The use of parallelism in a garnet bracelet. Fine and expressive means in the story by A.I.

« Garnet bracelet"was created in the fall of 1910 in Odessa. A.I. Kuprin, despite the irrelevance of “traditional themes and images” for the current literary moment, turns to eternal theme love and for the image " little man" Having abandoned modern socio-political problems and modernist artistic techniques, the writer uses for plot basis story real facts from private life common man: telegraph official P.P. Zholtov really existed and was in love with the wife of Lyubimov, the governor of Vilna; Lyubimov, together with his wife’s brother, actually had a serious conversation with Zholtov, after which he reminded about himself. But Kuprin gives real events a lyrical, romantic tone, and also brings the love conflict to a tragic sound, which corresponded to the author’s understanding of love: speaking about Bizet’s opera “Carmen”, A.I. Kuprin noted that love is always a tragedy, always struggle and achievement, joy and fear, resurrection and death. It is no coincidence that the writer offers his ending - Zheltkov’s suicide. It is also no coincidence that the mood of the story is so alarming that Kuprin seems to not have enough realistic means of expression - the writer actively turns to leitmotifs, color designations, and symbolism, complicating the realistic basis of “Pomegranate Bracelet” with elements of expressionism and symbolism. Thus, the “traditional” theme came from Kuprin’s pen completely updated, and most importantly, in tune with the era of the turn of the century.

Kuprin worked on the story for about three months, working with inspiration and creative enthusiasm. Makarova S.A. Study of the story of A.I. Kuprina.M., 1999. P. 64. In a letter to F.D. Kuprin reported to Batyushkov on October 15, 1910: “Today I am busy polishing the story “The Garnet Bracelet.” Kuprin A.I. Collection. cit.: In 5 vols. - M., 1982. - T.3. - P.413. And later, in a letter to Batyushkov dated December 3, Kuprin clarified that he would not “want to crumple the “Bracelet,” this “very sweet” thing for him.” Right there. P. 65. These remarks are important, since in the “Garnet Bracelet” the artistic polish, the jeweler’s refinement of the form, and the accuracy of the object details are amazing. At the same time, some aspects of the work, as the writer himself admitted to the same Batyushkov, were difficult for him: “Now I’m writing “Bracelet,” but it’s not going well. main reason- my ignorance of music... And the secular tone! Right there. P. 67.. The music chosen by the writer (Kuprin often listened to Beethoven’s Sonata No. 2 in Odessa, in the family of the doctor L.Ya. Meisels) very subtly corresponded to the general idea of ​​the story, and in the literary work the sonata “lived” its “second life” . It is no coincidence that in the first publication of the story (the almanac “Earth” of 1911), the first line of music from the second movement of Beethoven’s sonata No. 2 was reproduced in the epigraph. In subsequent editions, the musical epigraph was replaced by an indication of the music that sounds at the beginning of the story: “L. van Beethoven. 2 Son. (op.2, no. 2). "Largo Appassionato". But the meaning remained unchanged - artistically impeccable and philosophically deep.

Kuprin's story is dedicated to the theme of love. It was important for the writer to show that this feeling is multifaceted and individual. It is no coincidence that General Anosov tells love stories. It is he, the wise one life experience, having experienced the personal tragedy of a break with his wife, is aware of different angles of love: in marriage Anosov sees mutual convenience, in his relationship with a Bulgarian woman he does not deny love-adventure, and in the feelings of the ensign for the wife of the regimental commander - love-dependence. Everyone loves in their own way, the ability to love is a talent, rare, like any other, if it is real. Therefore, General Anosov pronounces his verdict: “...People in our time have forgotten how to love. I don’t see true love.” What is meant by “true” love? Kuprin trusts Anosov with his own philosophy of love, selfless, selfless love that does not expect reward: “Love should be a tragedy. The greatest secret in the world! The general, who learned about the story with the telegraph operator at Vera’s name day, suddenly became worried: “Maybe he’s just... a maniac, but who knows? - maybe yours life path, Verochka, crossed exactly the kind of love that women dream about and that men are no longer capable of.”

Zheltkov’s love for Vera Nikolaevna Sheina turned out to be just that, “single, all-consuming, ready for anything, modest and selfless,” and also unrequited, tragic, love that is not like the love for a Bulgarian girl, nor the love of an ensign, nor any other - Love. This love was unique and exclusive, which not everyone can understand and not at all right away. That is why General Anosov’s words about selfless and eternal love become a leitmotif in the story and are repeated many times in “The Garnet Bracelet”: both in the general’s conversation with Vera, and when Vera Nikolaeva read a newspaper report about Zheltkov’s death, and when she came to say goodbye to the already dead Zheltkov . Love is a tragedy. It rises in the story above all other concepts of love; only it can have a sound in music, eternal and beautiful, like love itself. And throughout the entire story the music of a Beethoven sonata sounds, as restrained, passionate, tragic as Zheltkov’s love. Music in the mirror of poetry. - L. 1987. Issue. 3. P. 57.

Kuprin interprets the theme of love in a philosophical vein, because love for Zheltkov becomes a kind of philosophy of life, in which there are few joys, with the exception, perhaps, of the music that he loved to listen to, and the feelings that he experienced for Vera Nikolaevna. Zheltkov lived with this love, albeit unrequited, unrequited, but it was a ray of light for him bright light, a breath of clean air, the meaning of life. Meanwhile love causes another philosophical problem story - the problem not only of life, its meaning, but also of death, the cause of which was the same selfless love. “I know that I can never stop loving her... Tell me, Prince... what would you do to end this feeling? ... “Only one thing remains - death,” says Zheltkov to Vera Nikolaevna’s husband. Prince Shein cannot object to Zheltkov: “I... am present at some enormous tragedy of the soul.”

The tragedy of the soul and love intensifies in the story and social contradictions. Vera Nikolaevna was the wife of the leader of the nobility, and although Prince Shein “barely made ends meet,” and Vera had to economize in everything, this did not prevent Vera Sheina’s brother Nikolai from emphasizing their noble superiority in a conversation with Zheltkov: “... we will take the measures that we our position, acquaintance, and so on will allow.” Zheltkov was a man “not of their circle,” he served “as a small official in a government institution” and was poor (remember the “spit-stained staircase” along which Prince Vasily and Nikolai climbed, as well as Zheltkov’s low room with two round windows that barely illuminated it) . The difference in social status, the fact that Vera Nikolaevna was married, complicate the situation and make love obviously doomed, tragic, but at the same time sublime - no obstacles could interfere with Zheltkov’s love, he lived lovingly and died without renouncing love. Love puts Zheltkov morally immeasurably higher in comparison with other heroes - maybe that’s why Zheltkov is so lonely? This is another range of problems that are outlined in the story (let us remember Prince Vasily’s farce on the topic of the telegraph operator’s “mad” love during name days, which was offensive to Vera Nikolaevna, the harsh behavior of Nikolai, a fellow prosecutor at Zheltkov’s apartment, etc.). It is obvious that neither Prince Shein nor Nikolai Nikolaevich are capable of great love, to comprehend the secrets of Beethoven's music - only Vera Nikolaevna comes to this, and then thanks to Zheltkov, more precisely, through the shock of his death. Konen V.D. History of foreign music. - M., 1981. Issue. 3. P. 114.

