What event happened in the life of the main character. "Cinematic" compositional techniques

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C emembaeva Anar Toleubekovna ,

teacher of Russian language and literature.

The problem of the “little man” in the story by N.V. Gogol "The Overcoat"

Literature lesson in 9th grade

The dream of every teacher is to teach students to independently navigate the subject. How should such independence be manifested??

In reading without fear of control.

In the selection of additional material, knowledge and search for sources.

In carrying out cultural, primarily historical and linguistic, analogies.

Here to help the teacherthe technology of critical thinking comes. One of the critical thinking strategies is interesting -"Cubism". Using the example of a literature lesson in 9th grade based on the work of N.V. Gogol's "The Overcoat" one can see the peculiarity of this strategy.

Lesson objectives: deepen the understanding of N.V. Gogol’s personality, introduce the history of the creation of the story, the definition of “little man”, promote the development of critical judgment skills, the ability to highlight the main thing in the text, and build a logical chain of thoughts.

Teaching Method: productive

Form of organization: conversation, collective and group work

During the classes

I . Organizing time: the psychological mood of students is motivation.

Assignment: each group must select and write down associations for the phrasesmall man , operating time - 2 minutes. Then a presentation of the clusters is made.

II . Updating existing knowledge

Joint determination of the topic and goals of the lesson

In the literature of the late XVIII - early IXX centuries. For the first time, the problem of the collision of the interests of the state, the empire with the hopes and aspirations of an ordinary ordinary person building his destiny is being comprehended. From this conflict the theme of the “little man” was born. The definition of “little man” is a literary term. He refers to heroes who usually occupy a low place in the social hierarchy: a minor official, a tradesman, a poor nobleman. The very concept of “little man” was introduced into use by V.G. Belinsky.

Expression “We all came out of Gogol’s overcoat” came into circulation after the book of the French writer Eugene Vogüe “Modern Writers” was published in Russia. Tolstoy - Turgenev - Dostoevsky." How do you understand it?

What is the topic of today's lesson?

Group work

Leading task

First research assignment « Timeline. Life and art

N.V. Gogol in the context of literary and historical events in Russia and Kazakhstan.”

Second research assignment « From the history of the creation of the story “The Overcoat”.

What is an overcoat? What did the overcoat look like inI XX century?

Third research task « The magic of words" (explanation of complex and outdated words, historical realities, everyday details).

III . Work on the topic “The Image of Akaki Akakievich.”

Application of the cubist method.

Exercise: each group reveals the image of Akaki Akakievich using the directions on the cube.

1 . Description of the main character's appearance.

Find and read in the text a description of Akaki Akakievich’s appearance? How does a portrait reveal the character of the hero?

2. Features and oddities of Bashmachkin’s character.

What does the name Akaki mean?

Some researchers compare the fate of Bashmachkin with the life of St. Akaki of Sinai, who lived in the 6th century and was a novice in a monastery. What are their similarities?

What is the joy of life for Akaki Akakievich?

What is his speech like?

What event happened in the life of the main character and why did it become important and turning point for him?

Find and read the passage where in the words of Akaki Akakievich:“Leave me alone, why are you hurting me? "One young official heard different words: "I'm your brother " What new did you learn about the hero?

By creating the image of the “eternal titular adviser” in “The Overcoat,” Gogol showed in general the fate of a person in this world from birth to death. The insignificant life of Akaki Akakievich Bashmachkin is just a background against which the most important movements of the human soul and his collisions with the outside world are shown.

3. Comparison . What literary hero can Akaki Akakievich be compared to?

Identify similar and distinctive character traits.

4. Associations. How do you imagine Akaki Akakievich? Have you met such a person in your community?

5. Study . Can Akaki Akakievich be called a “little man”?

(discussion)

6. Evaluation What is your opinion about the main character?

How does the story end?

What is instructive about the story?

The tragedy of the “little man” is often shown in Gogol’s works through the prism of laughter. But Gogol's laughter at some point ceases to be laughter at

“little man”, but becomes a laugh at a society that does not know how to sympathize and is unmerciful towards its brothers (“I am your brother...”).

The theme of the “little man” in the 20th century was continued not only by literature, but also by cinema. Let us remember Charlie Chaplin, his manner of telling about the tragedy of the “little man” in a ruthless world (stills from the film “City Lights”).

V . Summing up the lesson. Grading.

VI . Reflection

VI . Homework

Write an essay on the topic “Evil in a person is always associated with a misunderstanding of another person...” (D.S. Likhachev).

N.V. Gogol in the context of literary and historical events of Russia and Kazakhstan

Life of Gogol

Russia

Kazakhstan

1809- 1820

Nikolai Gogol was born in the town of Velikiye Sorochintsy, Mirgorod district.

Alexander's reignI.

The Lyceum was inaugurated in Tsarskoe Selo (1811).

Khan Bukey was elevated to khan

Inner Horde by AlexanderI.

Patriotic War (1812-1814).

Kazakh participation

in the Patriotic War.

Nizhyn Gymnasium of Higher Sciences.

Decembrist uprising on Senate Square in St. Petersburg (1825).

14 Sultans of the Senior Zhuz

accepted Russian citizenship

(1824).

The first major work is the romantic poem “Hanz Küchelgarten”.

Russo-Turkish War

( 1 826-1829).

1830-1838 –

Public service. Collaboration in magazines. Getting to know Pushkin.

Collection “Evenings on a farm near Dikanka”. Comedy "The Inspector General".

The Golden Age of Russian Literature.

Death of Pushkin (1837).

In 1835, the Kazakh scientist Shokan Ualikhanov was born.

The uprising of the Kazakh Sharuas under the leadership of Isatai Taimanov (1836-1838).

Makhambet Utemisov.

Anti-colonial uprising of the Kazakhs led by Kenesary Kasymov.

1839-1852

Novel "Dead Souls". Collection "Petersburg Stories".

On February 21, 1852, the writer dies in Talyzin’s house on Nikitsky Boulevard.

Opening of the Hermitage in St. Petersburg.

In 1845, the great Kazakh poet Abai was born.

Why in the novel by M.Yu. Lermontov's “Hero of Our Time”, are the events depicted not in chronological order?

Work by M.Yu. Lermontov's “Hero of Our Time” (1841) is a socio-psychological novel.

The main character of the work, Grigory Aleksandrovich Pechorin, on the one hand, is a specific person with bright actions and strong feelings. On the other hand, Pechorin embodies the generalized features of the young generation of the 1830-1840s, whose tragedy consisted of insufficient social activity and low demand in society.

Pechorin is an officer, an aristocrat, he is one of those who are considered to be the darling of fate. His life is extremely hectic. She is filled with a desperate search for something unusual, special, going beyond the usual impressions. His strong feelings are akin to passions, but the fact of the matter is that his cold rationality and tendency to analyze what is happening around balance the ardor of his nature.

Why are the events not depicted in chronological order in the novel “A Hero of Our Time”?

First of all, because this method creates a feeling of some mystery, understatement in the characterization of the hero himself, which in spirit brings the novel closer to the Byronic movement in literature. In addition, the reader is indifferent to the chronology of the events described. He is interested in Pechorin’s life itself, the intrigue and intricacy of the collisions and situations that arise here and there on his life’s path.

And from the point of view of the main artistic idea, this is exactly how the novel is structured, with a violation of the chronology of events, for one important reason. The reader traces Pechorin's life sequentially, from simple to complex, recognizing the personality of this man, comprehending the originality of his nature.

In the chapter “Bela,” the reader gets acquainted with the image of Pechorin through Maxim Maksimych’s story about him and becomes convinced of how decisive, daring and unpredictable this young man is in his actions. But these are only indirect ideas about the hero, which are destined to be replenished in the further content of the novel. In the chapter “Maksim Maksimych” the reader sees Pechorin live and forms his own opinion about him. The appearance of the main character testifies to both the romantic inclinations of his character and his strong-willed qualities. But at the same time, the coldness and indifference of the “wandering officer”, shown by him towards the humane and wise Maxim Maksimych, unpleasantly surprises the reader.

In the chapters “Taman” and “Princess Mary” Pechorin is depicted through entries in his own diary very fully, in detail and in many ways. His diary is the hero's story about himself, a confession in which the motives of his actions are explained and an assessment is given to them.

We learn that at the center of the hero’s life interests is his own personality, his “ego.” The remaining heroes of the novel are “others” who, by chance, find themselves on his path in life.

Pechorin admits to himself that there are two people in him: one commits actions, the other impartially evaluates them. He brings a lot of suffering to other people; through his fault, Bela and Grushnitsky die. However, Pechorin is inclined to think that objectively he is not to blame for the misfortunes of these “others”. But in his subconscious lurks the thought that no - he’s to blame!

