Project work on literature "The system of images in the works of A.S. Pushkin" project on literature (grade 7) on the topic

Sections: Russian language , Literature, Computer science

General approaches to project structuring:

1. You should always start by choosing the topic of the project, its type, and the number of participants.
2. Next, you need to think through possible options for problems that are important to study within the framework of the intended topic. The problems themselves are put forward by students at the suggestion of the teacher (leading questions, situations that help identify problems, a video series with the same purpose, etc.). A brainstorming session followed by a group discussion is appropriate here.
3. Distribution of tasks into groups, discussion of possible research methods, information search, creative solutions.
4. Independent work of project participants on their individual or group research and creative tasks.
5. Intermediate discussions of the obtained data in groups (in lessons or in classes in a scientific society, in group work in a library, media library, etc.).
6. Project protection, opposition.
7. Collective discussion, examination, assessment results.

I'll tell you how I worked on the project.
In the 7th grade in literature (T.F. Kurdyumova’s program) there is a whole series of works related to humor and satire, and, starting to study them, children ask the question: “What is the difference between a satirical work and a humorous one?” We take this question as fundamental. Thus, the theme and main question of the project are suggested by the children themselves, because The topic of the project is always something that interests the children.

I teach literature in two 7th grades, so the project participants are 7B and 7B (the age group has been decided).

Next, we formulate didactic goals for ourselves: the formation of competence in the field of independent cognitive activity, the skills of independent work with large amounts of information, the ability to see a problem and outline ways to solve it, the formation of critical thinking, and skills of working in groups.

We set methodological tasks: to teach how to use Microsoft PowerPoint to present results (computer science), to teach how to briefly express one’s thoughts orally and in writing (Russian language, literature), to introduce them to the work of satirical writers and humorists, to improve the ability to analyze the text of a work of art.

Students independently formulate problems (topics) of individual research within the framework of the stated project. We brainstorm using the method of leading questions. Time: during the 1st lesson, 10 minutes.

And here are the topics that were formulated: “What is humor?”, “What is satire?”, “In the works of which writers are there humorous and satirical works?”, “Can A.P. Chekhov be called a humorist?”, “Is there satire in the works of A.S. Pushkin and M.Yu. Lermontov?”, “What did N.V. Gogol laugh at?”, “Techniques of satire in the works of Saltykov-Shchedrin”, “What funny did Saltykov-Shchedrin find in the life of provincial Vyatka?”, “Humor and satire around us”, “What do others know about humor and satire?” etc. Students in each class choose their own topics, and interest groups are formed.

Next, we put forward hypotheses for solving problems; students formulate them (each group puts forward its own hypotheses). Hypotheses arise as possible solutions to problems. They are then tested through research. For example, there is a research problem “What is humor?”, the hypothesis could be the following reflection: “Humor is a good laugh.” Or the research problem “What did Gogol laugh at?”, the hypothesis was the following judgment: “Gogol laughed at the stupidity of officials.” The topic of the study is “Humor and satire around us,” the hypothesis is “Humor is a funny joke, and satire is an evil prank on a friend.” Time: in the 1st lesson, 20 minutes.

We come up with a creative name for the project based on the discussion of individual research topics. The choice of name is influenced not only by the academic subject, but also by the age of the project participants. Here’s what we got: “There are no jokes in satire”, “Satire is a rude ridicule of the vices of society”, “Different things!”, “Satire is just evil humor”, “Adult jokes”. Time: 1st lesson, 10 minutes.

We discuss the students’ work plan individually or in a group. Students think through ways to conduct their research: surveys, abstracts on the writer’s work, creating presentations, collecting information in the M.E. Saltykov-Shchedrin Museum, library, selecting portraits of writers, illustrations for works, working with dictionaries, audio recordings, as well as processing the collected information, and how the research results will be presented.

How to find sources of information on a research topic? In the school (city) library, on the Internet or in a multimedia encyclopedia? For example, books (which?), interviews (with whom?), surveys (who?), websites (which?), multimedia publications (which?), video clips (where to get them and how to comply with copyright?). Purpose: to set the direction of information search. When discussing information sources, it is necessary to particularly focus on the reliability of information sources. Time: consultations outside of school hours.

Independent work of students in groups, discussion of each task in the group. Planning stages of independent work, for example, on the topic “What different things!”:

1. Questioning of different age groups. (Responsible – Katya Araslanova, assisting – Masha Polekarenkova)
2. Analysis of results. (Answer: Katya Sentyabova)
3. Making a presentation on the topic. (Answer: Katya Arslanova and Katya Sentyabova).

Time: 1 lesson or consultation after lesson, because we need to work with each group.

Independent work of groups. We worked on the project throughout the third school period (our school has five school periods).

The role of the teacher is to advise, help, and direct students’ activities in the methodologically necessary direction.

The final stage: defense of the results and conclusions obtained.

Each group has up to 4 minutes to present their results. Next are answers to questions from those present. Evaluation criteria are developed (usually we use a five-point system, since it is more familiar to children): all students receive assessment sheets. Students not only evaluate, but also answer questions, offering their options for future projects, posing the following problematic questions. Here is an example table.

Groups evaluate the work of each participant. The teacher evaluates the work of the groups as a whole. The performance of each person acts here as the foundation for new research on the topics of the project.

You can also use fewer questions (depending on the level of preparedness of the class), for example:

• list the three most strengths of the presentation;
• list two points that require improvement;
• make your proposals for improving the project (if any)
• draw a final conclusion and give an overall score for the performance

This academic year (2006-2007) we continued to work on projects. The children were interested in the personality of A.K. Tolstoy. All project stages were followed (described above). The result was various works: a presentation, a booklet, reports, a musical selection of romances based on poems by A.K. Tolstoy. I offer you the development of the lesson.

Lesson project on the creativity of A.K. Tolstoy was preparing during the second training interval. (Only lesson steps are given and objectives, equipment and preparation are omitted to save space.)

A.K.TOLSTOY

“He was an absolutely amazing person (and a poet, of course)!”