The dynamics of the plot of “Garnet Bracelet” are uneven. The exposition of Chapter 1 gives way to a description of Vera Nikolaevna’s name day, to which most of the story is devoted, from Chapters II to IX. It is important for Kuprin to show his life, interests, family relationships, the social circle of Princess Sheina and at the same time a certain class. On name days they play poker, listen to Italian canzonnetas and Rubinstein’s oriental songs performed by Vasyuchka, and have fun satirical stories Prince Vasily Lvovich on the theme “Princess Vera and the telegraph operator in love.” It seems that on name days everything is going normally, calmly. But in this slow-motion plot part, Kuprin continues to intensify the disturbing mood of the musical epigraph and landscape exposition. Mid-September, the flower beds were empty and “had a disorderly appearance,” the trees were dropping yellow leaves; there were 13 guests at the name day, and Vera immediately thought: “This is not good!”; By the evening of the name day, a crimson strip of the dying sunset suddenly appeared. But the alarming culmination of the name day is Vera’s receipt of a gift from Zheltkov; the garnet bracelet was “squeezed” into the black velvet of a red jewelry case, and five deep red garnet cabochons stood out on it. “Definitely blood!” - Vera thought with unexpected alarm. In this part of the plot, the music of the Beethoven sonata does not sound: both because it does not correspond to the nature of Vera’s name day, and because the tragic course of events has not yet reached its climax.

From Chapter IX, from the moment the name day ends and Zheltkov’s “antics” are discussed by Nikolai, Prince Shein and Vera, the plot begins to move and develops very dynamically. Chapter X describes the visit of Prince Vasily and Vera’s brother to Zheltkov - this is another culminating episode of the story after Vera receives a garnet bracelet, primarily because a moral and intellectual gap is revealed between these people. Not only do they not hear or understand each other, they live in different dimensions: Sheins - within the framework of the law, the traditions of “their circle”, spiritual enslavement, Zheltkov - in the world of eternal, beautiful, noble and free from conditions of feeling. Another thing becomes obvious - only death can “cut off” Zheltkov’s love, there is no other way, Zheltkov is doomed. The anxious mood is growing, Vera Nikolaevna already guesses: “This man will kill himself.”

Then everything develops extremely rapidly, and each chapter contains a greater or lesser climactic episode. In Chapter XI, the death of Zheltkov becomes known; Vera learns about this almost by accident - from the newspaper. Although she had never read a newspaper, “fate forced her to unfold the right sheet.” Kuprin refuses melodramatic scenes with showdowns; the writer gives Zheltkov’s suicide in a dry newspaper report, which very accurately emphasizes Zheltkov’s character. He only wanted to love, without demanding anything in return and avoiding the fuss around him, he dreamed of living lovingly, therefore, despite the premonition, the news of Zheltkov’s death was in many ways unexpected and almost implausible. It was hard to believe that a person could die of love. And indeed, after the news of his death, Vera suddenly receives a letter from Zheltkov. Maybe he's alive? Zheltkov himself writes that “he is leaving and will never return.” The anxious, tense mood intensifies more and more, at the same time the motive of immortality arises - Zheltkov is not there, but he is alive in his love, in Beethoven's music, which sounds, and twice: Zheltkov remembers Beethoven's quartets and asks to play Beethoven's Sonata No. 2. The tragic tonality of the sonata conveys the character of Zheltkov’s love, enriching it with motifs of immortality and the eternity of love.

The anxious mood continues in Chapter XII, which also contains a climactic episode - Princess Sheina goes to the dead Zheltkov and places a red rose under his neck.

At this tragic moment, Zheltkov and Vera found themselves together for the first time, together - Zheltkov wanted to live lovingly, and he tried to connect two destinies, to prolong life and love even after death, with the music of a Beethoven sonata. This becomes even more obvious in the last, chapter XIII, which is the main culmination of “The Garnet Bracelet” and is all built on a description of the sounding Beethoven sonata, that musical tragedy, the tragedy of love, which happens once in a thousand years. Zheltkov and Vera Nikolaevna are together again - and forever, as long as Beethoven’s eternal music continues to sound. In the finale of “The Garnet Bracelet,” Beethoven’s sonata sounds so long and bright for the first time, bringing to the maximum point both the anxious mood and the tense plot situations of chapters V, X, XI, XII of the story, and the motives of Beethoven’s Largo itself in the epigraph, chapters XI and XII. At the fourth, the most complete culmination of the entire story, the performance of the Beethoven sonata ends with the “Pomegranate Bracelet”.

Finally, a few notes on the composition of the story. The structure of “The Garnet Bracelet” includes various extra-plot elements: landscape (exposition), interior (Zheltkov’s room), Zheltkov’s letters - a distinctive feature of all descriptions are numerous artistic details, which ultimately enhance the psychologism of the story. And one last thing. The story begins and ends with the sound of a Beethoven sonata, which forms an unusual compositional ring - a musical one. Herriot E. Beethoven's Life. - M., 1970. P. 48.

A characteristic feature of the character system in “The Pomegranate Bracelet” is that almost all the images are outlined dotted lines, they are not written in detail, but perform one or another meaningful function in the story. Name day guests convey the lifestyle of a certain class; Prince Shein and Nikolai Nikolaevich are contrasted with Zheltkov and embody moral limitations and social conventions; Anna Friesse is compared to her sister, Princess Vera Nikolaevna Sheina; General Anosov serves as a mouthpiece for the author's ideas - he does not participate in events, but, as it were, stands above them, abstractly expressing the main idea of ​​the work about the greatness of pure and sacrificial love. Directly in the storyline main idea The story is connected with the image of Zheltkov, about whom not much is known either.

The highest value and meaning of all life for Zheltkov is love, which is measured in those 7-8 years during which he loved Princess Sheina - this speaks of spiritual growth Zheltkova. “At first, his letters were vulgar and curiously passionate,” recalls Vera Nikolaevna. But Zheltkov was also musical, he often went to music concerts, where I saw Vera. And subsequently his love rose to the tragic pathos of Beethoven’s music, which for Zheltkov became a kind of symbol of love for Vera and helped him survive in this world and cope with his feelings.

The image of Princess Sheina is described in “The Garnet Bracelet” in more detail than the others. Both because Vera actively participates in the conflict of events, and because Kuprin reveals to the reader her feelings, thoughts, and doubts. In addition, the image of Vera becomes more prominent through comparison with her sister, Anna Nikolaevna Friesse. As a result of this comparison, it is possible to understand that Vera Nikolaevna is a subtle, sensitive, deep nature, her fate is not devoid of drama: Vera did not have children whom she “greedily wanted to have,” and her “former passionate love I have long since turned to my husband into a feeling of... faithful friendship.” Zheltkova's love turned Vera Nikolaevna's soul upside down: she was dearly loved. From an ironic-skeptical attitude towards Zheltkov, Vera came to comprehend the tragedy of her life, the fact that love, which happens once in a thousand years, passed her by - Vera Nikolaevna grows to realize the true greatness of love-tragedy.

Tragic pathos is contained in many components of “The Pomegranate Bracelet”: in moral and social issues, in the plot line, in the figurative system (almost all the characters in the story are unhappy in their own way), in a growing state of anxiety. The tragic tone of the story also has its own color: the work repeatedly repeats unusually intense red shades (crimson, bloody, most often red), which are visually present at the very beginning of the story, in its title - “Garnet Bracelet”.