For this reason, he “laughed” after Bela’s funeral, and Maxim Maksimych “got a chill running through his body.” Pechorin has enough intelligence and compassion to say sincere words to Maxim Maksimych, who was offended by him, when parting. Realizing how guilty he is, he is ready to throw himself at the feet of Princess Mary, whose heart is broken, and cries on the road to Pyatigorsk near a fallen horse.

The heart of the main character yearns for an unprecedented response to his feelings. He himself unsuccessfully strives to live up to his “high purpose” and to fruitfully spend his “immense forces”, which, he is sure, are given to him by nature. But his goals remain unfulfilled; he did not find a great field in which he could succeed as an outstanding personality. Therefore, the critic Belinsky called him a “suffering egoist.”

And finally, the chapter “Fatalist” completes the characterization of Pechorin, where the issue of inevitable, divinely predetermined turns in a person’s fate is resolved on a serious philosophical level. Thus, deeply thought out by the author from an ideological and artistic perspective, the life story of Pechorin, the “hero” of Russian reality of the 1830-1840s, appears before us.

Thus, the “strange” composition did not destroy the artistic intention of the author of the novel, and the main character appears before the reader as a holistic and original character.

Searched here:

• for what purpose did the author of the novel, a hero of our time, violate the chronological
• For what purpose does the novel, a hero of our time, violate chronology?
• Why did Lermontov violate the chronological sequence of the novel's chapters?

Solzhenitsyn's story "One Day in the Life of Ivan Denisovich" was created in 1959. The author wrote it during a break between work on the novel “In the First Circle.” In just 40 days, Solzhenitsyn created One Day in the Life of Ivan Denisovich. Analysis of this work is the topic of this article.

Subject of the work

The reader of the story gets acquainted with the life in the camp zone of a Russian peasant. However, the theme of the work is not limited to camp life. In addition to the details of survival in the zone, “One Day...” contains details of life in the village, described through the prism of the hero’s consciousness. The story of Tyurin, the foreman, contains evidence of the consequences that collectivization led to in the country. In various disputes between camp intellectuals, various phenomena of Soviet art are discussed (the theatrical premiere of the film “John the Terrible” by S. Eisenstein). In connection with the fate of Shukhov's comrades in the camp, many details of the history of the Soviet period are mentioned.

The theme of the fate of Russia is the main theme of the work of such a writer as Solzhenitsyn. “One Day in the Life of Ivan Denisovich,” the analysis of which interests us, is no exception. In it, local, private topics are integrated organically into this general problem. In this regard, the theme of the fate of art in a state with a totalitarian system is indicative. So, artists from the camp paint free paintings for the authorities. The art of the Soviet era, according to Solzhenitsyn, became part of the general apparatus of oppression. An episode of Shukhov’s reflections on village artisans producing dyed “carpets” supported the motif of the degradation of art.

Plot of the story

The plot of the story created by Solzhenitsyn (“One Day in the Life of Ivan Denisovich”) is chronicle. The analysis shows that although the plot is based on events lasting only one day, his memories allow him to present the pre-camp biography of the main character. Ivan Shukhov was born in 1911. He spent his pre-war years in the village of Temgenevo. His family includes two daughters (his only son died early). Shukhov has been at war since its first days. He was wounded and then captured, from where he managed to escape. In 1943, Shukhov was convicted of a fabricated case. He served 8 years at the time of the plot action. The action of the work takes place in Kazakhstan, in a convict camp. One of the January days of 1951 was described by Solzhenitsyn (“One Day in the Life of Ivan Denisovich”).

Analysis of the work's character system

Although the main part of the characters was depicted by the author with laconic means, Solzhenitsyn managed to achieve plastic expressiveness in their depiction. We observe the diversity of individuals, the richness of human types in the work “One Day in the Life of Ivan Denisovich.” The heroes of the story are depicted succinctly, but at the same time remain in the reader’s memory for a long time. Sometimes a writer only needs one or two fragments, expressive sketches. Solzhenitsyn (photo of the author is presented below) is sensitive to the national, professional and class specifics of the human characters he created.

The relationships between the characters are subject to a strict camp hierarchy in the work One Day in the Life of Ivan Denisovich. A brief summary of the entire prison life of the protagonist, presented in one day, allows us to conclude that there is an insurmountable gap between the camp administration and the prisoners. It is noteworthy that in this story the names and sometimes surnames of many guards and overseers are absent. The individuality of these characters is manifested only in forms of violence, as well as in the degree of ferocity. On the contrary, despite the depersonalizing number system, many of the camp inmates are present in the hero’s mind with names, and sometimes even patronymics. This suggests that they have retained their individuality. Although this evidence does not apply to the so-called informers, idiots and wicks described in the work “One Day in the Life of Ivan Denisovich”. These heroes also have no names. In general, Solzhenitsyn talks about how the system unsuccessfully tries to turn people into parts of a totalitarian machine. Particularly important in this regard, in addition to the main character, are the images of Tyurin (the foreman), Pavlo (his assistant), Buinovsky (cavalier), the Baptist Alyoshka and the Latvian Kilgas.

Main character

In the work "One Day in the Life of Ivan Denisovich" the image of the main character is very remarkable. Solzhenitsyn made them an ordinary peasant, a Russian peasant. Although the circumstances of camp life are obviously “exceptional,” the writer deliberately emphasizes the outward inconspicuousness and “normality” of behavior in his hero. According to Solzhenitsyn, the fate of the country depends on the innate morality and natural resilience of the common man. The main thing in Shukhov is his indestructible inner dignity. Ivan Denisovich, even while serving his more educated fellow prisoners, does not change his age-old peasant habits and does not let himself down.

His working skill is very important in the characterization of this hero: Shukhov managed to acquire his own convenient trowel; In order to cast spoons later, he hides the pieces; he sharpened a folding knife and skillfully hid it. Further, the seemingly insignificant details of the existence of this hero, his demeanor, the peculiar peasant etiquette, everyday habits - all this, in the context of the story, takes on the meaning of values ​​that allow the human element in a person to be preserved in difficult conditions. Shukhov, for example, always wakes up 1.5 hours before the divorce. He belongs to himself in these morning minutes. This time of actual freedom is important for the hero also because he can earn extra money.

"Cinematic" compositional techniques

One day in this work contains a cluster of a person’s fate, a squeeze out of his life. It is impossible not to notice the high degree of detail: each fact in the narrative is divided into small components, most of which are presented in close-up. The author uses “cinematic” He scrupulously, incredibly carefully watches how, before leaving the barracks, his hero gets dressed or eats to the skeleton a small fish caught in the soup. Even such a seemingly insignificant gastronomic detail, like fish eyes swimming in a stew, is given a special “frame” in the story. You will be convinced of this by reading the work “One Day in the Life of Ivan Denisovich.” The contents of the chapters of this story, with careful reading, allows you to find many similar examples.

The concept of "deadline"

The important thing is that in the text the works come closer to each other, sometimes becoming almost synonymous, such concepts as “day” and “life”. Such a rapprochement is carried out by the author through the concept of “deadline,” which is universal in the narrative. The term is the punishment meted out to the prisoner, and at the same time the internal routine of life in prison. Moreover, and most importantly, it is synonymous with a person’s fate and a reminder of the last, most important period of his life. Temporal designations thereby acquire a deep moral and psychological coloring in the work.

Scene

The location of the action is also very significant. The camp space is hostile to prisoners; the open areas of the zone are especially dangerous. The prisoners are in a hurry to run between rooms as quickly as possible. They are afraid of being caught in this place and are in a hurry to duck under the protection of the barracks. In contrast to the heroes of Russian literature who love the distance and expanse, Shukhov and other prisoners dream of a cramped shelter. For them, the barracks turns out to be home.

What was one day like for Ivan Denisovich?

The characteristics of one day spent by Shukhov are directly given by the author in the work. Solzhenitsyn showed that this day in the life of the protagonist turned out to be successful. Discussing him, the author notes that the hero was not put in a punishment cell, the brigade was not sent out to Sotsgorodok, he made porridge for lunch, the foreman closed the interest well. Shukhov laid the wall cheerfully, didn’t get caught with a hacksaw, and in the evening he worked at Caesar’s and bought some tobacco. The main character also did not get sick. An unclouded, “almost happy” day passed. This is the case in the work of its main events. The author's final words sound just as epically calm. He says that there were 3653 such days in Shukhov’s term - 3 extra days were added due to

Solzhenitsyn refrains from openly displaying emotions and loud words: it is enough for the reader to have corresponding feelings. And this is guaranteed by the harmonious structure of the story about the power of man and the power of life.