1st stage. We select synonyms for the word amazing(we start from a quote from I. Bunin)

Therefore, today we will talk about an exceptional, amazing, unusual person. What surprised you about him? This will be the fundamental question of our lesson. Let's start our conversation with a portrait of A.K. Tolstoy. How did he impress his contemporaries? Kalugina Ulyana tells. (A brief retelling of her text)

Portrait

From Karl Bryullov’s painting, a handsome, serene young man with a delicate complexion and a slender, athletic figure looks at us. Most contemporaries remember the young A.K. Tolstoy this way: “...A handsome young man with blond hair and blush all over his cheek. Tenderness and delicacy permeated his figure so much that he looked like a red maiden” (V.A. Insarov)
But the “red maiden” throws a two-pound weight across a one-story house, drives a nail into the wall with her finger, easily unbends a horseshoe and ties a poker in a knot...
The external portrait turns out to be ambiguous - we are too accustomed to equate strength and rudeness, and “delicate hero” sounds almost like an oxymoron. But we will not find such a contradiction in the moral character of Alexei Konstantinovich - everyone who knew this amazing man was so unanimous.

2nd stage. Reading statements about Tolstoy’s moral character (prepared by a group of students, only the most interesting statements were selected, in the opinion of the children):

“He is a big-hearted man! And the fact that he was an inventor and a dreamer is not bad at all. The poet must yearn for the unrealizable. Without this, he is not a poet,” said S. Yesenin.

“I have never seen such a clear and bright soul, such a responsive and tender heart, such a high moral ideal eternally inherent in a person as Tolstoy,” said Prince Meshchersky.

And here are the words of I.S. Turgenev: “Everyone who knew him knows well what kind of soul he was, honest, truthful, accessible to all kind feelings, ready to make sacrifices, devoted to the point of tenderness, invariably faithful and direct.”

Or we also read from Turgenev: “Tolstoy’s humane nature shines through and breathes in everything he wrote.”

Of course, the impressions of contemporaries are only an outside view, and no one will write a true biography of a person’s soul except himself. Let us trust Tolstoy to create his own portrait - let it be a self-portrait, painted with life and creativity.

First, let's take a look at the family gallery: an aristocrat by blood and spirit, Alexey Konstantinovich owes a lot to his ancestors.

3rd stage. I suggest you get acquainted with another result of the project – the Presentation.

4th stage. Let's look again at the portrait of A.K. Tolstoy. In the portrait we can also consider the features of a court official, because From childhood, Tolstoy was well acquainted with the future Emperor Alexander 11. And this acquaintance, plus the efforts of his mother and her brothers (Lev and Vasily Perovsky) led to rapid career growth.

Career

His rise through the ranks was rapid: at the age of 19 he became a collegiate registrar; at 22 – provincial secretary; at 24 - collegiate secretary, at 25 - titular councilor; in 26 chambers; at 28 – collegiate assessor; at 29 – court councilor; at 34 - master of ceremonies of the court, state councilor; at 39 - lieutenant colonel, aide-de-camp to the emperor.
This successful career began in childhood, when Tolstoy became a playmate of the future heir to the throne, Alexander II, and after that, all his life he was under the close attention of the imperial family.
But Tolstoy was not a careerist, receiving gifts from fate and the court that he did not ask for and did not want, he was burdened by service: “I do not live in my environment, I do not do what I want, there is complete discord in me” “I was born an artist... ”(from the speech of 8th grade student Bogdan Konakov).

And in 1861 he received his long-awaited resignation, a necessity that he had to prove to the emperor: “Sir,... service, whatever it may be, is deeply contrary to my nature; I know that everyone should bring benefit to their fatherland, but there are different ways to bring benefit. The path shown to me for this by Providence is my literary talent.” The petition was accepted and the “tired slave” returned to the “distant abode of labor and pure bliss,” where he wrote many famous works (this is the Krasny Rog estate). And he devotes himself to creativity.

So we will turn to his work. But first, let's see how you were able to absorb what was amazing about his life.

5th stage. Quiz

1. Why can A.K. Tolstoy be called a “delicate hero”?

2. In what year did the Tolstoy and Perovsky lines intersect?

3. How old was Tolstoy when he started writing poetry?

4. To which of the famous Russian poets did Tolstoy’s uncle show his nephew’s poems? What were the reviews?

5. Tolstoy quickly climbed the career ladder. What contributed to this?

This stage helps to check what students remember from previous performances, provides an opportunity to take a little break and tune in to the creative side of the work.

6th stage. Creation. Alexei Tolstoy always “went against the grain,” not sharing other people’s opinions, but having his own. If he criticizes something, he does it from the position of an honest and courageous person, and not because it is fashionable.

Just look at the hoax invented by him and his Zhemchuzhnikov brothers! But many believed in her! And this is amazing!

Let's turn to the work of Misha Balyberdin, who will introduce us to Kozma Prutkov.

Kozma Prutkov

In the early 50s, Kozma Prutkov was “born”. This is not a simple pseudonym, but a satirical mask of a stupid and narcissistic bureaucrat of the Nicholas era created by Tolstoy and his cousins ​​Alexei and Vladimir Zhemchuzhnikov. On his behalf they wrote poems, fables, epigrams, parodies, plays, aphorisms, historical anecdotes, ridiculing the phenomena of the surrounding reality.

Many contemporaries “took the bait”, taking seriously the work of Kozma Prutkov, for example, the thoughtful aphorism “Watch!” was taken very seriously.

Prutkov's works corresponded to a number of mischievous pranks. They told, for example, how one of Prutkov’s “guardians” visited the wing of the main St. Petersburg architects at night in the uniform of the adjutant, informing them that the dome of St. Isaac’s Cathedral had collapsed, and, ordering on behalf of the sovereign to appear in the palace in the morning, and how irritated he was, Nicholas I learned about this. Another time, one of them in the theater deliberately stepped on the foot of a high-ranking official and then came to him on every reception day to apologize until he kicked him out. And there were many more similar stories about Tolstoy and the Zhemchuzhnikovs.

7th stage. Tolstoy is a fighter by nature and does not accept cold calm, which, according to his brother, Lev Nikolaevich, is “spiritual meanness.” The poet must fight the imperfections of the world. And Tolstoy is a poet.