The story ends on bright emotions. Vera seems to imagine Zheltkov’s words forming in her mind to the music of Beethoven: “Calm down. I sleep so sweetly, sweetly, sweetly.” And after this she calms down: “He has forgiven me now. Everything is fine".

Introduction

Any work of art “embodies the picture of life as the author saw and organized it,”1 therefore it artistic form necessarily and diversely reflects the presence of the author. According to the precise remark of L.N. Tolstoy, “the cement that binds every work of art into one whole and therefore produces the illusion of a reflection of life is<…>the unity of the author’s original moral attitude to the subject.”

The author's attitude towards the depicted is the basis ideological meaning works, and all artistic means are subordinated to its expression, among which composition occupies a special place. In concept composition(from lat. composition- arrangement, composition) are usually combined various aspects organization of the text of the work, its construction. Analysis of the composition makes it possible to identify the author’s position if it is not directly expressed or expressed ambiguously, which, in turn, allows us to penetrate deeper into the ideological meaning of the work and understand the originality creative manner writer.

The work of A. I. Kuprin constantly attracts the attention of readers and researchers not only with the diversity and social relevance of its themes, but also with the subtle lyricism of the description of feelings, and close attention to the life of the individual human soul. In his works great place occupied by the theme of love (“Olesya”, “Lenochka”, “Lilac Branch”, “Shulamith”, etc.), which the writer treats reverently and reverently as the highest human value.

The undisputed masterpieces of A. I. Kuprin’s love “lyrics” include the story “The Garnet Bracelet,” which, in our opinion, attracts young reader primarily because it describes the diverse manifestations of love feelings: the main plot is, as it were, accompanied by several “love stories” told by the characters. There is no direct author's assessment of these stories in the text, but it is known that in the process of working on the story, Kuprin repeatedly gave his assessment of the depicted in letters to various correspondents. So in a letter to F. Batyushkov he wrote: “Love is always a tragedy, always a struggle and achievement, always joy and fear, resurrection and death”2. In our opinion, analysis of the composition of the work helps to identify the author’s position and, accordingly, understand the depth of the author’s intention.

1Chertov V.F. Word-image-meaning: philological analysis of literary works. 10-1 1st grade: textbook: M.: Bustard, 2006, p. 70

2Bystrov V.N. A.I. Kuprin//Russian writers, XX century. Bibliographic Dictionary.

2 parts. Part 1.-M.: Education, 1998 p. 717

Despite the fact that in literary criticism the work of A.I. Kuprin has been quite well studied (V.N. Afanasyev, P.N. Berkov, A.A. Volkov, F.I. Kuleshov, etc.) and described general principles construction of his works, the composition of the story “Garnet Bracelet”, according to our data, was not subjected to aspect analysis. This led to relevance of the choice of topic and determined scientific novelty research. In addition, 2015 marks the 145th anniversary of the writer’s birth, and turning to his work is especially relevant for us, fellow countrymen.

Practical significance of the work is determined by the possibility of using the materials contained in it when studying the work of A.I. Kuprin in literature lessons.

The object of this study is the composition of a story by A.I. Kuprin "Garnet Bracelet".

Subject of study - compositional means of expression author's position.

Purpose of the study - identify and describe compositional means of expressing the author’s position for a deeper understanding of the ideological meaning of the work.

Research objectives:

1) study theoretical material about the composition of a literary text and its means;

2) identify and describe compositional means of expressing the author’s position in relation to the described manifestations of love, which is not directly expressed in the text.

Main research method is descriptive and analytical.

The studied theoretical material and text analysis allowed us to formulate the following hypothesis : the author’s position in relation to the love stories described in the story is not directly expressed, but can be revealed on the basis of an analysis of compositional means, including the epigraph, the system of images-characters, the title image-symbol. True love, according to the author, is sublime, selfless, sacrificial love that can transform a person and become stronger than death.

Research structure:

1) analysis of various literature on the problem in order to determine the degree of knowledge of the selected topic;

2) study of compositional means of identifying the author’s position in A.I. Kuprin’s story “The Garnet Bracelet”.

3) generalization and conclusion.

The work consists of an introduction, main part, conclusion, list of references.

1. Composition of a literary text and its means.

1.1. The concept of “composition”.

In S.I. Ozhegov’s dictionary, the concept of “composition” is explained as “structure, relationship and mutual arrangement parts".3

In literary criticism, composition is understood as “the mutual correlation and arrangement of units of the depicted and artistic speech means.”4

The division of the text is not accidental - it is determined by how the author presents the structure of the artistic world he created and the construction of a story about it. Compositional techniques serve to place the emphasis needed by the author and in a certain way stimulate and organize the reader’s perception, possessing a “unique energy of aesthetic impact.”5

The construction of a literary work is a multifaceted phenomenon, having various aspects. It includes the arrangement of characters, the location of the events being recreated in the text of the work, and the features of the image. objective world works, and inner world heroes, and the dynamics of narration methods, and the correlation of the actual speech units. Compositional means in a certain way correct and deepen the meanings and meanings that are carried by the subject and speech layers of the work.

1.2.Types of composition.

It is customary to distinguish between the so-called external and internal composition. The first is called architectonics, it is usually associated with dividing an essentially continuous text into parts. In a work, both the division of the text into parts and chapters and the absence thereof, the presence of epigraphs or dedications, inserted short stories and episodes, and the presence of author’s digressions can be significant.

The internal composition is determined by the structure of the artistic world created in the work; it usually distinguishes the composition of the narrative, the composition of the plot, and the composition of images.

Narrative composition is the organization of the point of view of the depicted world. It may not depend on the architectonics of the work; it may also intersect with it (as composition signals "text within text" or signs of change in the subject of the narrative). By choosing one or another method of organizing the narrative, the author strives to achieve a certain artistic effect and convey to the reader his idea of ​​life. The composition of a narrative usually includes the following components:

- number of narrators and patterns of their choice: it is important not only that one or more narrators are chosen by the author to organize the narrative, but also who these narrators are in relation to the events depicted and their participants, how they are connected to each other (and whether they are connected at all);

-stable compositional speech forms(in what form their story is available to the reader): it can be a story, as if intended for one of the characters and only “overheard” by the reader; it could be a conversation between the hero and himself that was accidentally revealed to the reader (internal monologue, diary, dream, etc.)

The artistic world of a work is, first of all, image system, one way or another correlated with the real world. The work usually includes:

World of people;

The natural world (living and nonliving);

The world of things;

Space and time.

Each of these “worlds,” in turn, has its own composition, “since it represents a set of elements defined for each specific work, placed in certain relationships and included in the artistic world”6. Each image is created using a system of tools and techniques that are used by the author in different combinations and in different sequences. In this sense, we can talk about the composition of each individual image.

Chapter 1 Conclusion

Thus, we see that a literary work of art is figurative system, each element of which occupies a certain place in it, is connected with other elements, and their totality constitutes an artistic whole. Composition analysis is a multifaceted and voluminous task. It should be borne in mind that “any construction is a choice of one or several existing options.”7 By highlighting and exploring compositional features works, we understand that they express the originality of the author’s thinking and the essential features of the picture of the world he created

3Ozhegov S.I. and Shvedova N.Yu.1998, p.288

4Khalizev V.E. Theory of literature.-M.: Higher School, 2000, p.262

5Khalizev V.E. Theory of literature.-M.: Higher School, 2000, p.262

6.7 Chertov V. F. Word-image-meaning: philological analysis of literary works. 10-1 1st grade: textbook: M.: Bustard, 2006, p. 108

It is not possible to fully analyze the composition of A.I. Kuprin’s story within the framework of one study, so we focused only on those compositional means that helped us identify the author’s position, his view of the essence of love. Among these means are the epigraph, the character system, and the title image-symbol.

in the story by A.I. Kuprin "Garnet Bracelet".