Conclusion

Thus, in the work “One Day in the Life of Ivan Denisovich” problems were posed that were very relevant for that time. Solzhenitsyn recreates the main features of the era when the people were doomed to incredible hardships and torments. The history of this phenomenon begins not with 1937, marked by the first violations of the norms of party and state life, but much earlier, with the beginning of the existence of the totalitarian regime in Russia. The work, therefore, presents a cluster of destinies of many Soviet people who were forced to pay through years of torment, humiliation, and camps for their devoted and honest service. The author of the story “One Day in the Life of Ivan Denisovich” raised these problems so that the reader would think about the essence of the phenomena observed in society and draw some conclusions for himself. The writer does not moralize, does not call for something, he only describes reality. The work only benefits from this.

Conclusion: As we see, like Chatsky, Onegin was accused of drunkenness, freethinking, belonging to the Freemasons, wastefulness, and ignorance.

Let us draw attention to the fact that the appearance of Onegin, and later other heroes, is formed not only from the characteristics and observations of the author, but also from gossip, gossip, and rumors. In this case, the neighboring landowners are the sources of rumors about the hero. (Let us again recall Lisa’s words from “Woe from Wit”: “Sin is not a problem, rumor is not good.”)

As we see, Onegin turned out to be the same lonely recluse in the village as he had recently been in St. Petersburg. But then a new neighbor appeared.

5. How did Onegin’s relationship with Lensky develop?

Stanzas VI-XII introduce a new face - Lensky. According to the original plan, he was supposed to become the central character of the chapter (in terms of publishing the novel that Pushkin outlined in 1830, the second chapter was entitled “The Poet”), the main antipode of Onegin. The contrast was thought of as the antithesis of an intelligent skeptic and a naively enthusiastic enthusiast. Accordingly, the features of love of freedom, preserved in the final version of Lensky’s image, were initially much more sharply emphasized. The comparison of these images emphasizes both the inferiority of each individually and the spiritual value of each of them. A complex system of stylistic transitions allowed Pushkin to separate the author’s narrative from both the position of Lensky and Onegin and at the same time avoid a harsh and unambiguous assessment of them.

Let us turn to the comments of Yu.M. Lotman to stanza VI.

“With a soul straight from Göttingen...” - “The Göttingen soul” was a completely concrete idea for Pushkin and far from political neutrality. The University of Göttingen was one of the most liberal universities not only in Germany, but also in Europe. Graduates of the University of Göttingen, acquaintances of Pushkin, belonged to the ranks of Russian liberals and freedom lovers.

6. How do you understand these words:
First by mutual difference

They were boring to each other;

Then you liked it...?
7. Do you believe in the possibility of friendship “with nothing to do”? What united Onegin and Lensky?

8. How did the neighbors react to Vladimir Lensky?

9. What do we know about friendship, friends in the life of A.S. Pushkin? Let's remember some lines about friendship.
My friends, our union is wonderful!

He, like the soul, is inseparable and eternal

Unshakable, free and carefree...
or
Wherever fate throws us

And happiness wherever it leads,

We are still the same: the whole world is foreign to us -

Our Fatherland is Tsarskoye Selo.

Having destroyed all prejudices,

We respect everyone as zeros,

And in units - yourself.

We all look at Napoleons,

There are millions of two-legged creatures

For us there is one weapon;

We feel wild and funny.

10. What were Onegin and Lensky thinking and arguing about? (Reading XVI, XVII stanzas.)

13. Why so many times, when describing Tatyana, the author uses the particle “not”, showing what she was NOT like. What is unique about Tatyana?

14. What kind of life reigned in the Larin family? How did life in the village change Tatyana and Olga’s mother?

15. Read the words of the epigraph to this lesson. Why do you think they are relevant when studying the second chapter of Eugene Onegin?
III. Homework.

2. Explain the meaning of the epigraph to the third chapter.

4. Do you agree with the opinion of the writer I.A. Goncharova: “...the positive character of Pushkin’s Olga - and the ideal one of his Tatyana. One is an unconditional, passive expression of the era, a type that is cast, like wax, into a ready-made dominant form. The other - with the instinct of self-awareness, originality, initiative. That is why the first is clear, open, and immediately understandable... the other, on the contrary, is original, seeks its own expression and form, and therefore seems capricious, mysterious, elusive.” (This question can be given to the student on a card.)

5. Why did Tatyana decide that Onegin was the one she was waiting for?

6. How does Tatiana’s letter reflect her feelings?

7. Memorize Tatyana’s letter to Onegin.

8. Individual task - prepare a message on the topic “Interests and activities of a noble woman” (on card 27).

Card 27

Interests and activities of a noble woman 1

Against the general background of the life of the Russian nobility at the beginning of the 19th century. “the world of a woman” acted as a certain isolated sphere that had features of a certain originality. The education of a young noblewoman was, as a rule, more superficial and domestic. It was usually limited to the skill of everyday conversation in one or two foreign languages, the ability to dance and behave in society, the basic skills of drawing, singing and playing a musical instrument and the most basic knowledge of history, geography and literature.

A significant part of the mental outlook of a noble girl at the beginning of the 19th century. determined by books.

The education of a young noblewoman had the main goal of making the girl an attractive bride.

Naturally, with marriage, education stopped. Young noblewomen married at the beginning of the 19th century. entered early. The normal age for marriage was considered to be 17-19 years old. However, the time of the young novel reader’s first hobbies began much earlier. And the surrounding men looked at the young noblewoman as a woman already at that age at which subsequent generations would have seen in her only a child.

After getting married, the young dreamer often turned into a homely landowner-serf, like Praskovya Larina, into a metropolitan socialite or a provincial gossip.

And yet, in the spiritual appearance of the woman there were features that distinguished her favorably from the surrounding noble world. The nobility was a service class, and the relations of service, veneration, and official responsibilities left a deep imprint on the psychology of any man from this social group. Noble woman of the early 19th century. she was significantly less drawn into the system of service-state hierarchy, and this gave her greater freedom of opinion and greater personal independence. Protected, moreover, of course only to a certain extent, by the cult of respect for the lady, which formed an essential part of the concept of noble honor, she could, to a much greater extent than the mtzhchina, neglect the difference in ranks, turning to dignitaries or even to the emperor.

The consequences of Peter's reform did not equally extend to the world of male and female life, ideas and ideas - women's life even among the nobility retained more traditional features, since it was more connected with family and caring for children than with the state and service. This entailed that the life of a noblewoman had more points of contact with the people's environment than the existence of her father, husband or son.

LESSON 44

COMMENTED READING OF THE THIRD CHAPTER.

TATYANA'S LETTER AS AN EXPRESSION OF HER FEELINGS,

MOVEMENTS OF HER SOUL.

DEPTH, SIGNIFICANCE OF THE HEROINE'S PERSONALITY
...Tatiana is an exceptional creature,

deep, loving, passionate nature.

V.G. Belinsky
DURING THE CLASSES
I. Oral or written survey on 2-6 points of homework.
II. Analysis of the third chapter of the novel. Conversation on questions:

1. Where does the third chapter begin?

2. Remember what kind of attitude Onegin aroused among the neighboring landowners. How could these rumors affect Tatiana's feelings? (They could arouse interest in him and emphasize his exclusivity.)

3. What role could the books she read play in the heroine’s growing sense of love? V.G. Belinsky, in his article about Tatyana, wrote: “Here it was not the book that gave birth to passion, but passion still could not help but manifest itself a little like a book. Why imagine Onegin as Volmar, Malek-Adel, de-Linar and Werther?..

Because for Tatyana the real Onegin did not exist, whom she could neither understand nor know...” 1

4. Checking the individual assignment. Message on the topic “Interests and activities of a noble woman” (on card 27).

5. Read stanzas XVII-XIX. Why does Tatyana talk about love with the old nanny? Compare two loves, two destinies.

6. How do stanzas XXII-XXV explain to the reader Tatyana’s courageous act - the decision to write to Onegin, to open her soul?

7. Checking homework - expressively reading by heart Tatyana’s letter.

8. Find the stanzas that show Tatyana’s agonizing wait for an answer to her confession.

9. How is the heroine’s confusion and her fear of the long-awaited meeting shown in stanzas XXXVIII and XXXIX?

Let us draw students' attention to the fact that at the most intense moment in the development of the plot action, a song suddenly begins to sound. (If possible, you should give a recording of “Song of Girls” from P.I. Tchaikovsky’s opera “Eugene Onegin.”) How does this song prepare the reader for the upcoming explanation?