8th stage. What makes him unique as a poet? At this stage, children read poems expressively, show drawings for poems, and talk about what they liked about the works of A.K. Tolstoy. Here we are talking about the musicality of his poems (an approximate story prepared by an 8th grade student Evgeniy Lysykh).

Music and A.K. Tolstoy

Tolstoy's lyrics turned out to be useful material for musical processing. More than half of all his lyrical poems are set to music, many more than once.

More than a hundred works by A.K. Tolstoy became romances. Composers wrote music to Tolstoy's poems: P. I. Tchaikovsky, S. V. Rachmaninov, Ts. , M.P. Mussorgsky, M.A. Balakirev, F. Liszt and many other composers.

Pyotr Ilyich Tchaikovsky spoke about his work as follows: “Tolstoy is an inexhaustible source for texts to music; this is one of the poets I like.” He wrote a romance based on the poem “In the midst of a noisy ball, by chance...”, dedicated to Tolstoy’s future wife Sofya Andreevna Miller.

Two eras were of particular interest to Tolstoy, the historian: the pre-Tatar period (Kievan Rus) and the Moscow period (the reign of Ivan the Terrible). If he loved the first and dreamed of it as a “golden age,” then he hated the second, since it was in him that two terrible traits of the Russian people manifested themselves - despotism and slavery.

The ballad that we will read, “Vasily Shibanov,” is dedicated to the second period.

I suggest you familiarize yourself with the work of 8th grade student Yulia Sheshina - a booklet in which we tried to collect the most important material. (Cm. Appendix No. 2 )

10th stage. Presentation of the booklet.

11th stage. Well, you and I learned a lot of interesting and unusual things about this poet. Everyone probably remembered what seemed closest to him, what was most surprising about this person. I suggest you take the pink pieces of paper that lie in front of you and write only one phrase, answering the main question: What was surprising about this person for you personally? And attach this piece of paper to the board.

Homework

1. Check out the booklet.
2. Make up questions for the author of the booklet.
3. Read the ballad “Vasily Shibanov”.

Thus, work on projects continues. In the second lesson (evaluation), we use the table, evaluate the students’ work and put forward new questions that interest us:

• A.K. Tolstoy wrote the novel “Prince Silver” - why alone?
• Why is the theme of the novel connected with an unloved era?
• What interested the writer?

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Slide captions:

Project work on literature by Ksenia Akhtiorskaya, a student of the 7th “R” class of the State Budget Educational Institution School No. 1354 South-Western Administrative District, Moscow System of images in the works of A.S. Pushkin Project leaders: Koroleva O.O., literature teacher, Yarinich L.V., computer science teacher

The goal and objectives of the project The goal is to study and analyze the system of images in the works of A.S. Pushkin Objectives: to prove that in the works of Pushkin there is a rich system of images to characterize, at least in general outline, the classically completed, strict and clear system of images of Pushkin to talk about the system of images in the writer's works, describe some works

Project hypothesis Alexander Sergeevich Pushkin has a very rich and diverse system of images

The system of images in the works of A.S. Pushkin

An artistic image is a way and form of mastering reality in art. This is a specific and at the same time generalized picture of life (or a fragment of such a picture), created with the help of the artist’s creative imagination and in the light of his aesthetic ideal.

A system of images is a set of artistic images that are in certain relationships and connections with each other and form the integral unity of a work of art. The system of images plays a crucial role in embodying the theme and idea of ​​the work.

The system of images in the works of A.S. Pushkin Image of the author Images of historical figures (Peter 1, Emelyan Pugachev, Boris Godunov) Female images Image of a “superfluous” person Image of a “little” person

Historical theme in the works of A. S. Pushkin One of the most complex ambiguous images in Pushkin’s works devoted to a historical and psychological theme is the image of Peter I. This is, of course, the most important figure among the “lords” in Pushkin’s work.

Female images Many writers of the 18th and 19th centuries wrote about women, but women were especially described in the works of A.S. Pushkin. He perfectly expressed his vision and understanding of a woman’s place in life.

“The Captain's Daughter” Maria Mironova Finding herself in a critical situation, Masha reveals a new side. She shows incredible resilience and fortitude when she finds herself in the hands of the hated Shvabrin. Masha decides to fight alone for her happiness

“Eugene Onegin” Tatyana Larina Tatyana is a girl from a typical family of Russian landowners, but she is not just a typical county noblewoman, she is a heroine in whom the best national traits are embodied. She is a simple girl, but her thoughtfulness and dreaminess make her stand out among people in whose company she feels lonely.

“Dubrovsky” Masha Troekurova In the story “Dubrovsky” we meet Masha Troekurova. Perhaps Masha Troekurova and Masha Mironova are a portrait of the same woman. An extraordinary sense of duty to her husband, although unloved, forced Masha to refuse Dubrovsky’s belated help

Analysis Having analyzed the main female characters, I came to the conclusion: the great poet endows his beloved heroines with such qualities as fidelity to duty, inability to deceive, to deal with conscience, the ability to love and share the fate of her husband. It is Tatyana and Masha Mironova who are the ideal of a real Russian woman in the work of a genius.

The image of an “extra” person “An extra person” is a literary type, a hero of his time. Literary types are a collection of characters who are similar in their occupation and spiritual appearance. This theme is the opposite of the "little man" image,

The image of a “little” man The definition of “little man” is applied to literary characters who occupy a rather low place in the social hierarchy. The task is to reflect the life of an ordinary person with all its experiences, problems, troubles and little joys.

Chapter 2. Attitudes towards the poet among schoolchildren In the course of my work, I conducted a survey: “Your favorite author,” among children aged 11-14 years. It turned out that the love for Pushkin’s works comes from childhood, his fairy tales, and it is especially clearly expressed around the 7th grade.

Conclusion In conclusion, I want to say that A.S. Pushkin has a very rich and diverse system of images, which is a true and reliable key to solving many problems and “mysteries” of Pushkin studies. While working on my project, I confirmed my hypothesis and fulfilled my goal.