2.1. The role of the epigraph in identifying the ideological meaning of the work.

The epigraph refers to the optional elements of the composition. If it exists, then its main task is to emphasize, highlight the most important thing in the content or form of a literary text.

Among the realist writers, to whom A.I. belonged. Kuprin, critical sentiments towards reality were strong; social issues predominated in their works. Against this background, the love story “The Garnet Bracelet” was perceived as a drama of love between a poor official and a high-ranking woman. rich lady, and this social motive is still perceived by many as one of the main ones.

The story “Garnet Bracelet” by A.I. Kuprin introduced an unusual epigraph: L.VanBethoven. 2 Son. (op. 2, no. 2). This is an indication of one of the early works the famous German composer Ludwig van Beethoven, whose works A.I. Kuprin, although not, by his own admission, a music connoisseur, knew and loved. According to one of the researchers, the influence of Beethoven’s music “affects not only the mood of the story, but also strengthens and deepens the psychologism when describing a feeling of love.”8 We can say that the epigraph indicates the need to correlate the composition of the sonata and the story, and this, in turn, , helps to identify and clarify the author’s intent.

In the first movement of the sonata - allegrovivace- shine shown social life, which “beckons with its seductions, the heart responds with a dream of happiness, but as a counterpoint there is an alarming melody, warning about the fragility of the dream.”9 This is the beginning of the story: a finely drawn autumn landscape, the coldish secularity of Princess Vera Sheina. Just as in a sonata, a side theme is intertwined with the main theme and shades it, so in the story next to Princess Vera is her sister. A short remark from the author that Vera’s former passionate love for her husband has long turned into a feeling of friendship, and a rather lengthy “love story” of Anna, who could not stand her husband. Some musical phrases from the first part of the sonata, according to musicologists, humorously representing the figure of “Father Haydn”, to whom it is dedicated, correlate with the description of the figure of General Anosov, who is somewhat inappropriate for the princess’s social drawing room.

In the second (central) part of the sonata - Largo Arpacio - the theme of fate, conveyed in measured mournful chords, gradually invades the warm melodious melody, but the tragedy ready to break through does not receive a way out and further development. The third part - a virtuoso scherzo - allegretto - returns to secular splendor: internal drama seems to be hidden under the veil of salon grace. The central part of the story - the “love story” of the telegraph operator Zheltkov for Princess Vera, also full of hidden drama, does not develop and does not end with anything: it passes by the princess, who returns to social duties and is most afraid of appearing funny to those around her.

In one of the letters A.I. Kuprin himself admitted: “There is an op. No. 2, Largo Arrassiopato from Beethoven; from there is the whole point of my story.” Music becomes the real “character” at the end of the story, when, after saying goodbye to the deceased Zheltkov, Vera asks pianist Jenny Reiter to play this sonata for her. “She recognized from the very first chords this exceptional, unique work of depth. And her soul seemed to split into two. She simultaneously thought that a great love had passed her by, something that happens only once every thousand years. I remembered the words of General Anosov and asked myself why this man forced her to listen to this particular Beethoven work and even against her wishes? And words formed in her mind. They so coincided in her thoughts with the music that it was like verses that ended with the words “Hallowed be thy name!”...

8 Rasskazova L.V. The semantic and compositional role of Beethoven’s sonata in A.I. Kuprin’s story “The Garnet Bracelet” // Literature at school. 2007.№7.S. 8 - 12, p.107

9Rasskazova L.V. The semantic and compositional role of Beethoven’s sonata in A.I. Kuprin’s story “The Garnet Bracelet” // Literature at school. 2007. No. 7. pp. 8 - 12, p. l1

The impression from the music transforms Bepa’s soul and makes her rethink everything she has experienced, but the hero himself also experiences a transformation. Deciding to die, he says goodbye to his beloved and, fearing to frighten her with his action, softens the blow by immersing his beloved woman in the world of music, which speaks to her in the language of love. Committing spiritual feat self-sacrifice and selflessness, an ordinary poor official with a funny surname becomes the Great Beloved. Thus, turning to Beethoven’s music helps the author create an image in the work perfect love- tragic, but lofty love, which transforms the human soul and conquers death.

2.2. The character system and its role in identifying the author’s position.

It is known that the characters of one work represent a system in which, as a rule, there are main and minor characters involved in the plot and so-called extra-plot characters. Despite the fact that the genre of the story involves a limited volume of narration and a small number characters, the work of A.I. Kuprin includes about two dozen characters, among whom only four are directly involved in the development of the plot: Princess Vera Sheina, her husband Prince Vasily Lvovich, her brother Prince Nikolai Nikolaevich Bulat-Tuganovsky, on the one hand, and a poor official Zheltkov - on the other. They are opposed primarily on the basis of class, this determines the movement of the plot. Outraged by Zheltkov’s gift, which violates the rules accepted in secular society, the princes, protecting Vera’s reputation, decide to punish him and go to his apartment

A direct clash between the characters occurs when Vasily Lvovich and Nikolai give Zheltkov his inappropriate and scandalous, in their opinion, gift - a garnet bracelet. In a brilliantly written scene, Kuprin shows how Zheltkov, initially timid and embarrassed by the visit, gradually, despite the threats of those who came, gains confidence, realizing that at this moment he is morally and emotionally stronger and higher than these gentlemen.

So in this small room two worldviews collide, and the reader really feels the presence of that love that, according to General Anosov, “all women dream of.” The climactic scene of the explanation reveals the position of the author, who shows that there are no class barriers for love, and the little man turns out to be spiritually superior to high-born gentlemen. It is no coincidence that Prince Vasily remarks at the end of the conversation: “...I feel that I am present at some enormous tragedy of the soul, and I cannot clown around here.”10

An equally important role in revealing the author's intention is played by secondary (extra-plot) characters, the number of which is not typical for the genre of the story (there are more than a dozen of them, including guests in Sheinkh's house). With their help, the author not only creates a life background against which the love story of a poor official for a noble woman unfolds.

lady, but also gives the reader the opportunity to get acquainted with various manifestations loving feeling to show your understanding of true love. Let's consider the role of some of them.

Undoubtedly, the main role Among the extra-plot characters, General Anosov is assigned. A simple and courageous man who “often and close before his eyes saw danger and death,” he had that unique life experience that made Vera take the story of the letters and the bracelet given by an unfamiliar telegraph operator more seriously. It was General Anosov who owned the prophetic words: “<…>maybe your path in life, Verochka, has been crossed by exactly the kind of love that women dream about and that men are no longer capable of...”11General Anosov expresses a unique formula of love, which is then verified by the plot and extra-plot stories: “Love must be a tragedy . The greatest secret in the world! No life conveniences, calculations or compromises should concern her.”12

Kuprin puts several inserted short stories about love into Anosov’s mouth. They do not advance the plot in any way, they even slow it down, but they are necessary to reveal the ideological meaning of the work. The first story is about a love story experienced by the general himself in his youth. The second is about a young warrant officer in love with the wife of a regimental commander. And the third story is about a brave and courageous captain who sacrificed his life to save insignificant person, whom his wife loved. These at first glance are rather ordinary stories, told after the reader already knows about

the garnet bracelet given to Vera, help to highlight different faces love feeling in order to understand the author’s attitude towards it.