10. Read the last stanza (XLI) of the third chapter. Why does the author end the chapter at the most intense and interesting event?

a) How did Onegin react to Tatyana’s letter?

b) What prevents the heroes from being happy?

c) Why is a happy couple of lovers shown at the end of the fourth chapter: Lensky and Olga?

LESSON 45

PLOT AND COMPOSITION OF THE FOURTH CHAPTER.

CONFESSION OF ONEGIN.

CONTRAST BETWEEN PICTURES

HAPPY LOVE AND PARTICIPATION TATIANA
Having opened Tatiana's letter, we - failed -

Let's eat. We fall into a person, like into a river,

which carries us freely, turning us over

flow, washing the contours of the soul, completely

overwhelmed by the flow of speech...

Abram Tertz (A.D. Sinyavsky)
DURING THE CLASSES
I. Conversation on the fourth chapter of the novel:

1. The fourth chapter of the novel is the most polyphonic. Here we hear a polyphony of voices, opinions, motives: this is Onegin’s monologue, and his dialogue with Lensky, and the story of heroes and events, and the author’s thoughts about life, about the possibility of happiness, love, friendship.

What events happen in the lives of the characters in the fourth chapter? (Two events: a meeting between Onegin and Tatyana (it began in the third chapter) and a winter dinner in Onegin’s house, at which Lensky gives him an ill-fated invitation to Tatyana’s name day. The episodes are widely developed, and around them are the author’s lyrical digressions.)

2. Where does the fourth chapter begin? (With six missing stanzas. This pause makes us, like Pushkin’s heroine, wait with bated breath for the development of events.) And then the text begins:

The easier it is for her to like us...

Stanzas UIII-X show how devastated Onegin’s soul is, and what will happen between Onegin and Tatyana after reading them seems predetermined.

3. How did Onegin react to Tatiana’s letter? (The answer involves an analysis of XI and the preceding stanzas.)

4. Expressive reading of Onegin’s confession. (Stanzas XII-XVI.)

5. Literary scholars call this monologue differently: confession, sermon, rebuke. What do you think? Give reasons for your answer.

Onegin's sermon is contrasted with Tatiana's letter by the complete absence of literary clichés and reminiscences in it.

The meaning of Onegin’s speech is precisely that he, unexpectedly for Tatyana, behaved not like a literary hero (“savior” or “seducer”), but simply like a well-educated secular and, moreover, quite decent person who “acted very nicely // With sad Tanya." Onegin behaved not according to the laws of literature, but according to the norms and rules that guided a worthy person of Pushkin’s circle in life. By this, he discouraged the romantic heroine, who was ready for both “happy dates” and “death,” but not for switching her feelings into the plane of decent social behavior, and Pushkin demonstrated the falsity of all cliched plot schemes, hints of which were so generously scattered in the previous text. It is no coincidence that in all subsequent stanzas of the chapter the dominant theme is literary polemics, exposing literary cliches and contrasting reality, truth and prose with them. However, for all the naivety of the heroine, who has read many novels, she has spontaneity and the ability to feel, which are absent in the soul of the sober hero.

6. What prevents the heroes from being happy? (There cannot be a definite answer here: apparently, this meeting, as Onegin thinks, happened too late for the hero, or, perhaps, on the contrary, too early, and Onegin is not yet ready to fall in love. Particular attention should be paid to how unusual this novel is The traditional scheme was this: on the path to happiness there are serious obstacles, evil enemies, but here there are no obstacles, but there is no mutual love.)

7. What important life advice does Onegin give to Tatyana?
(Learn to control yourself;

Not everyone will understand you like I do;

Inexperience leads to disaster.)
But the whole point is that Tatyana opens her heart not to “everyone,” but to Onegin, and it is not Tatyana’s inexperience or sincerity that leads to trouble, but Eugene’s too rich life experience.
8. The teacher's word.

But God save us from our friends!

In the attic born a liar...– the meaning of the poems is revealed by comparison with P.A.’s letter. Vyazemsky on September 1, 1822: “...my intention was (not) to start a witty literary war, but to repay with a sharp insult the secret insults of a man with whom I parted as friends and whom I ardently defended every time the opportunity presented itself. It seemed funny to him to make an enemy out of me and to make Prince Shakhovsky’s attic laugh at my expense with letters. I found out about everything when I was already exiled, and, considering vengeance one of the first Christian virtues, in the impotence of my rage I threw magazine dirt at Tolstoy from afar.”

Tolstoy Fyodor Ivanovich (1782-1846)- retired guards officer, buster, gambler, one of the most prominent personalities of the 19th century. Griboyedov had this in mind when he wrote about the “night robber, duelist” (“Woe from Wit,” d. 4, iv. IV).

Pushkin learned of Tolstoy’s participation in spreading rumors that disgraced him and responded with an epigram (“In a dark and despicable life...”) and harsh verses in a message to “Chaadaev.” Pushkin had been planning to fight a duel with Tolstoy for a long time.

Attic- literary and theatrical salon A.A. Shakhovsky. The “Attic” was located in Shakhovsky’s house in St. Petersburg on Malaya Morskaya, on the corner of St. Isaac’s Square. Its regular visitors were representatives of theatrical bohemia and writers close to the “archaists”: Katenin, Griboyedov, Krylov, Zhikharev and others.

Pushkin learned about the gossip spread by Tolstoy in the “attic” from Katenin.

10. Why is a happy couple of lovers shown at the end of the fourth chapter: Lensky and Olga?

11. By what principle is the description of the “pictures of a happy life” of Lensky and Olga constructed in relation to the previous stanzas? (The principle of antithesis, contrast.)

Please note: the author emphasizes the state of mind of Vladimir Lensky, his expectation of happiness: “He was cheerful,” “He was loved,” and “he was happy,” but there is a verse transfer that alarms the attentive reader: “...At least!! That's what he thought." The author's irony sounded again. Should you believe in love if they seem to reciprocate you? How is everything really going and do you need to find out about it? Maybe it’s better not to reason, but to believe recklessly? And Tatyana wanted to both believe and know. Verily, knowledge increases sorrow 1 .

12. Time flies very quickly in the fourth chapter. As we remember, the explanation between Onegin and Tatyana took place at the time of picking berries, and now the author paints pictures of autumn: “And now the frosts are crackling // And turning silver among the fields...”. Has Onegin changed during this time? How did his days pass in the silence of the village? (He is calm, his life does not in any way resemble the bustle of St. Petersburg; he has forgotten “the city, and his friends, and the boredom of festive activities.”)

But in winter, in the wilderness, what to do at this time? (The joy of communicating with his friend, Lensky, remains. Evgeny is waiting for him, does not sit down to dinner without him. Stanzas ХLVII-ХLIХ depict a winter lunch of friends.)

1. How did Lensky convey the invitation to Tatiana’s name day? Why does he insist so much on Onegin's arrival?

3. Individual task - prepare a message on the topic “Folk signs found in the fifth chapter” (based on card 28).

Card 28

Folk signs found in the fifth chapter

The heroine of the novel in the fifth chapter is immersed in the atmosphere of folk life, and this decisively changed the characteristics of her spiritual appearance. Pushkin contrasted the statement in the third chapter, “she didn’t know Russian well,” with the opposite meaning, “Tatyana (Russian in soul)...” By this, he drew the attention of readers to the inconsistency of the image of the heroine.

She was worried about signs...- P. A. Vyazemsky made a note to this part of the text: “Pushkin himself was superstitious” (Russian archive. 1887. 12. P. 577). In the era of romanticism, belief in omens becomes a sign of closeness to the popular consciousness.

Christmas time has arrived. What a joy!- Winter Christmastide is a holiday during which a number of rituals of a magical nature are performed, with the goal of influencing the future harvest and fertility. Christmas time is a time for fortune telling for the betrothed and the first steps towards future marriages. “Russian life is never in such freedom as at Christmas time: on these days all Russians are having fun. Looking closely at Christmastide customs, we see everywhere that our Christmastides were created for Russian virgins. In gatherings, fortune-telling, games, songs, everything is aimed at one goal - to bring the betrothed closer together. Only on holy days do young men and maidens sit hand in hand; the betrotheds clearly tell fortunes in front of their betrotheds, the old people cheerfully talk about the old days and with the young people they themselves become younger; old women sadly remember their lives as girls and happily tell the girls songs and riddles. Our old Rus' is resurrected only at Christmas time” 1.