References “Alexander Sergeevich Pushkin. History and notes." Website System of Images in the works of Alexander Sergeevich Pushkin

Municipal Educational Institution

Gymnasium No. 1

Research work

« Morphemic means of expression in lyrics

N. A. Nekrasova."

Work completed

7B grade student

Ukhanova Varvara.

Scientific adviser:

Egailova N.E.,

teacher of Russian language

and literature.

Kuznetsk, 2013.

Introduction.

I dedicated the lyre to my people...

N.A. Nekrasov.

At the beginning of the school year, having received a new reading list for literature, I read some of the poetic works of Nikolai Alekseevich Nekrasov: the poem “Russian Women”, the poems “Peasant Children”, “The Uncompressed Strip”, “In full swing of the village suffering ...”, “Troika” ...The poet, who spent his childhood in a landowner's estate, survived a hungry youth, and did not immediately find his way in literature, is known for his compassion for the tormented peasantry, anxious thoughts about contemporary life, a close look into the future - as a result, a special attitude towards his homeland - Mother Russia, towards to its people, living in eternal anticipation of a happy fate, to Russian nature, shining with discreet beauty...

Reading the poet’s poems, you discover an exceptional wealth of word-formation resources with a bright stylistic coloring - this is one of the features of the Russian language, which is determined by the developed system of Russian word formation.

This is how the topic of the research work was preliminarily determined:

« Morphemic means of expression in the lyrics of N.A. Nekrasov.” Our research is devoted to the study of morphemic means of expression in the poet’s poetic works included in the school curriculum.

Object of study are prefixes and suffixes in the lyrical works of N.A. Nekrasov (“On the Road”, “Troika”,

“Lullaby Song”, “Song to Eremushka”, “Schoolboy”, “The village suffering is in full swing...”, “Railway” and others.)

Subject of research in our work are the expressive possibilities of affixes - prefixes and suffixes - in the lyrical texts of the poet N.A. Nekrasov.

The final stimulus for scientific research was words

literary critic Dmitry Shevarov: “... today our people are incomplete without Nekrasov. Without his conscientious and courageous poetry." This point of view was also accepted by us after reading the poetic works of N.A. Nekrasov.

Moreover, the functioning of individual affixes in poetry has been little studied. This means that a comprehensive analysis of the use of affixes in the text and a description of their capabilities in literary texts has not been carried out, which determines

the relevance of our research.

Scientific novelty is that we comprehensively studied the morphemic level in the lyrics of N.A. Nekrasov for the first time, identifying the dominant means of expression.

Theoretical significance of the work consists in developing and describing the basic means of expressiveness at the morphemic level, and we also show how the motifs and themes of works are expressed in affixes and their meanings.

Practical significance of the work is that the results of our research can find application in the linguistic analysis of poetic texts.

The purpose of the study is to describe the methods of using prefixes and suffixes as expressive means.

The purpose of the study identified specific research objectives:

- compare the use of prefixes and suffixes as means of expression in poetic texts of one author;

- highlight the main linguistic techniques in which affixes become a means of expressiveness;

- determine the dominant meanings of the most common prefixes and suffixes;

- highlight the main motives associated with the use of expressive means at the morphemic level.

In this regard, the focus of our attention is on the poems that are most familiar to the mass reader. Why? The theme of the people's bitter fate is key for N.A. Nekrasov. In a peculiarly angry and fiery way, the author makes us think about the greatness of labor, the courage of the working people, their centuries-old patience, exposes the relations of domination and subordination in the contemporary state. It was these motives that determined the poet’s place in Russian literature.

Next, we put forward the hypothesis of our work: affixes are one of the brightest individual means of expressiveness in the poetry of N.A. Nekrasov; a suffix has more potential to be used in a text compared to a prefix, which is due to the very nature of these affixes, their meaning and place in the word.

linguistic analysis of text, work with linguistic and literary terms.

The structure of our work includes:

1. Introduction.

The reasons for our attention to the topic, to the poetry of N.A. Nekrasov, are the need to study the word formation resources of his lyrics.

2. Main part.

A comprehensive analysis of the poetic works of N.A. Nekrasov.

3. Conclusion.

Morphemic means of expressiveness of N.A. Nekrasov’s lyrics as an individual author’s phenomenon, the possibilities of its comprehension.

4.Addition to what has been said.

Further discoveries are ahead!

2. Main part..

The philosophical and lyrical artistic world of N.A. Nekrasov is revealed to us in his poetic works.

The title of the poems always sounds simple and at the same time succinct:

“Troika”, “Uncompressed Strip”, “On the Road”...Reflected in the title

is distinguished by its exceptional richness of word-formation

resources with a bright stylistic coloring. This

due to the developed system of Russian word formation,

productivity of evaluative suffixes that give words

various stylistic shades, and functional

stylistic fixation of some word formations

Word formation arouses stylistic interest in the following ways:

General cases:

if the motivated word acquires a stylistic connotation that is unusual for the motivating one:

daughter (diminutive - affectionate) - daughter; engineer (simple) - engineer;

if affixation contributes to functional

stylistic fixation of the word: demand (common use) -

claim(official-business); sewing-tailoring (special); buckwheat-

Buckwheat(colloquial);

3) if the peculiarities of word formation limit the scope

using words that are used only in dialects

or get a professional or slangy connotation:

strawberry - wild strawberry (dial); whistle - whistle (all up)

if the peculiarities of word formation become the reason for the archaization of a word, giving way to its place in the active lexicon to a synonym with other affixes: daring (verbal) - daring; Georgian (Armenians, Georgians, Circassians, Persians crowded into the square) - Georgians;

if word formation is used as a source of speech expression when creating occasional words: wide-noise

(oak forests) (P.); pancake eater (Ch.); pro-meeting (M.)

It is important to emphasize that stylistic interest is

only synchronous word formation, since it reflects the correlation of motivated and motivating bases,

and stylistic assessment requires a clear perception of the word-formation structure of the word of interest to us.

Let us dwell in more detail on the stylistic resources of word formation used in the lyrics of N.A. Nekrasov.