The story of young Anosov tells of his love for a “young Bulgarian girl,” an ardent and passionate feeling that connected two young people for a short time. This is true love, although it is fleeting, it is strong and sincere, so the old general remembers it with pleasure.

10Kuprin A.I. Garnet bracelet: Tales and stories.- M.: Khulozh. lit., 1984, p.3l2

11Kuprin A.I. Garnet bracelet: Tales and stories.- M.: Khulozh. lit., 1984, p.306

12Kuprin A.I. Garnet bracelet: Tales and stories.- M.: Khulozh. lit., 1984, p.307

But such love cannot become the meaning of life, cannot change it, it contains only physical attraction due to youth and temperament.

In the second case, a young ensign is struck by love, whose feeling is also strong and sincere. But its subject is a seasoned, middle-aged, experienced regimental lady, bored in the wilderness, who wants to have fun and test her feminine charms. This is not true love; although it is strong, it leads a person to self-destruction.

The hero of the third situation is a courageous captain, the favorite of the entire regiment, a man of extraordinary courage, who, however, is not able to give up his love for his wife even when she gets along with another officer - a weak and insignificant person. The captain's love for his wife is so strong that, forgetting about himself, he is ready to defend the lazy and arrogant lieutenant, his rival, in battle, only because his beloved woman asked for it. It would seem that Kuprin describes a very strong, selfless feeling. But they don’t want to admire, since it manifests itself in relation to an unworthy and petty woman, and deprives the lover himself of dignity.

Let us note that the wise Anosov, telling the last two stories, presents women as selfish, unpleasant, and selfish in nature. This is how the general forces Princess Vera to think about her role in the story of “PPZh” (under this pseudonym the unlucky lover is presented in the Sheins’ humorous album). At the same time

the general claims that almost every woman is capable of high heroism in love, and “it’s not her fault that people love

has acquired such vulgar forms.” This anticipates Vera’s further actions and the outcome of the plot: having learned about Zheltkov’s death, Vera, without thinking about conventions, goes to his apartment to say goodbye to the man who idolized her and chose to give up life. And not from love.

In order to understand and find out what kind of huge, tragic feeling she became the heroine of, Princess Vera first had to learn both the completely earthly love stories of General Anosov and the mercantile, self-satisfied reasoning about the “acceptability” of the love of her husband and brother.

A peculiar contrast to the image main character is the image of her sister Anna Friesse. Despite the fact that the sisters “have been attached to each other with warm and caring friendship since childhood,” 13 the authors emphasize their external dissimilarity and, what is especially important for us, different attitude to love: “She [Anna] couldn’t stand her husband, but she gave birth to two children from him - a boy and a girl... She willingly indulged in the most risky flirting in all the capitals and resorts of Europe, but never cheated on her husband, whom, however, she disdained made fun of her both to her face and behind her back...”14 The author shows a woman in whose outwardly prosperous life there was no place for love. Comparing the sisters and their destinies, the reader, according to the author, must choose for himself what is more important to him.

Thus, by showing different understandings of love by the characters in the story, the author not only introduces the reader to different manifestations of love feelings, but builds a unique philosophy of love, comprehending it from a moral, social, and aesthetic point of view. Real love, from the point of view of A.I. Kuprin is not a simple spontaneous feeling that captures a person entirely, it is a feeling that morally transforms a person, elevating him above everyday life, it is a wonderful feeling that evokes not pity, but admiration. The strongest argument in favor of this statement is last letter Zheltkova: “I am eternally grateful to you just for the fact that you exist. I checked myself - this is not a disease, not a manic idea - this is love that God wanted to reward me for something.<…>Think about what I needed to do? Run away to another city? All the same, the heart was always near you, at your feet, every moment of the day is filled with you, thoughts about you, dreams about you<…>".15

13Kuprin A.I. Garnet bracelet: Tales and stories.- M.: Khulozh. lit., 1984, p.255

14Kuprin A.I. Garnet bracelet: Tales and stories.- M.: Khulozh. lit., 1984, p.287

15Kuprin A.I. Garnet bracelet: Tales and stories.- M.: Khulozh. lit., 1984, p.316

2.3. The role of the title image-symbol in the composition of the work.

Most often, the world of things in a work is not given in isolation, but is shown in interaction with the “big” world of nature and the world of people. At the same time, the world of things is not presented chaotically in the work. It interacts with the image of space (interior details), the world of characters (one of the means of creating an image or organizing a system of characters), and can become an independent character and play a plot-forming role. Repeated many times in the text - accompanying the development of the plot and often varying as it develops, the image of the subject becomes one of

leitmotifs of the work, i.e. enters into the framework of the semantic structure, or turns into a symbol. It is in this way - the symbol around which the plot is built, in the work of A.I. Kuprin's main image is a garnet bracelet.

For Kuprin, both the history of a person’s life and the history of a thing are important. The bracelet “was gold, low-grade, very thick, but inflated and on the outside completely covered with small old, poorly polished garnets,<...>each one is the size of a pea”16. The bracelet itself was unsightly and unattractive for a person with refined taste. At the same time, this decoration contains ancient garnets, beautiful stones colors of blood that have a mythological meaning: red garnets arouse passion in the owner, and the rare green garnet “has the property of imparting the gift of foresight to the women who wear it and drives away heavy thoughts from them.”17 This bracelet was sent as a name day gift to Princess Vera by an official in love with her .

It is worth remembering that at the beginning of the story we learn about Vera’s husband’s birthday gift: “a case with beautiful earrings.” Kuprin mentions them once and never mentions the jewelry again: there is no story behind the earrings. About the bracelet, the accompanying letter says that it was worn by Zheltkov’s great-grandmother, and the last of the women was his mother. In Vera’s hands, the jewelry seems to come to life: she “with a random movement successfully turned the bracelet in front of the fire, and lovely, rich red living lights sparkled.”

The image of the bracelet is plot-forming: the events of the story are built around it. It interacts with the world of characters, being one of the means of organizing a system of images: each of the characters in one form or another expresses their attitude to the bracelet and thereby determines their attitude to the love story that is associated with it.

Let's determine what a garnet bracelet means for the heroes of the story.

For Nikolai Nikolaevich, this is a “cheap and tasteless thing,” an “idiot bracelet,” as he calls it, which is of no value. He ironically notes that the bracelet honors the taste of the donor, but urgently asks to spare his family such surprises.

For Zheltkov, the garnet bracelet is a family heirloom, a symbol of childhood memories, it is his most valuable thing, his greatest happiness. By giving this only memory of his mother, he gives the most precious thing he has - love.

With amazing skill, Kuprin builds a parallelism between the fate of the main character of the story and the bracelet. At first glance, the idea of ​​a thing, like a person, may be erroneous and incorrect.

So Zheltkov, unremarkable in appearance, concealed within himself huge reserves of love, not available to everyone in this world. So his love, despite the wretchedness and even vulgarity of the initial manifestations, was strong, pure, sincere, real.

