy, it was forbidden to inflict fatal blows from behind, kill an unarmed person. The knights showed humanity to the enemy, especially if he was wounded.

The knight dedicated his victories in battle or in tournaments to his lady, so the era of chivalry is also associated with romantic feelings: love, infatuation, self-sacrifice for the sake of the beloved.)

Finding out the meaning of the word “knight”, students come to the conclusion that the title of the work “The Stingy Knight” contains a contradiction: a knight could not be stingy.

3)Introduction to the term "oxymoron"

Oxymoron – artistic device based on the lexical inconsistency of words in a phrase, stylistic figure, a combination of words that are opposed in meaning, “a combination of the incongruous.”

(The term is written down in notebooks or linguistic dictionaries)

4) - Which of the drama heroes can be called a stingy knight?

(Barona)

What do we know about the Baron from scene 1?

(Students work with the text. Read out quotes)

What was the fault of heroism? – stinginess
Yes! It's easy to get infected here
Under one roof with my father.

Yes, you should have told him that my father
Rich himself, like a Jew...

Baron is healthy. God willing - ten, twenty years
And he will live twenty-five and thirty...

ABOUT! My father has no servants and no friends
He sees them as masters;...

5) Reading the Baron's Monologue (Scene 2)

Explain where the baron's stinginess came from? Which main feature Does the Baron's character subjugate everyone else? Find keyword, key image.

(Power)

Who does Baron compare himself to?

(With the king commanding his warriors)

Who was the Baron before?

(A warrior, a knight of sword and loyalty, in his youth he did not think about chests with doubloons)

What has changed, who has he become now?

(As a moneylender)

How do you understand the term " dramatic character"? (Explanation of the term is written down in notebooks)

6) Vocabulary work.

We explain the meaning of the words “money lender” (you can choose the same root words “growth”, “grow”), “code of honor”, ​​“pigskin” - parchment with a family tree, with a coat of arms or knightly rights, “knightly word”.

7) Analysis of scene 3.

What does the Duke say about the Baron? What was the baron's name, what do we learn about him from his greeting to the Duke?

(Philip is the name of kings and dukes. The Baron lived at the Duke’s court, was first among equals.)

Did the knight in the baron die?

(No. The Baron is insulted by his son in the presence of the Duke, and this increases his insult. He challenges his son to a duel)

Why did the Baron, who was a real knight, become a moneylender?

(He was accustomed to power. In the days of his youth, power was given by the sword, knighthood, baronial privileges, military deeds)

What has changed?

(Time)

Another time comes and with it another generation of nobles. What is the Baron afraid of?

(Ruin of accumulated wealth)

What can you say about the baron’s son, Albert? How is his life? Can we call him a knight?

(For him, a knightly word and “pigskin” are an empty phrase)

What motivates Albert when he surprises everyone with his courage at the tournament?

(Stinginess)

Is Albert himself a miser, like his father?

(No. He gives the last bottle of wine to the sick blacksmith; he does not agree to poison his father and commit a crime for money)

What can be said about the relationship between father and son - Baron and Albert?

(The Baron accuses his son of plotting parricide, of trying to rob him)

8) Read by role the scene of a quarrel between father and son.

What caused the quarrel?

(Because of money)

What is the Baron thinking about? last minutes own life?

(About money)

Read last words Duke.

He died God!
Terrible age, terrible hearts!

What century is the Duke talking about? (About the age of money)

3. Conclusions. The final part of the lesson.(Teacher's word)

At the heart of any dramatic work laid conflict. Thanks to him, the action develops. What caused the tragedy? (The meaning of the terms is written down in the notebook)

This is the power of money that rules people. The power of money brings great suffering to the world of the poor, crimes committed in the name of gold. Because of money, relatives and close people become enemies and are ready to kill each other.

The theme of stinginess and the power of money is one of eternal themes world art and literature. Writers different countries dedicated their works to her:

• Honore de Balzac "Gobsek"
• Jean Baptiste Moliere "The Miser"
• D. Fonvizin “Undergrowth”,
• N. Gogol “Portrait”,
• « Dead Souls» (Plyushkin's image),
• "The Evening on the Eve of Ivan Kupala"

4. Homework:

1. Read N. Gogol’s story “Portrait”;
2. In your notebooks, write a detailed answer to the question “How can you explain the name of the drama “The Miserly Knight”?
3. Prepare a report on the topic “The Image of the Miser in World Art.” (Individual task)