In artistic speech, there has been a long tradition of stylistic use of words with affixes of subjective evaluation. The turn of writers to expressive word formation in different eras reflected not only the linguistic taste of the time, but also the conventions of literary styles and methods.

At the dawn of Russian literature, in the 18th century, the words “derogatory”

and “magnifying” were considered a part of the low style

and their use, according to the theory of the three calms of M.V. Lomonosov, was possible only in “mean” genres

(fables, satires, comedies). Moreover, the use of evaluative vocabulary did not reflect the author’s emotional attitude to the subject of the description:

You are imprisoned underground

We wish we could live in a little house;

And you always crawl only on dirt. (N.)

A new step in mastering the stylistic resources of Russian

word formation was the selection of “tender”, “sensitive” words by sentimentalist writers, who created a special aura of “pleasantness” around the evaluative vocabulary: “The rising luminary of the day awakened the entire creation: the groves, bushes came to life, the birds fluttered and sang, the flowers raised their heads.”( N.Kar.)

Linguistic controversy in the early 19th century led to a re-evaluation

diminutive words repeated many times in a syllable. This gave rise to rethinking. Already in the second half of the 19th century, writers reflected the stylistic use of words with suffixes, characteristic of spoken living speech.

N.A. Nekrasov showed the skillful use of words with suffixes of subjective assessment to achieve a folk-poetic sound of speech. Let's look at one of the poet's key poems.

“Troika” is Nekrasov’s first generalized picture of a peasant woman’s “share” and the first sketch of a folk female image. This work became a Russian song and entered folklore, which testifies to its deep nationality. However, with the exception of one ethnographic detail (“scarlet ribbon.... in the hair”) and one phraseological cliche (“damp grave”), the poem does not contain any objective or verbal signs of oral folk poetry. Correspondence to folklore canons is found rather in the plot and compositional drawing of “Troika”, the basis of which was the opposition of girlhood and marriage.

In his search for ways to depict folk life, Nekrasov could not, and especially at first, not rely on folklore images, and in this case he used an oral poetic motif as one of the means of typifying his picture. The folkloric origins of the plot and compositional plan of “Troika” were also emphasized by the traditional folk images of the heroine’s “cheerful friends” (here the heroine had already separated from her circle of girls), and then an unloved husband and an evil mother-in-law.

The theme of the road, the driver, the troika goes back to folk road and coachman songs. Nekrasov was well aware of the stereotypical nature of the poetic image of the troika. Meanwhile, the poet again turned to the seemingly exhausted motif, counting on the national-democratic shades inherent in it, as well as on the possibility of updating it with a social theme: the proximity of traditional poetry contributed to the poetic development of such areas of reality that previously did not lend themselves to poeticization and were lyrics are not available. The figurative and stylistic range of the poem allows us to perceive it as a song-romance work; however, only the first part of the poem, a lyrical episode of the heroine’s meeting with a “passing cornet” and her heartfelt “anxiety,” became a romance. Romantic motifs of folk lyrics were intertwined here with a love theme, also solved by Nekrasov in the traditions of romanticism, but only developed in the later stages of his literary history, in the second half of the 1830s.

In the center of the first - romance - part of the poem there is a portrait description of the heroine: .... The scarlet ribbon curls playfully

In your hair, black as night;
Through the blush of your dark cheek
Light fluff breaks through,
From under your semicircular eyebrow
The sly little eye looks smartly.
One glance of a black-browed savage,
Full of enchantment that ignites the blood. ,.

This fragment fully reproduces the stylistic atmosphere of late romantic lyrics. The exoticism of the image, its bright” “burning” color picturesqueness, the peculiar maximalism of verbal techniques - all these artistic features identified the author of “Troika” as a poet who had gone through the school of romanticism of the 1830s. ; later they were alien to the main tendencies of his poetics and even already alien to the poetics of the second part of “Troika” itself.

The poem "Troika" is monological, and all the romantic elements of its style belong to one voice of the author. Having decided to create a female folk image, Nekrasov did not yet know of any other possibilities for its poetic design, except for the techniques of love lyrics, and this entailed all of her newest poetics. The poetics of the lines of the poem we have cited is a romantic legacy perceived by Nekrasov during the years of his entry into literature, on the one hand, pathetic - “One look of a black-browed savage, / Full of spells that ignite the blood”; on the other hand, it’s almost “haberdashery”: “The scarlet ribbon curls playfully” and “The sly eye looks smartly.”

Romantic literature created a stable and repeated typology of female characters and appearances among different authors: two types of ideal beauty were distinguished: an oriental woman with black eyes and a beautiful Christian woman, blue-eyed and fair-haired. Both of these images realized a vision of unconditional beauty and femininity. In the high literary culture of early romanticism, Eastern and European female types often acted on an equal footing, reflecting the tragic intractability of the romantic philosophical conflict, retaining within themselves, like Zarema and Maria in Pushkin’s “The Fountain of Bakhchisarai,” all the great content of this conflict.

The female image of the “Troika” owed its poetic design precisely to this late romantic orientalism. Black, “like night” hair, black eyebrows, a darker face - all these are characteristic features of a romantic portrait of an oriental beauty, and the addition of a “scarlet ribbon” to this exotic look also does not contradict the literary customs of romanticism: poetry of the 1820-1830s. more than once she used external signs of the eastern female type as portrait characteristics of Russian or Ukrainian heroines (Maria in Pushkin’s “Poltava”). In the poetic description of Nekrasov’s peasant woman, there even flashed an echo of the philosophical context that once surrounded the image of an oriental woman among the romantics and was lost over time: “savage.”

The formation of Nekrasov poetics in the 1840s. was accompanied, like the formation of the creative method of many other writers of this era, by a sharp rejection of romanticism.