Faith’s attitude towards the bracelet changes as the narrative progresses, just as her attitude towards Zheltkov himself and towards the love that has befallen her changes. At first she follows the lead of her husband and brother, not approving of the gift. But then he understands. That behind the bracelet are the sincere feelings that G.S.Zh experiences. She begins to realize the power of Zheltkov’s love, the depth of his tragedy.

So gradually the image of the bracelet develops a symbolic function: it becomes in the story (there are known cases in life, after acquaintance with Kuprin’s work) the personification of the real love - pure, a noble, selfless feeling that transforms a person.

The end of the history of the garnet bracelet is very symbolic. According to Zheltkov's will, the landlady brings the bracelet to catholic church and decorates with it a sculptural image of the Mother of God. The bracelet becomes part of the image of the Mother of God, a symbol and personification of the highest, divine, selfless, selfless, eternal, sacrificial and all-encompassing love, love that does not require anything, but only gives.

Chapter 2 Conclusion

According to Kuprin, the true power and greatness of love is not in the intensity of the manifestation of feelings or the ability to overcome all conventions, but in its focus - not on oneself, but on a loved one, that is, unselfishness and sacrifice.

16Kuprin A.I. Garnet bracelet: Tales and stories.- M.: Khulozh. lit., 1984, p.300

17Kuprin A.I. Garnet bracelet: Tales and stories.- M.: Khulozh. lit., 1984, p.300

Conclusion

To the most meaningful means compositions to identify the author’s position in the story “The Garnet Bracelet” can include an epigraph, a system of character images and a title image-symbol.

The epigraph emphasizes that the love feeling described in the story has its own musical leitmotif, and the unfolding of the narrative itself is comparable to the composition of a sonata. Finding verbal content at the end of the story, music helps to understand the nature of the feeling of love as it was understood by

The system of images of characters grouped around plot and extra-plot “love stories” allows the author to consider love as a philosophical, moral, aesthetic category, to create a unique philosophy of love, based on the recognition of love as greatest secret and the greatest value of humanity.

Love in “The Pomegranate Bracelet” is shown not only as a spontaneous all-consuming passion, but also as a force capable of morally transforming a person and spiritually elevating him. The symbol of such love in the story is the title image - a garnet bracelet. This is confirmed by the natural ending of its history: from a symbol of maternal love and memory of the mother through a gift to a selflessly beloved woman to part of the image of the Mother of God - the personification of divine all-forgiving and all-encompassing love.

Conclusion

Thus, after conducting the study, we confirmed the hypothesis we had put forward and were convinced that the analysis of compositional means helps to identify the author’s position when it is not directly expressed.

Literature

1. Chertov V. F. Word-image-meaning: philological analysis of literary works. 10-1 1st grades: textbook: M.: Bustard, 2006

2. Bystrov V.N. A.I. Kuprin//Russian writers, XX century.

Bibliographic Dictionary. 2 parts. Part 1.-M.: Education, 1998

3. Ozhegov S.I. and Shvedova N.Yu.M., 1998

4.Khalizev V.E. Theory of literature. - M.: Higher School, 2000

5. Rasskazova L.V. The semantic and compositional role of Beethoven’s sonata in A.I. Kuprin’s story “The Garnet Bracelet” // Literature at school. 2007

6. Kuprin A.I. Garnet bracelet: Tales and stories.- M.: Khulozh. lit., 1984

Alexander Ivanovich Kuprin “Love is the brightest and
most understandable
reproduction of my Self.
Not in strength, not in dexterity,
not in the mind, not in the talent. ..
not in creativity
is expressed
individuality.
But in love." Alexander Ivanovich
A.I.Kuprin
Kuprin

À. È. KON

PEARL - A SYMBOL OF SOUAL PURITY, A SYMBOL OF TEARS, COMING MISCELLANEOUS TURQUOISE - “GIRL STONE” - BRIDES’ DECORATION; LOVE TALISMAN; STONE, PRINE

pearls - “The Tale of Igor’s Campaign”, Svyatoslav’s dream, turquoise - “Peddlers”, opal - “Fathers and Sons”, Pavel Petrovich’s ring) corals - “Olesya” gra

“Behind the edges of gems, as if randomly thrown by writers onto the pages of their works, sometimes hides a deep meaning that enriches

Development of action:

landscape, parallelism How does the autumn landscape help to understand the character of Vera?

Lexical analysis.

Determine the meaning of the word COLD in these passages:

What is common and what is the difference between real events and those told by A.I. Kuprin?

Ludwig van Beethoven

Boris Chichibabin

PEARL - A SYMBOL OF SOUAL PURITY, A SYMBOL OF TEARS, COMING MISCELLANEOUS TURQUOISE - "GIRL'S STONE" - BRIDES' DECORATION; LOVE TALISMAN; STONE BRINGING HAPPINESS; A GUARD THAT PROTECTS A PERSON FROM DANGERS AND FROM ACCIDENTAL DEATH; OPAL - IT GIVES UP EVIL SUSPICION, SOWS DISCOVERY, DARKENS THE MIND WITH APPEARANCES AND FEAR OF THE DARKNESS.” CORAL - “SPECIFICALLY SHOWN FOR FORTELLERS OF ALL KINDS, THEY CARRY AWAY FROM THE Evil EYE, HEAL WOUNDS AND ULCERS...” GARNET - A SYMBOL OF LOVE SPELLS; SENT AS A GIFT BECOMES A SILENT CONFESSION OF LOVE;

According to their composition, there are six types of garnet: fiery red pyrope, yellowish or greenish grossular, orange spessartine, transparent chalky, purple or violet-red almandine, emerald green uvarovite, green, brown-red or black andradite. In ancient times, bright red garnets were called carbuncles (“coals”). In Rus', grenades were called “worm-shaped yachts”. Transparent golden-green garnet, which is found in the Urals, is called demantoid (“diamond-like”) for its color tints. Often all red varieties are called "garnets" and all green varieties "olivines". It was believed that pomegranate cheered the heart, gave vigor and optimism. Whoever wears a pomegranate gains power over people. For pregnant women, the stone ensured a successful birth and gave vitality. Garnet is also considered the stone of lovers. The gift of a ring with a garnet symbolized assurances of friendship, love, and gratitude. It is not recommended for minors, as well as adults, to wear a pomegranate in front of children, as it awakens in and around a person love passions. Pomegranate heals the heart, brain and memory.

Rising Action: In what chapter does it begin to unfold? In what chapter does Zheltkov appear? What precedes its appearance? Does this story have a dynamic plot development? At what point in the story does it become clear that Zheltkov will die? Is there a prediction of his death? Who makes the verbal judgment? What is the climax of the story? How do the characters in the story react to Zheltkov’s feelings? How is Princess Vera?

Landscape, parallelism How does the autumn landscape help to understand the character of Vera? “The flowerbeds were empty and looked disorganized. multi-colored double carnations were blooming, as well as gillyflower, half in flowers and half in thin green pods that smelled like cabbage; the rose bushes were still producing - for the third time this summer, buds and roses, but already shredded, sparse, as if degenerate. But dahlias, peonies and asters bloomed magnificently with their cold, arrogant beauty, spreading an autumnal, grassy, ​​sad smell in the sensitive air. The rest of the flowers, after their luxurious love and excessively abundant summer motherhood, quietly scattered countless seeds of future life onto the ground.”