“In the old days they celebrated / 7 These evenings are in their house,” that is, Christmas rituals were performed in the Larins’ house in their entirety. The Yuletide cycle, in particular, included a visit to the house by mummers, fortune-telling by girls “on a platter,” and secret fortune-telling associated with summoning the betrothed and making a dream.

The visit to the house by the mummers is omitted in Pushkin's novel, but it should be noted that the traditional central figure of the Yuletide masquerade is a bear, which may have had an impact on the nature of Tatiana's dream.

During Christmas time, a distinction was made between “holy evenings” (December 25-31) and “terrible evenings” (January 1-6). Tatiana's fortune-telling took place precisely on the “terrible evenings.”

What is your name? He looks...- The ironic tone of the narrative is created due to the collision of the heroine’s romantic experiences and a common people’s name, which is decisively incompatible with her expectations.

The maiden mirror lies.- During Christmastime fortune-telling, various magical objects are placed under the pillow “to go to sleep.” Among them, the mirror takes first place. However, items associated with the power of the cross are removed.

Stanzas XI - XII - crossing the river - a stable symbol of marriage in wedding poetry. However, in fairy tales and folk mythology, crossing a river is also a symbol of death. This explains the dual nature of Tatyana’s dream images: both ideas drawn from romantic literature and the folklore basis of the heroine’s consciousness force her to bring together the attractive and the terrible, love and death.

A big, disheveled bear...- Researchers note the dual nature of the bear in folklore: in wedding rituals, the good, “own”, humanoid nature of the character is mainly revealed, in fairy tales - he is presented as the owner of the forest, a force hostile to people, associated with water (in full accordance with this side of ideas, the bear in Tatyana's dream is the "godfather" of the owner of the "forest house", half-demon, half-robber Onegin, he also helps the heroine get over the water barrier separating the world of people and the forest. In this second function, the bear turns out to be a double of the goblin, the "forest devil", and his role as a guide to the “wretched hut” is fully justified by the entire complex of folk beliefs).

XVI - XVII stanzas- the content of the stanzas is determined by the combination of wedding images with the idea of ​​​​the seamy, inverted devilish world in which Tatyana is in a dream. Firstly, this wedding is also a funeral: “Behind the door there is a scream and the clink of a glass, // Like at a big funeral.” Secondly, this is a devilish wedding, and therefore the whole ceremony is performed “topsy-turvy.” In an ordinary wedding, the groom arrives and enters the upper room after the bride.

In Tatyana’s dream, everything happens in the opposite way: the bride arrives at the house (this house is not an ordinary one, but a “forest house”, that is, an “antidome”, the opposite of a house), entering, she also finds people sitting along the walls on benches, but these are forest evil spirits. The Master who leads them turns out to be the heroine’s love. The description of evil spirits (“gang of brownies”) is subordinated to the image of evil spirits as a combination of incompatible parts and objects, widespread in the culture and iconography of the Middle Ages and in romantic literature.

All the examples given indicate that Pushkin was well versed in ritual, fairy-tale and song folk poetry, therefore the plot of the chapter is based on an accurate knowledge of all the details of Christmas and wedding rituals.

LESSON 46

COMMENTED READING OF THE FIFTH CHAPTER.

THE ORIGIN OF A TRAGIC CONFLICT
...A couple of pistols,

Two bullets - nothing more

Suddenly his fate will be resolved.

DURING THE CLASSES
I. Answering homework questions.
II. Conversation on questions:

1. What is the calendar time of the novel? Look at the beginning of the fifth chapter for an indication of the exact dates.

2. Checking individual homework - a message on the topic “Folk signs found in the fifth chapter” (based on card 28).

3. What new aspects of Tatyana’s character are revealed to us in the fifth chapter? (Her extraordinary sensitivity, knowledge of folk customs, rituals and signs, dreaminess and fear of otherworldly forces.)

4. How is the epigraph to the fifth chapter related to its further events? (The main place in the fifth chapter is occupied by Tatyana’s dream. This is a prophetic dream that will certainly come true.)

5. What images and dream plots will come true on Tatyana’s name day? To answer this question, draw and fill out a table on the board and in notebooks:

6. Which “monsters” from the dream will appear at Tatiana’s name day? Which of them have “speaking” surnames? Whose names are we already familiar with?

7. How could Onegin feel when he got to this “huge feast”? What caused his irritation and dissatisfaction? To whom is his anger directed?

8. Why did the petty, thoughtless, selfish actions of Onegin and Olga lead to tragedy?

9. What did Lensky feel when he saw Onegin playing with Olga?

10. Is the young poet right in accusing Olga:

Coquette, flighty child!

He knows the trick,

I've learned to change!

2. How is Onegin’s character revealed during the duel?

3. Individual task - prepare a message on the topic “Duel” (on card 29).

Card 29

Duel 1

A duel is a duel that takes place according to certain rules, a paired fight, with the goal of restoring honor and removing the shame caused by the insult from the offended person.

The view of a duel as a means of defending one’s human dignity was not alien to Pushkin, as his biography shows.

Despite the generally negative assessment of the duel as “secular enmity” and a manifestation of “false shame,” its depiction in the novel is not satirical, but tragic, which also implies a certain degree of sympathy for the fate of the heroes.

The duel implied a strict and carefully executed ritual. But the need for strict adherence to the rules conflicted with the absence in Russia of a strictly codified dueling system. No dueling codes could appear in the Russian press, under the conditions of the official ban, and there was no legal body that could assume the authority to streamline the rules of the duel. Strictness in observing the rules was achieved by appealing to the authority of experts, living bearers of tradition and arbiters in matters of honor. Zaretsky plays this role in Eugene Onegin.

The duel began with a challenge. As a rule, it was preceded by a clash, as a result of which either side considered itself offended and, as such, demanded satisfaction. From that moment on, the opponents no longer had to enter into communication - this was taken upon themselves by their representatives - the seconds. Having chosen a second, the offended person discussed with him the severity of the insult inflicted on him, on which the nature of the future duel depended - from a formal exchange of shots to the death of one or both participants. After this, the second sent a written challenge to the enemy (cartel).

The role of the seconds boiled down to the following: as mediators between opponents, they were first of all obliged to make maximum efforts towards reconciliation. Even on the battlefield, the seconds were obliged to make a last attempt at reconciliation. If reconciliation proved impossible, they drew up written conditions and carefully monitored the strict execution of the procedure.

In Pushkin’s novel, Zaretsky was the only commander of the duel and conducted the matter with great omissions, or rather, deliberately ignoring everything that could eliminate the bloody outcome. Even on his first visit to Onegin, during the transfer of the cartel, he was obliged to discuss the possibilities of reconciliation. Before the start of the fight, an attempt to end the matter peacefully was also part of his direct responsibilities, especially since there was no blood offense and it was clear to everyone except 18-year-old Lensky that the matter was a misunderstanding. Instead, he "got up without explanation... having a lot to do at home." Zaretsky could have stopped the duel at another moment: the appearance of Onegin with a servant instead of a second was a direct insult to him (seconds, like opponents, were supposed to be socially equal; Guillot is a Frenchman and a freely hired lackey). His appearance in this role, as well as the motivation that he was at least an “honest little guy,” was an unambiguous offense for Zaretsky, and at the same time a gross violation of the rules, since the seconds were supposed to meet the day before without opponents and draw up the rules of the fight.

Finally, Zaretsky had every reason to prevent a bloody outcome by declaring Onegin to have failed to appear. “Forcing someone to wait at the place of the fight is extremely impolite. Those who arrive on time must wait for their opponent for a quarter of an hour. After this period, the one who came first has the right to leave the place of the duel and his seconds must draw up a protocol indicating the non-arrival of the enemy” (Dueling Code). Onegin was more than an hour late.

Thus, Zaretsky behaved not only not as a supporter of the strict rules of the art of dueling, but as a person interested in the most scandalous and noisy - which in relation to a duel meant a bloody - outcome.

Onegin and Zaretsky both violate the rules of the duel. The first, to demonstrate his contempt for the story, in which he fell into against his own will and in the seriousness of which he still does not believe, and Zaretsky because he sees in the duel a funny story, a subject of gossip and practical jokes.

Onegin's behavior in the duel irrefutably indicates that the author wanted to make him a murderer against his will. Both for Pushkin and for the readers of the novel, who were familiar with the duel firsthand, it was obvious that the one who wants the unconditional death of the enemy does not shoot on the move, from a long distance and under the distracting muzzle of someone else’s pistol, but, taking risks, gives to shoot at himself, demands the enemy to the barrier and from a short distance shoots him like a stationary target.