After “Troika” we will not find a romantic female image in Nekrasov, acting as a folk image. The fate of the romantic female type in Nekrasov’s poetry reflects one of the significant processes of its evolution: from a universal system of means for the artistic development of life, Nekrasov’s romantic poetics gradually turns into a private technique with a limited scope of application. This evolutionary line, traced throughout the poet’s entire creative path, was to a certain extent already set by his lyrics, created in the 1840s. , and the poem “Troika,” in addition to giving an idea of ​​the latest outbreaks of Nekrasov’s romanticism, also predicted the ways of its transformation in Nekrasov’s later poetic work. Already here the poet’s idea did not fit into the framework of the romantic image, and this latter was continued, as if built on top of the image of another literary relationship: But that’s not what befell you:

You'll marry a man for a slob.
Having tied an apron under the arms,
You will tighten your ugly breasts,
Your picky husband will beat you
And my mother-in-law will die to death.
From work both menial and difficult
You will fade before you have time to bloom,
You will fall into a deep sleep,
You will babysit, work and eat....

This second plot of the poem, which unfolds the perspective of the life of a peasant girl, contrasts sharply with the first, which immediately affects the style. Speaking about the clash of romantic and naturalistic poetics in the poem “Troika”, it should, however, be emphasized that by this we do not at all question the integrity and unity of the folk image created in it. Composed of artistic elements of different natures, the image of Nekrasov’s heroine is one, and this unity is determined by the nature of the author’s view of her, a view that has already seen in the people the fundamental basis of national existence, but is still external, not imbued with the organics of the people’s worldview, which in a certain sense measures people's life with the values ​​of a consciousness socially alien to it.

The naturalistic characteristic of the Troika’s social plan is revealed by such a stylistic feature as prosaism. Being a vocabulary with a weakened, and in some cases, excluded aesthetic meaning, prosaisms did not determine the entire stylistic quality of the Troika, but formed a naturalistic segment in its text, distinguished primarily by its non-differentiation, non-mediation, and primacy of life material. What was evident here, of course, was not the poet’s intention to paint repulsive images of people’s life; rather, one can hear echoes of concepts that have long lingered in literature, according to which folk life did not have aesthetic potential. Nekrasov struggled with these ideas, and already in Troika the task of overcoming them was set, but a practically creative solution was not given suddenly.

Having approached the enormous problem of poetic depiction of folk life in its entirety, which was only initially touched upon by his predecessors, Nekrasov immediately began to look for possibilities for aesthetic illumination of his subject. The poet had at his disposal the aesthetic funds of folklore, on the one hand, and romantic literature, on the other. And he used them. At the same time, he could not help but realize the impossibility of extending these methods to all new material; there still remained real reality, through which the light of ready-made traditions did not break through and the artistic development of which was at first possible only by means of direct naturalistic casting. The poem “Troika” reflected the drama of this creative situation of the poet, who had already found his content, but had not yet created a unified method for the artistic embodiment of its various aspects. The aesthetic transformation of folk life appeared in Troika as a combination of naked “nature” with the aesthetics that could be drawn from the stock of artistic traditions, however, in this connection a noticeable junction was preserved, prose and poetry stood side by side, but had not yet assimilated each other, they were neighbors , but did not produce synthesis. Nekrasov’s entire further poetic path became the path to the organic unity of these facets of the image of the people’s world found in Troika. The mature Nekrasov no longer depicts the poetry and prose of people's life, but the poetry of its prose, revealing the high in what before him seemed low.

All that has been said least of all means that “Troika” is an experiment of a poet who was beginning his creative path that did not achieve its goal. Without the Troika, the appearance of Nekrasov's epic would have been impossible. The romantic aspects of the female image of the “Troika”, having become isolated, went to the poet’s noble heroines; the principle of combining ideal and everyday characteristics, first applied by Nekrasov in the “Troika”, formed the basis of his future female folk images, images of peasant women with the “look of queens”. There is no longer a visible boundary between the ideal and everyday appearance of a peasant woman, the ideal naturally grows from everyday life and is not opposed to it, but in order for this poetic discovery to take place, the initial antithesis of the “Troika” was necessary, which, however, fit into the volume of one image.

More can be said about the heroine of Troika. Neither her romantic portrait nor the naturalistic description of her fate in themselves carried poetry with a pronounced national significance. But Nekrasov surrounded this early image of his with such lyrical motifs, in which the immediate substantive content was almost obscured by the symbolism of national existence. It was in this sense that road motifs and the image of the troika were included in Nekrasov’s poem. The light of this symbolism gave the heroine of “Troika” a poetry immeasurably higher than that which could be contained in romance lyricism or in social and everyday drama. In the female image of the poet, a national personification was born, which was subsequently approved by the entire figurative world of Nekrasov’s poetry.

3. Conclusion

Thus, we are convinced in the course of our research that affixes are one of the brightest individual means of expressiveness in the poetry of N.A. Nekrasov, the most common technique is the use of suffixes with a diminutive meaning, suffixes with a folk colloquial meaning, which connects the parts poems with meaning, structurally. It can be argued that the degree of understanding of the poem depends on the knowledge of the linguistic mastery of a truly bright, original poet, whose speech is not only a way of expressing thoughts, but also a unique product of obtaining information about the value orientations of the people, their spiritual ideals.

The conclusions we made in the study cannot be called exhaustive, but nevertheless, it should be noted that interesting and quite extensive material was obtained that could be useful for others and used by them.

Bibliography.

N.A. Nekrasov. Poems and poems. M., "Soviet Russia", 1984.

2.Newspaper “First of September.” Literature". 2002, No. 85; 2008, No. 8, 2008, No. 9, 2008, No. 17.

3. Ozhegov S.I. Dictionary of the Russian language: Approximately 57000 words / Under the editorship of Corresponding Member of the USSR Academy of Sciences. Yu. Shvedova - 20th ed. - M.: Russian language. 1998.

4. Brusenskaya L, A. Educational dictionary of linguistic terms / L.A. Brusenskaya, G.F. Gavrilova, N.V. Malycheva. - Rostov n/D: Phoenix, 2005.

Film by 8I grade students "Yesenin and Lydia Kashina"

On the eve of the 120th anniversary of the birth of S. A. Yesenin, the guys and I visited the village of Konstantinovo in the Ryazan region, visited the poet’s house, the house of Lydia Kashina, the literary museum, and looked around the surrounding area. Of course, we shot a video and decided to use it to create a short biographical note on the topic: “Yesenin and Lydia Kashina.” You can get acquainted with the result of our work

Film by 10th grade students "Karabikha"

Project of 10th grade students in the form of a correspondence excursion "Karabikha"

One summer I visited Karabikha, filmed a video and took photos there, but the guys wrote the excursion script and edited the film. The disadvantage of children's work is that they cannot recite. There is something to work on.