Lexical analysis. “Cold - oh, oh; cold, cold, cold. 1.Having a low temperature. Not heated, not giving or containing heat. Cold wind 2.full.f. Not aware of heat, northern (about the climate of the area) Cold countries full f. Without heating or poorly retaining heat, poorly heated. Cold cottage. 4. Little warming, giving little heat. Cold winter sun. 5.full form. Close to the color of water, ice, air. Cold colors. Cold tones (blue, gray, light blue) 6. trans. Indifferent, passionless. Cold heart. 7.Strict and unfriendly. Cold look 8. full.f. produced without heat or at low temperatures. Cold processing of metals

Determine the meaning of the word COLD in these passages: 1. “But dahlias, peonies and asters bloomed magnificently with their cold, arrogant beauty, spreading an autumnal, grassy, ​​sad smell in the sensitive air.” 2. “Vera was strictly simple, cold with everyone and a little patronizingly kind, independent and royally calm.” 3. Satire of Prince Vasily: “And I, alas! I know cold light and hypocritical light! 4. From time to time he affectionately stroked Vera’s hand with his big cold hand, which lay lightly on the bend of his sleeve.” (General Anosov) 5. And, parting the hair on the dead man’s forehead in both directions, she tightly squeezed his temples with her hands and kissed him on the forehead. a cold, damp forehead with a long, friendly kiss.”

What is common and how is it different? real events and told by A.I. Kuprin? “Lyudmila Ivanovna Lyubimova (nee Tugan-Baranovskaya) for a long time received letters from a man with the surname Yellow, who served at the telegraph office. Her family treated the letters as a funny anecdote. Then everyone got bored with this activity. Lyudmila Ivanovna stopped reading these letters. Everyone regarded Yellow's unexpected gift of a garnet bracelet as an insult. Lyudmila Ivanovna’s brother, Mikhail Ivanovich Tugan-Baranovsky, was especially indignant. Lyubimova's husband and brother returned the bracelet to Yellow. He promised not to write again. It is known that this man shot himself.” E. S. Dobin. Socialite and telegraph operator.

Boris Chichibabin When you leave... When you leave, and sooner or later After all, you will leave because you are young, Because the groves will fade into the cold And the dryness loosens your gums, The soul will remain proud of the memory, And let it pass cleanly, uselessly Those orphaned years are a series that we given to live separately with you. Oh, be happy in life without me! Take these letters as a souvenir, That in the days of love my soul sprinkled Like all living things moisture and the dawn, I thank you for everything, for everything. I kiss the ground where you walked.

Lesson type: lesson-research.

Target: 1) turn to the most important issues of poetics epic text to show ways of analyzing composition and style;
2) developing skills for deep perception of the text of a work of art;
3) education of spiritual sensitivity and careful attitude to the feelings of others.

Epigraphs:
1) “Love is the brightest and most
a clear reproduction of my Self. Not in force, not
in dexterity, not in intelligence, not in talent, not in creativity
individuality is expressed. But in love."
A.I.Kuprin

2 )Beyond the edges of gems, as if writers accidentally threw them onto the pages of their works,
sometimes there is a deep meaning hidden that enriches the plot
works with additional nuances.
Gracheva I.M.,
Associate Professor of Ryazan Pedagogical University.

During the classes:

1.Organizational moment .

Lesson topic message. Slide No. 1
2. Music. (Joe Dassin. “Et si tu n’existais pas”) Shakespeare's sonnet is read against its background

The goal of our whole life is love is with us everywhere.
Storms will never break her.
She is in the darkness above the fragile ships
Burns like a guiding star.
The years fly by, and with them disappears
And the freshness of strength, and the beauty of the face,
Only love avoids ruin,
without completely cheating on people...

3.Teacher's opening speech:
Slide No. 2, 1 hour.
Teacher: Works by A.I. Kuprin are firmly included in the 11th grade literature program. A special place is occupied by “The Duel” and “Moloch”, which reveal acute social problems. But a conversation about the enduring universal values ​​and originality of A.I. Kuprin’s artistic world would be incomplete if we ignore such works as “Olesya”, “Shulamith”, “Pomegranate Bracelet”, in which the theme of sublime love sounds powerfully.
Protesting against the vulgarity and cynicism of bourgeois society, corrupt feelings, and “zoological” manifestations of instincts, the writer creates examples of ideal love that are amazing in beauty and strength, going for this either into the depths of centuries (“Shulamith”), or into the wilderness of the Volyn province (“Olesya” ), then looking into the closet of a hermit in love, the latest romance in a cruel and calculating world (“Garnet Bracelet”).
Kuprin considered the theme of love to be the most important in his work. It is no coincidence that in a letter to F.D. Batyushkov he said: (1 epigraph is read) Slide No. 2, 2 hours.
Therefore, our task today, to begin analyzing the story “The Garnet Bracelet,” is to be especially sensitive and attentive to every word, to every detail, and then their secret meaning, and the work will sparkle with new unexpected facets, like precious gems.

4. Work on analyzing the work .

A) Teacher: first let's look at title of the story . Slide number 3
Have any of you wondered why Kuprin used pomegranate bracelet?
What do you associate this stone with?
(student answer options.)
Teacher: precious stones people have long attributed magical properties, suggesting that there are deep, mysterious connections between the gem and the person. Look at the interpretation of stones and their properties given by E. Parnov’s book “The Throne of Lucifer: Critical Essays on Magic and the Occult” Slide No. 4
(Read the characteristics of the stones)
Teacher: Please remember in which works of art the stones confirmed their characteristics? (student answers) Slide number 5
The teacher shows the correct answers: pearls - “The Tale of Igor’s Campaign”, Svyatoslav’s dream,
turquoise – “Peddlers”, opal – “Fathers and Sons” - Pavel Petrovich’s ring)
pomegranate - “Sulamith”, “Garnet bracelet”, corals - “Olesya”, etc.)
Teacher: Let's now find in the text confirmation of the characteristics of our stone.
(the guys find and read the description of the bracelet in the letter - a note to Vera) Slide number 6
Teacher: Do his predictions in the text of the story come true? How?
(students' answers)
(gift of foresight to a woman- Vera begins to experience vague premonitions, the stones on the bracelet remind her of blood “Like blood..”; she says to her husband who has returned from Zheltkov:
"I know this man will kill himself..."
protects a man from violent death: Zheltkov, knowing this, consciously refuses to protect the stones and, as it were, dooms himself to a violent death or has a presentiment of it)
Teacher: What happened to the bracelet after it returned to Zheltkov?
How can one explain this decision of Zheltkov? explain this fate of the bracelet?
(Zheltkov gives it to the landlady so that she can take it to the icon of the Mother of God. He brings his love, which no one needs in this world of people, as a gift to the Mother of God - to the highest ideal eternal love and femininity, which he sought in vain on earth).
Teacher's summary: In the same way, we see in “Oles” Olesya’s beads left on the frame of the window, the first thought is “for memory”, but for a man this seems to be not quite suitable gift. But if we turn to the characteristics of corals, everything falls into place: removed corals- this is not only a gift to a loved one, but also a symbol of hopeless submission to evil fate, from which the heroine no longer sees salvation.
Thus, we see that Slide No. 7
Text on slide: “Behind the edges of gems, as if randomly thrown by writers onto the pages of their works, sometimes there is hidden a deep meaning that enriches the plot of the work with additional nuances.”
B) Teacher: let's now turn to action development in the story. Slide No. 8

• In what chapter does it begin to unfold?
• In which Chapter does J. appear?
• What precedes its appearance?
• Does this story have a dynamic plot development?