If an experienced shooter fired first, then this, as a rule, indicated excitement, which led to accidental pressing of the trigger. However, the question arises: why did Onegin shoot at Lensky, and not just past him? Firstly, a demonstrative shot to the side was a new insult and could not contribute to reconciliation. Secondly, in the event of an unsuccessful exchange of shots, the duel began all over again and the enemy’s life could only be saved at the cost of his own death or wound, and the Breter legends that shaped public opinion poeticized the killer, not the killed.

The hero of the novel, against his own desire, recognizes the dictates of the norms of behavior imposed on him by Zaretsky and “public opinion”, and immediately, losing his will, becomes a doll in the hands of a faceless duel ritual.

The main mechanism by which society, despised by Onegin, nevertheless powerfully controls his actions, is the fear of being funny or becoming the subject of gossip.

Onegin's behavior was determined by fluctuations between the natural human feelings that he experienced towards Lensky and the fear of appearing funny or cowardly by violating the conventional norms of behavior at the barrier.

LESSON 47

COMMENTED READING OF THE SIXTH CHAPTER.

TRAGIC DEATH OF LENSKY. CELEBRATION

POSSESSIONS. ONEGIN'S FAREWELL TO YOUTH
Don't let the poet's soul cool down,

Become hardened, calloused,

And finally turn to stone

In the deadening ecstasy of light.

A.S. Pushkin. "Eugene Onegin"
DURING THE CLASSES
I. Conversation on the following issues:

What is the meaning of the epigraph to chapter six?

The epigraph is taken from Petrarch’s book “On the Life of Madonna Laura.”

When quoting, Pushkin omitted the middle verse, which is why the meaning of the quote changed, from Petrarch: “Where the days are foggy and short - a born enemy of the world - a people will be born for whom it is not painful to die.” The reason for the lack of fear of death is the innate ferocity of this tribe. With the omission of the middle verse, it became possible to interpret the reason for the lack of fear of death differently, as a consequence of disappointment and “premature old age of the soul.”

2. How does Onegin’s revenge on Lensky continue in the sixth chapter?

3. In stanzas IV-VIII a new face appears - a certain Zaretsky. He is destined to play one of the main roles in the tragedy that will soon unfold. Perhaps Pushkin does not have a more merciless characterization than Zaretsky’s.

Find the lines that tell about what kind of courage Zaretsky showed in battles, in relationships with friends, what “heroism” he showed during the War of 1812.

4. What role did Zaretsky play in the quarrel between Onegin and Lensky?

5. Can Onegin fix anything? After all, he understands that he was wrong.

6. Why did Onegin not act as his conscience dictated, but followed the lead of his former idol - “public opinion”? Find the answer to this question in stanza XI of the sixth chapter.

7. Answer to question 2 of homework.

So, Onegin could not stand the test of friendship. Both at Tatiana’s name day and before the duel, he showed his inability to “detect feelings, and not bristle like an animal,” he turned out to be deaf both to the voice of his own heart and to Lensky’s feelings.

Throughout the entire sixth chapter in Onegin there is a struggle between his true nature and artificially accepted secular canons.
II. Checking the individual task - a message on the topic “Duel” (on card 29).
III. Independent written work according to options:

1. Lensky's last night. Analyze stanzas XV-XXIII.

2. Onegin’s petty rebellion against the inevitable duel. Analysis of stanzas XXVI - XXVII.

3. Friends or enemies? Analysis of stanzas ХХVIII -ХХХIV.

4. Two options for the fate of Vladimir Lensky. Analysis of stanzas XXXVI - XL

5. Farewell to youth. Analysis of stanzas ХLIII - ХLVI.

1. Finish the written work.

a) What does the episode of the heroine’s visit to Onegin’s house provide for revealing the images of Onegin and Tatyana?

b) How is Moscow depicted in the seventh chapter of the novel “Eugene Onegin”? Compare it with Griboyedov’s Moscow, depicted in Woe from Wit.”

LESSON 48

COMMENTED READING OF THE SEVENTH CHAPTER.

"WITHOUT ONEGIN"
And everything that pleases lives,

All that rejoices and shines,

Causes boredom and languor

For a soul that has been dead for a long time,

And everything seems dark to her...

A.S. Pushkin. "Eugene Onegin"
DURING THE CLASSES
I. Conversation on the following issues:

1. To which of the novel’s characters can the words of the epigraph for the lesson be attributed? (These words convey Onegin’s state after the duel. But if you read the second stanza of the seventh chapter from the very beginning, it becomes clear that the author also experiences such feelings in the spring. Such a perception of spring - the time of love - firstly, reflects the unusual, not generally accepted attitude of the author by this time of year, and, secondly, it is in tune with the mood of the heroes.)

2. Why is it customary in literary criticism to call the seventh chapter the chapter “Without Onegin”? (After the duel, Onegin will not be able to stay in these places, “where the bloody shadow appeared to him every day.” His wanderings will begin, but he will not be able to escape anywhere from remorse.)

3. What is the meaning of the triple epigraph to chapter seven? (The meaning of the triple epigraph is in the inconsistency of its components: odic style, light irony and sharp satire; a depiction of the historical and symbolic role of Moscow for Russia, an everyday sketch of Moscow as the center of private, non-official Russian culture of the 19th century and an outline of Moscow life as the focus of all negative aspects Russian reality. The range from a sample of official poetry to a censorship-banned comedy is also significant.)

4. What motives are heard in the first six stanzas of the seventh chapter of the novel? (The author’s lyrical thoughts sound. In the sixth stanza we see the coffin stone of the young poet, and from subsequent stanzas we learn that this monument has been forgotten: “The usual trail to it // Has died down. There is no wreath on the branch.”)

5. Why do these words sound so unexpectedly sharp in the elegiac description? (Apparently, the romantic Lensky loved not a real, but an imaginary girl, who very quickly consoled herself, got married, and left with her officer husband. The contrast of the calm description of nature with the lines about oblivion is intended to emphasize the contradiction between the real world and the dreams of the deceased poet.)

6. Pushkin showed in his novel the life paths of two sisters. For one, everything is simple and clear, while for the other, a life full of deep suffering and uncertainty. But whose life is fuller, more significant? (Undoubtedly, Tatiana's life.)

7. What does the episode of the heroine’s visit to Onegin’s house provide for revealing the images of Onegin and Tatyana? (Tatyana has a new meeting with the world of Onegin, she gets acquainted with the details of his life from the story of the housekeeper Anisya (stanzas XVII-XVIII). The most important for revealing the secret of Onegin’s soul is the XIX stanza, which describes the “fashionable cell” - Onegin’s room.

Onegin's album and the composition of the library were supposed to reveal to Tatyana an unexpected, especially after the murder of Lensky, image of the hero as a kind person who himself does not realize that he is kind. At the same time, the gap between Onegin and the society around him had to open up before her.)

8. What new does she learn when she sees Byron’s portrait and “a column with a cast-iron doll // Under a hat with a cloudy brow, // With hands clenched in a cross”? Who is this? (This is Napoleon. Byron and Napoleon are the favorite heroes of romantic youth of the first third of the 19th century. Thus, Pushkin in the poem “To the Sea” calls them “the rulers of our thoughts,” and Tatyana for the first time encounters a new side of life for herself - the philosophy and practice of individualism. )

A day later, early in the morning, in a silent office, Tatyana began reading books.

Through the books, through the sharp pencil marks in the margins of the books, Tatiana’s loving heart seeks and finds the answer to the painful question posed in the letter:
Who are you, my guardian angel,

Or the insidious tempter:

Resolve my doubts...
And little by little the secret of Onegin begins to be revealed to Tatyana, she finds in the books an image of a “modern man”
With his immoral soul,

Selfish and dry...

The word “parody” contains both a particle of truth - Tatyana grasped the danger emanating from individualism and heartless egoism - and a particle of the greatest misconception - after all, Onegin’s personality is hidden under a fashionable mask. To get rid of it, you need to go through suffering.

But then the fate of our heroine changes dramatically: by the decision of her mother and the advice of her neighbors, it was decided to take Tatyana to Moscow “to the brides fair.” For the heroine, this is the end of youth, freedom, and the collapse of hopes.

9. How is Moscow depicted in chapter seven? Compare it with Griboedov’s Moscow, depicted in “Woe from Wit.” (Analysis of stanza XIV and comparison of it with the images of “Woe from Wit.”)

So, the main thing in the seventh chapter is the stanzas about Moscow. It is no coincidence that the triple epigraph refers specifically to Moscow.

In the novel, Moscow is shown in two planes: a folk, heroic city, dearly loved by the author, and a lordly, Famusov Moscow, depicted satirically.