Work of 11th grade student Karina Galynskaya

This is a collective work of guys from different years

Below is an example of the design of a linguistic fairy tale in the form of a clip. The guys composed a fairy tale, then Dasha Stepanova drew the frames, scanned them, then recorded the sound and superimposed pictures on the sound. The film is ready! Of course, the topic is already simple, we need something more difficult.

Not with verbs. Linguistic tale

Vladimir Krasno Solnyshko. Design work by K. Shesternenkova and A. Litvinenko.

"The Fate of Priest Konstantin Golubev"

Documentary film "Fyodor Nedosekin"

This design work participated in the city competition "Step into the future. Elektrostal - 2010". We wanted to talk about a man we learned about from his grandson, Konstantin Vasilyevich Vladychensky. Our film tells about the priest of the Bogorodsk region, Father Sergius Vladychensky. He was repressed, like many clergy in the 30s. We told about his fate, told to us by his grandson, in this film. The authors of the project are Ekaterina Simagina, Nina Korenkova, Ksenia Klinshova. Students from grade 11M and K.V. Vladychensky helped in dubbing the film.

Documentary film from the cycle "Priests of the Bogorodsk Region" "Father Sergius Vladychensky"

In 2009, we celebrated the 210th anniversary of the birth of A.S. Pushkin. The city hosted a competition of mini-projects “As long as Pushkin lasts in Russia, snowstorms will not blow out the candle.” I invite you to get acquainted with the winning project - the video clip “In Memory of Pushkin”. 7M class students Tatyana Krasotenko, Kira Sudakova and Ekaterina Kuznetsova worked on the project.

Objectives of the literature project: with the help of fiction, to orient participants in the educational process to the priority of humane relationships with others; with the help of fiction, to orient participants in the educational process towards the priority of humane relationships with others; to form ideas about the value of another person and knowledge about ways to show mercy; to form ideas about the value of another person and knowledge about ways to show mercy; teach children to unselfishly care about near and distant people in need of help, the ability to empathize with them in misfortune and rejoice in well-being; teach children to unselfishly care for near and far people in need of help, the ability to empathize with them in misfortune and rejoice in well-being; instill responsibility “for those who have been tamed”; instill responsibility “for those who have been tamed”; to form in students an idea of ​​mercy as the greatest value of culture and spiritual development of a person; to form in students an idea of ​​mercy as the greatest value of culture and spiritual development of a person; to form sensitivity to the feelings of other people, the need to express feelings of compassion, pity, philanthropy, intolerance to manifestations of humiliation, insults. to form sensitivity to the feelings of other people, the need to express feelings of compassion, pity, philanthropy, intolerance to manifestations of humiliation, insults.

Introduction Songs and epics, fairy tales and stories, stories and novels of Russian writers teach us kindness, mercy and compassion. And how many proverbs and sayings have been created! “Remember good and forget evil,” “A good deed lives for two centuries,” “While you live, you do good, only the path of good is the salvation of the soul,” says popular wisdom. So what is mercy? And why today does a person sometimes bring more evil to another person than good? Probably because kindness is a state of mind when a person is able to come to the aid of others, give good advice, and sometimes just feel sorry. Not everyone is able to feel someone else's grief as their own, to sacrifice something for people, and without this there is no mercy or compassion. A kind person attracts people to himself like a magnet; he gives a piece of his heart, his warmth to the people around him. That is why each of us needs a lot of love, justice, sensitivity, so that we have something to give to others. Yes, life is harsh. Many human qualities of Some were tested. During these trials, some became lost among vices and evil. But the main thing is that among the vulgarity, filth and debauchery, Some were able to preserve, perhaps, the most important human quality - mercy. Songs and epics, fairy tales and stories, stories and novels of Russian writers teach us kindness, mercy and compassion. And how many proverbs and sayings have been created! “Remember good and forget evil,” “A good deed lives for two centuries,” “While you live, you do good, only the path of good is the salvation of the soul,” says popular wisdom. So what is mercy? And why today does a person sometimes bring more evil to another person than good? Probably because kindness is a state of mind when a person is able to come to the aid of others, give good advice, and sometimes just feel sorry. Not everyone is able to feel someone else's grief as their own, to sacrifice something for people, and without this there is no mercy or compassion. A kind person attracts people to himself like a magnet; he gives a piece of his heart, his warmth to the people around him. That is why each of us needs a lot of love, justice, sensitivity, so that we have something to give to others. Yes, life is harsh. Many human qualities of Some were tested. During these trials, some became lost among vices and evil. But the main thing is that among the vulgarity, dirt and debauchery, Some were able to preserve, perhaps, the most important human quality - mercy.

The lexical meaning of words according to Ozhegov’s Explanatory Dictionary: Sympathy is a responsive, sympathetic attitude to the experiences of others. Sympathy is a responsive, sympathetic attitude to the experiences of others. Compassion is pity, sympathy caused by the misfortune of another person. Compassion is pity, sympathy caused by the misfortune of another person.

Lexical meaning of words according to Ushakov’s dictionary: All forms of the word “mercy” and derivatives from it - MERCY, merciful, merciful, merciful, merciful, merciful, alms, mercy - are marked “obsolete.”, which means an outdated word, rarely used in modern language, probably most often in connection with history. This "outdated" mark is divided into two types - "book obsolete." and "colloquially outdated." The first type means an obsolete word, used only in bookish: literary, scientific or church languages. The second type means an obsolete word that once existed in a living spoken non-literary language, but is now outdated and unused or little used. All forms of the word “mercy” and derivatives from it - MERCY, MERCY, MERCY, merciful, merciful, merciful, alms, MERCY -- marked "obsolete," which means an obsolete word rarely used in modern language, probably most often in connection with history. This "outdated" mark is divided into two types - "book obsolete." and "colloquially outdated." The first type means an obsolete word, used only in bookish: literary, scientific or church languages. The second type means an obsolete word that once existed in a living spoken non-literary language, but is now obsolete and unused or little used.