(The action develops slowly, there is a description autumn landscape, the atmosphere of a rich house, a description of Vera; Only from chapter 4, when guests begin to arrive, the rhythm of the story becomes more intense. Zheltkov appears in chapter 10 - almost the end of the story. And everything that is coming is a preparation for the revelation of his feelings).
Teacher: From the very beginning of the work, Kuprin prepares readers for a tragic outcome.
At what point in the story does it become clear that Zheltkov will die?
Is there a prediction of his death? Who makes the verbal judgment?
(student answer options)
(in chapter 6, Prince Vasily reads his satirical story “Princess Vera and the Telegraph Operator in Love”. At the end of the story, his hero dies. The action of the story takes place against the backdrop of dying nature - an autumn landscape)
Teacher: What is the climax of the story?
(students' answers)
(Scene of Vera's husband and brother visiting Zheltkov)
How do the characters in the story react to Zheltkov’s feelings? And Princess Vera?
(everything with contempt, Vera does not take it seriously, only General Anosov talks about great love)
Teacher: In the story, the author uses the technique of parallelism. Let's turn to autumn landscape.
Text on the slide and on the guys’ cards. Slide number 9
“The flowerbeds were empty and looked disorganized. multi-colored double carnations were blooming, as well as gillyflower - half in flowers, and half in thin green pods that smelled like cabbage; the rose bushes were still producing - for the third time this summer - buds and roses, but already shredded, sparse, as if degenerated. But dahlias, peonies and asters bloomed magnificently with their cold, arrogant beauty, spreading an autumnal, grassy, ​​sad smell in the sensitive air. The rest of the flowers, after their luxurious love and excessively abundant summer motherhood, quietly scattered countless seeds of future life onto the ground.”
Teacher: How does this landscape help to understand the character of Vera?
(“Vera was strictly simple, cold with everyone and a little patronizingly kind, independent and royally calm.” Her life is magnificent, ceremonial, but empty - there are no children, and she does not love her husband.)
B) Teacher:Lexical analysis. They say “you can’t throw a word out of a song,” so we have the right to believe that every word used by the author in the work turns out to be non-random. So, for example, cognates for the word "cold" used 5 times in the story. Let's try to find out why this was needed? Slide No. 10,11
We read the dictionary entry (on cards) and find out the lexical meaning of the word “cold” in the fragments on the slide.
Teacher: Now let's turn to the proposed fragments. Determine the meaning of the highlighted words. Does their meaning change throughout the story? What kind of cold does the author mean?
(In 1- used in figuratively, the cold beauty of flowers is empty, barren, does not lead to procreation - there are no insects that would be attracted by their brightness; The love-friendship between Vera and her husband is also fruitless.
In other passages direct meaning, but what I mean is spiritual cold secular society, to which Vera and her family belong. Zheltkov, with his ardent love, opposes the coldness of the world where his beloved lives. In the last passage, he seems to bequeath his love to her, he transferred his love to Vera and became cold.)
Teacher: Speaking about Zheltkov, I would like to quote the words of the Austrian poet Nikolai Lenau,
which surprisingly coincide with the idea of ​​our story:

Be silent and die. . .But nicer
Than life, magical shackles!
Your best dream is in her eyes
Search without saying a word!
Like the light of a shy lamp
Trembling in the face of Madonna
And, dying, he catches the eye,
Her heavenly gaze is bottomless!

How could you relate these lines to the image of Zheltkov?
(student answers)
(to remain silent and perish is Zheltkov’s silent vow. But he dared to break it, reminding himself. This supports hope in his soul, gives strength to endure the suffering of love. Passionate, incinerating love.)
Teacher: What do you think, could such love really exist or is “The Garnet Bracelet” a pure fiction? ? (students' answers)
Teacher: Kuprin tried to find subjects and images in real world. In 1910, he spoke about this in a letter to K.F. Batyushkov (1st epigraph). Let's turn to the memories Slide No. 12
What is common and what is the difference between real events and those told by Kuprin? (The plot is common, but in the story a special role is given to the description and understanding of the hero’s feelings)
Teacher: Through the lips of which hero does Kuprin express his attitude towards love? What is his position? (students' answers)
(on slide number 13) (General Anosov says: “Love should be a tragedy. The greatest secret in the world! No life’s conveniences, calculations and compromises should concern it.” Love should, according to Kuprin, be based on high, sublime feelings, mutual respect, sympathy, fidelity, sincerity , must strive for the ideal.)
Teacher: Why does a hero, endowed with such a wonderful feeling, die?
(students' answers)
(He cannot withstand a collision with a world of cruelty and indifference, with the embitterment of hardened souls)
Teacher: Dying, the hero thanks his beloved. For what?
(students' answers)
(for having evoked such a wonderful feeling in his heart, which elevated him, the “little man,” above the vast world of injustice and malice.)
Music is playing "Moonlight Sonata", portrait of Beethoven. Slide No. 14
Reading a letter by heart by a trained student against the background of music.
Teacher: Many researchers of Kuprin's work note the unusual form and content of the final chapter. How would you define it genre originality?
(Prose poem)

5. Summing up the lesson.

So, the story “Garnet Bracelet” is a confirmation of how Kuprin is looking for real life people “possessed” by a high feeling of love, capable of rising above the surrounding vulgarity, lack of spirituality, ready to give everything without demanding anything in return. The writer sings of sublime love, contrasting it with hatred, enmity, mistrust, antipathy, and indifference.
Concluding the conversation about the story “The Garnet Bracelet,” I would like to say that A.I. Kuprin was not alone in his views on love. Its traditions were continued by the 20th century poet Boris Chichibabin in his poem “When You Leave”

Slide number 15
Reading of a poem by a prepared student.

When you leave, sooner or later
After all, you will leave because you are young,
Then the groves will disappear into the cold
And the dryness loosens the gums,
The soul will be proud of the memory,
And let it pass cleanly, uselessly
There are a succession of those orphaned years,
That we are given the opportunity to live differently with you.
Oh, be happy in life without me!
Take these letters as a souvenir,
That in the days of love my soul drenched
Like all living things - moisture and dawn,
For everything, for everything I thank you.
I kiss the ground where you walked.

The song sounds " Eternal love» Charles Aznavour Slide No. 16

6.Creative task. In conclusion, I would like to know your point of view on Zheltkov’s feelings and on the attitude of the author towards him, who makes his heroine think: “..And what was it: love or madness...” (sounds “Moonlight Sonata”, written answers) (2 hours slide)

List of used literature.

1. Gracheva I.V. Edges of gems. Magazine "Literature at School". No. 2-1998, p.49
2. Martsenyuk S.F. "Hallowed be thy name." Journal “Russian language and literature in Ukrainian schools”, No. 9-1990, page 5b.
3. Ogloblina N.M. “Oh, be happy in life without me!” Magazine “Literature at School” No. 9-2003, p.23
4. Educational practical work in literature for grades 9-11. Methodological manual p/r T.N. Andreeva. M., “Bustard”, 2005

I wish you success!