10. What does Tatyana find in this city? How does she feel here? (Analysis of stanzas LIII, LIV.)

a) Where did Onegin come from and what happened to him during his absence?

b) Has Tatyana changed during this time?

c) Was it possible for a happy reunion of Onegin and Tatyana?

LESSON 49

TATYANA AND ONEGIN IN THE EIGHTH CHAPTER.

PROBLEMS OF HAPPINESS IN THE NOVEL
And happiness was so possible

so close...

A.S. Pushkin. "Eugene Onegin"
DURING THE CLASSES
I. Conversation on the following issues:

Pushkin needed five stanzas to remember his whole life. There was youth - it was gone, there were friends - they were destroyed. But the memory of them remained, loyalty to the ideas for which they gave their lives and went to the Nerchinsk mines. The muse remains, it is unchanged, it will always remain pure and bright, it will help you live.)

2. Was Onegin in the first chapter a stranger to secular society? (No, “the world decided // That he is smart and very nice.”)

3. With the reappearance of Onegin, a whole series of questions arise. Where has he been for three years? (Excerpts from Onegin’s journey will answer the question of what cargo he arrived with in the fall of 1824. Route: Moscow - Nizhny Novgorod - Astrakhan - Caucasus - Crimea - Odessa... Onegin gets to know his homeland.)

4. Rumors about him begin (“he pretends to be an eccentric”). Why is the light wary of him? (In high society, it is not people who are familiar, but “decorously pulled masks.” Those who are not like them are strange, incomprehensible.)

5. What advice do the representatives of the world give to Onegin? (They advise Onegin to be a “kind fellow” like everyone else.)

6. Why did Onegin, like Chatsky, get from the ship to the ball? (A deep inner life appeared in him, which was not there before, and an irreconcilable hostility towards society arose.)

7. And now a new meeting of heroes takes place. Tatyana appears, and Onegin recognizes her and does not recognize her. As Pushkin describes, what Tatyana was not, what did she do without? How does she stand out from secular society? (Simplicity and naturalness.)

8. Why is chapter eight the most controversial and interpretable? (Pushkin does not provide a psychological justification for events, actions, facts.)

9. Why is Onegin, who did not fall in love with Tatiana in the village, now overwhelmed by such an all-consuming passion? (the heroes have changed, the updated Onegin can now appreciate the full depth of Tatyana’s soul.)

10. What has changed in Tatyana? (She learned to “control herself,” as Eugene once advised her.)

11. How does Onegin feel when he sees Tatyana?

12. Was it possible for a happy reunion of Onegin and Tatiana?

The compositional scheme of the novel is simple. The main characters switch roles towards the end of the book.

HE doesn't notice HER SHE doesn't notice HIM

SHE writes HIM a letter HE writes HER letters

listens to HIS confession listens to HER sermon

At the end of the novel, both main characters deserve the sympathy of the readers. If one of them could be called “negative,” then the novel would not have a truly tragic sound. Love for an unworthy being can give rise to very sad situations, but it does not become such a source of tragedy as the mutual love of two people worthy of happiness when this happiness is completely impossible.

Onegin at the end of the novel is not a romantic “demon” with a prematurely aged soul. He is full of thirst for happiness, love and the desire to fight for this happiness. His impulse is deeply justified and evokes reader sympathy. But Tatyana is a person of a different type: she tends to give up happiness in the name of higher moral values. Her spirituality is full of true spiritual beauty, which both the author and readers admire. It is precisely the fact that both heroes, each in their own way, are worthy of happiness that makes the impossibility of happiness for them deeply tragic.
II. Homework.

Memorize an excerpt from a novel.

LESSON 50

FINAL LESSON ON THE NOVEL “EUGENE ONEGIN”.

PREPARATION FOR AN ESSAY
The longed-for moment has come: my long-term work is over.

Why is this incomprehensible sadness secretly disturbing me?

Or, having accomplished my feat, I stand like an unnecessary day laborer,

The one who accepted his own pay and is alien to the work of another?

A.S. Pushkin
DURING THE CLASSES
I. Conversation on the following issues:

1. The poem included in the epigraph, A.S. Pushkin wrote after finishing the greatest work of his life - the novel “Eugene Onegin”. What feelings overcome the poet who has completed his work? (Another secret of creativity is hidden here: the artist dreams of finishing his work, of its completion, and, having completed it, experiences a feeling of loss.)

2. Is it possible, after reading the novel “Eugene Onegin,” to learn about the fate of the author and read this novel as a novel about Pushkin?

3. Reading memorized passages from the novel.

4. What is the Onegin stanza?
II. Teacher's word 1 .

Pushkin used a mysterious expression in the novel - “magic crystal”. It is possible that this refers to a transparent gemstone or glass ball that was used for fortune telling. But this expression can also be applied to a stanza of a novel. It is not for nothing that the poet Nikolai Gumilyov, while a student at the Tsarskoye Selo gymnasium, during the final exam was asked the question “What is remarkable about Pushkin’s poetry?” - answered: “Crystalline.” Onegin's stanza, its structure, indeed resembles a crystal, created according to strict laws.

There are fourteen verses in a complete stanza, constructed in iambic rhythm; the first four have a cross rhyme, the next four have a paired rhyme, another four have an encircling rhyme, the last two have a paired rhyme again. This variety and at the same time clarity enhances the impression of relaxed speech. An illusion arises that poems created according to the laws of high art are completely natural, even simple, and could express the thoughts and moods of everyone.
III. Test on the novel "Eugene Onegin" 2 . Students can choose not one, but two or three answer options.

1. “Eugene Onegin” - work

a) realistic,

b) romantic,

c) combines the features of both methods.

2. Evgeny Onegin is a hero

a) positive

b) negative,

c) it is impossible to say unambiguously.

3. How does Pushkin himself determine the genre uniqueness of the work?

a) “the distance of a free novel”,

b) “a collection of motley chapters”,

c) both so and so.

4. Whose portrait hung in Onegin’s village office?

a) Alexander I,

b) Napoleon,

c) Byron.

5. What is the significance of the image of Onegin appearing to Tatyana in a dream?

a) embodies her idea of ​​Onegin as a demonic hero,

b) predicts the death of Lensky at the hands of Onegin,

6. Why does Tatyana refuse Onegin at the end of the novel, although she continues to love him?

a) to punish him for his cruel coldness,

b) because from the point of view of her morality the bonds of sacred marriage are inviolable,

c) because she cannot and does not want to build her happiness on the misfortune of another person

7. Do you think Onegin’s feeling of love for Tatyana and his rebirth are sincere?

a) yes, because he is seriously suffering,

b) no, because he was not attracted to the “humble girl”, but only to the brilliant lady,

c) Onegin’s feelings are half sincerity and love, and half vanity.

8. Which problem was more important for Pushkin in the novel?

a) the problem of social freedom,

b) the problem of educating noble youth, political issues.

9. Why does Pushkin introduce a mirror composition into the novel (two loves, two letters, two rebuke, etc.)?

a) to humiliate Onegin and elevate Tatyana,

b) to show that all people are subject to the same psychological laws,

c) to show the moral and spiritual revival of Onegin.

10. How did Onegin’s reading circle differ from Tatiana’s reading circle?

b) Tatyana read sentimental writers, and Onegin read romantic writers,

c) Tatyana read love literature, Onegin read philosophical literature.

11. Why does Pushkin’s novel continue to remain relevant?

a) because it reflects the characteristic features of its era,

b) because it allows for different interpretations of its meaning,

c) because it poses universal human problems that are relevant in all centuries.

Prepare for a test essay on the novel “Eugene Onegin.”

LESSONS 51-52

TEST ESSAY ON A NOVEL

A.S. PUSHKIN “EVGENY ONEGIN”
1. Society in the life of Onegin, Tatiana and the author.

4. The theme of the meaning of life and the purpose of man in the novel “Eugene Onegin”.

5. The criterion of personal value in the understanding of the author of the novel “Eugene Onegin”.

7. The idea of ​​the test and its embodiment in the novel “Eugene Onegin”.

8. Onegin as “a type of Russian wanderer”, “a restless dreamer for life” (F.M. Dostoevsky).

9. What is the meaning of the “mirror” composition of the novel “Eugene Onegin”?
Homework.

1. Individual task - prepare a message on the topic: “The life and fate of M.Yu. Lermontov" (on card 30).

2. Prepare M.Yu.’s favorite poems for expressive reading. Lermontov.

Card 30

Life and fate of M.Yu. Lermontov 1

M.Yu. Lermontov was born on October 3, 1814 in Moscow. He spent his childhood on the Tarkhany estate, located in the Penza province and owned by the poet’s maternal grandmother Elizaveta Alekseevna Arsenyeva. She was smart, educated, power-hungry, she loved her grandson madly, and Lermontov responded to her with great sincere love.

Father - Yuri Petrovich Lermontov - held the rank of captain. He came from an old Scottish family.

Mother - Marya Mikhailovna - came from an old and rich family of Stolypins.

Elizaveta Alekseevna was dissatisfied with her daughter’s choice, and quarrels began to arise between Lermontov’s parents. In 1817, Lermontov’s mother died, Yuri Petrovich went to his Tula estate, and Mikhail Yuryevich remained with his grandmother. Elizaveta Alekseevna did everything to separate father and son. She gave Yuri Petrovich money and made him promise not to demand her son. If the conditions were violated, the grandmother threatened to deprive her grandson of his inheritance.

Lermontov grew up as a sickly child, and Elizaveta Alekseevna took him to the Caucasian waters, which completely healed the boy.

The grandmother managed to give her grandson an excellent education at home; he became fluent in French and German and prepared to enter the Moscow University Noble Boarding School, where he was enrolled in the fourth grade on September 1, 1828.

Lermontov studied diligently. Leaving the boarding school in 1830, he immediately entered Moscow University.

In 1832, due to participation in the “Malov story” (a revolt of students against the mediocre teacher Malov) and friction with professors, Lermontov was forced to leave the university and move to St. Petersburg, where he entered the School of Guards Ensigns and Cavalry Junkers. After graduating from the School in 1834, M.Yu. Lermontov was promoted to cornet of the Life Guards Hussar Regiment. In the winter of 1837, responding to the death of A.S. Pushkina, M.Yu. Lermontov wrote the poem “The Death of a Poet,” which instantly spread throughout St. Petersburg.

The 16 lines soon added to it (starting with the words “And you, arrogant descendants ...”) caused the displeasure of the royal court, the arrest and exile of the poet to the Caucasus, under the bullets of the highlanders.

In the spring of 1838, thanks to the efforts of his grandmother, Lermontov was returned to the guard, to the same Life Guards Hussar Regiment from which he had gone into exile.

In St. Petersburg, Lermontov was immediately accepted into secular society, met V.A. Zhukovsky, P.A. Vyazemsky, P.A. Pletnev, V.F. Odoevsky - writers of Pushkin's circle.

Social life, full of balls, holidays and receptions, continued until 1840. At a ball at Countess Laval, the son of the French ambassador, Ernest de Barant, became jealous of M.Yu. Lermontov to the beautiful Princess M.A. Shcherbatova. Both Lermontov and E. de Barant were fond of her, and the beauty, according to contemporaries, gave “too obvious preference” to Lermontov.

A duel took place, ending in complete reconciliation, but the matter received publicity. E. de Barant left for his homeland. The poet was again sent to the Caucasus, to join the active army.

While fighting in Chechnya, Lermontov proved himself to be a courageous officer, for which he was awarded a golden saber with the inscription “For bravery.”

In the winter of 1840, having heeded the incessant requests and petitions of Lermontov’s grandmother, the emperor allowed him to take a vacation for two months and go to St. Petersburg. In April 1841, after unsuccessful attempts to resign, M.Yu. Lermontov was forced to return to the Caucasus.

On July 13, 1841 in Pyatigorsk in the Verzilins’ house at a regular ball Lermontov and his friend L.S. Pushkin was in a cheerful mood; they made funny, but not evil, jokes. Then they saw N.S. Martynov, Lermontov’s classmate at the School of Guards Ensigns, in highland attire: in a burka and with a large dagger. Lermontov joked loudly about this. Martynov approached him and said restrainedly: “How many times have I asked you to leave your jokes in front of the ladies.” An argument ensued, ending with a challenge to a duel. Lermontov accepted the challenge.

Proof that Lermontov considered the quarrel insignificant, and reconciliation necessary and possible, is the fact that he, who shot first, fired a shot into the air. Martynov decided to kill Lermontov.

The duel took place on July 15, 1841. The poet was killed. His grandmother turned to Nicholas I with a request to transport the body of her grandson from Pyatigorsk to Tarkhany. The poet's ashes were buried in the Arsenyev family crypt in Tarkhany, where he still rests.

LESSON 53

M.Yu. LERMONTOV. FATE AND PERSONALITY OF THE POET.

LERMONTOV'S TIME
...I will not leave my brother in peace,

And embraced by darkness in the cold

My soul is tired;

Like an early fruit, deprived of juice,

She withered in the storms of doom

Under the sultry sun of existence.

M.Yu. Lermontov
DURING THE CLASSES
I. The teacher's word.

Life, fate of M.Yu. Lermontov are like a bright comet that momentarily illuminated the horizon of Russian spiritual life in the thirties. Everywhere where this amazing man appeared, exclamations of admiration and curses were heard. The jewelery perfection of his poems amazed both the grandeur of the plan and the invincible skepticism and power of denial.

Destiny M.Yu. Lermontov and his work are closely interconnected, which left its mark on the image of his lyrical hero.

The lyrical hero is a kind of artistic double of the author-poet, acting as a person endowed with personal destiny, psychological clarity of the inner world, and sometimes with features of plastic certainty (appearance, habits, posture).

For the reader's consciousness, the lyrical hero is the legendary truth about the poet, a legend about himself, bequeathed by the poet to the world.

1. Remember the previously studied works of M.Yu. Lermontov: “Sail”, “Angel”, “Prayer”, “Blue Mountains of the Caucasus”, “Stone Knight”, “Mtsyri”, “Borodino”. (Those who wish can read one of the poems or an excerpt from the poem by heart.) How do you see the lyrical hero M.Yu. Lermontov?

Creativity M.Yu. Lermontov is conventionally divided into two periods:

1. before 1837 - early period;

2. 1837-1841 - mature period.

The lyrical hero of early Lermontov is a poet, the son of fate with the burden of tragic memories, with the “stamp of passions” on his forehead, an eternal wanderer, “a friend of freedom,” “a son of nature,” but also a disappointed demon, characterized by solitary self-knowledge.

The lyrical hero of early Lermontov is a romantic. In him lives the “desire for bliss,” the image of a heavenly-earthly, perfect world inhabited by “the purest, best creatures,” and the desire to immerse himself in this world.

The lyrical hero of the later Lermontov retained for himself - in the form of meaningful hints and allegories - a personal backstory, that burden of the past that gives the right to judge the diseases of the century from the inside, from his own catastrophic experience. His “powerful and proud spirit” (Belinsky) sounds beyond what he has experienced, beyond the vicissitudes of his own fate.
2. What are the motives of Lermontov’s lyrics?

Teacher's Word 2

A motif is a stable semantic element of a literary text, repeated within a number of literary and artistic works. Lyrical themes characteristic of a poet are also called motives.

Isolation and analysis of poetic motifs are important as a way of understanding the artistic thinking and consciousness of the poet.

In the lyrics of M.Yu. Lermontov, the following motives are clearly visible:

1) freedom and will are the central motive that determines the rebellious pathos of M.Yu.’s poetry. Lermontov;

2) action and feat are supporting motives, action is the basis of human existence. A feat is the mark that he must leave in life;

3) loneliness is the motive and main theme of creativity;

4) wandering. This motive is due to the hero’s homelessness in the world of established, but already discredited values. Lermontov's wanderer knows no hope of return, his road is endless. And even death is only a continuation of the earthly path. The spiritual world of a wanderer is a world of farewells and memories;

5) exile. The exile is cursed, doomed to wander. But at the same time, this curse is a sign of being chosen in relation to the “crowd”, to “others”;

6) Homeland;

7) memory and oblivion;

9) revenge;

11) earth and sky;

12) sleep;

14) time and eternity;

15) love;

16) death.

3. Which of the following motives dominate? To answer this question, first write down the following information from the Lermontov Encyclopedia on the board:

The word “god” appears on the pages of the works of M.Yu. Lermontov 589 times, “memory” - 72, “magic” - 64, “thunderstorm” - 65, “formidable” - 85, “evil” - 136, “villain” - 92, “play” - 183, “seem” - 336, “stone” - 142, “cross” - 92, “moon” - 135, “dream” - 194, “minute” - 333, “moment” - 121, “hope” - 263, “grave” - 144, “in vain” - 134, “heavenly” - 95, “sky” - 415, “earth” - 385, “no” - 1006, “night” - 328, “night” - 122, “deceive” - 129, “one " - 1472, "paradise" - 127, "rock" - 164, "sleep" - 277, "love" - ​​605, "suffering" - 149, "suffer" - 81, "lie" - 60, "death" - 273.

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