As for the word “humanity,” all word forms of the word humanus, translated from ancient Latin as the word “human,” are marked “bookish.” This means that the words HUMANISM, HUMANIST, HUMANISTIC, HUMANITARIAN, HUMANITY, HUMANE are the lot of scribes: writers, publicists and scientists, philosophers or historians. This means that the words “humanism”, “humanist”, “humanity” or “humane” are rarely used in living spoken language. As for the word “humanity”, all word forms of the word humanus, translated from ancient Latin as the word “human”, are marked "book." This means that the words HUMANISM, HUMANIST, HUMANISTIC, HUMANITARIAN, HUMANITY, HUMANE are the lot of scribes: writers, publicists and scientists, philosophers or historians. This means that the words “humanism”, “humanist”, “humanity” or “humane” are rarely used in living spoken language.

According to Ushakov’s dictionary: But we should be encouraged by the existence in the Russian language of an equivalent to the word “humanism.” But we should be encouraged by the existence in the Russian language of an equivalent to the word “humanism.” This is "humanity". "HUMANITY, humanity, plural no, f.r. Abstract noun - to humane, - humanity, human attitude towards others... HUMANE, humane, humane; humane, humane, humane. Humane, worthy of a person, responsive, attentive to someone else's personality. Human act. Human attitude..." This is "humanity." "HUMANITY, humanity, plural no, f.r. Abstract noun - to humane, - humanity, human attitude towards others... HUMANE, humane, humane; humane, humane, humane. Humane, worthy of a person, responsive, attentive to someone else's personality. Human act. Human attitude..."

There is also the word “good” in the Russian language, as a source of both “humanity” and “mercy”. This inspires optimism, since in Ushakov’s dictionary these fundamental ethical concepts are not labeled “bookish” or “outdated.” It’s written there: “GOOD, good, plural, no, cf. The positive principle in morality, the opposite of evil. People strive for truth, goodness and beauty.” There is also the word “good” in Russian, as the source of both “humanity” and “mercy”. This inspires optimism, since in Ushakov’s dictionary these fundamental ethical concepts are not labeled “bookish” or “outdated.” It is written there: “GOOD, good, plural, no, cf. The positive principle in morality, the opposite of evil. People strive for truth, goodness and beauty.”

According to Dahl's dictionary: GOOD - In the spiritual meaning, “good, what is honest and useful, everything that the duty of a person, a citizen, a family man requires of us; the opposite of bad and evil.” GOOD -- In the spiritual meaning, “good, what is honest and useful, everything that the duty of a person, a citizen, a family man requires of us; the opposite of bad and evil.” Do good, don't be afraid of anyone. Do good, don't be afraid of anyone. There is no harm from good. There is no harm from good. Good is not repaid with evil. Good is not repaid with evil.

Vocabulary work using dictionaries of synonyms and antonyms: Sympathy - compassion Synonyms: Synonyms: Mercy, kindness, humanism. Mercy, kindness, humanism. Antonyms: Antonyms: Indifference, cruelty, lack of spirituality, indifference, vanity, selfishness, ruthlessnessIndifference, cruelty, lack of spirituality, indifference, vanity, selfishness, ruthlessness

Aphorisms “Good in itself does not appear to be visible and convinces us only if its beauty illuminates...” M. Prishvin. “Good in itself does not appear to be visible and convinces us only if its beauty illuminates...” M. Prishvin. “Virtue is nothing more than spiritual beauty.” F. Chesgerfield. “Virtue is nothing more than spiritual beauty.” F. Chesgerfield. “Compassion is grief for someone else’s misfortune, envy is grief for someone else’s happiness.” Plutarch. “Compassion is grief for someone else’s misfortune, envy is grief for someone else’s happiness.” Plutarch. “Help, share the trouble, and yours will not be so pressured.” “Help, share the trouble, and yours will not be so pressed.” “Without compassion and mercy it is impossible to live in peace.” Siegfried Lenz. “Without compassion and mercy it is impossible to live in peace.” Siegfried Lenz.

Aphorisms “The more worthy a person is, the more creatures he sympathizes with.” “Mercy...can never be too much.” F. Bacon. “The more worthy a person is, the more creatures he sympathizes with.” “Mercy...can never be too much.” F. Bacon. “Sympathy is an unimportant charity.” “Charity adorns the strong” (Indian saying). “Compassion is an unimportant alms.” “Charity adorns the strong” (Indian saying).

God's commandments: God's mercy is the basis for our mercy: God's mercy is the basis for our mercy: Mercy is a sign of the wisdom that is from above: James 3:17 “But the wisdom that is from above is first pure, then peaceable, humble, obedient , full of mercy and good fruits, impartial and without hypocrisy.” Charity is a sign of the wisdom that is from above: James 3:17 “But the wisdom that is from above is first pure, then peaceable, humble, obedient, full of mercy and good fruits, impartial and unhypocritical." Charity is a sign of true love (Agape): 1 Corinthians 13:4-7 “Love is patient, it is kind, love does not envy, love does not boast, is not proud, does not act in excess, does not seek its own, is not easily provoked, thinks no evil, does not rejoice in iniquity. , but rejoices in the truth; bears all things, believes all things, hopes all things, endures all things.” Charity is a sign of true love (Agape): 1 Corinthians 13:4-7 “Love is patient and kind, love does not envy, love does not boast, is not puffed up, is not rude, seeks his own, is not irritated, does not think evil, does not rejoice in untruth, but rejoices with the truth; covers all things, believes all things, hopes all things, endures all things.” Charity is the fruit of the Holy Spirit: Galatians 5:22-23 “But the fruit of the Spirit is love, joy, peace, longsuffering, kindness, goodness, faith, gentleness, self-control.” Charity is the fruit of the Holy Spirit: Galatians 5:22-23 “The fruit and the spirit: love, joy, peace, long-suffering, goodness, goodness, faith, meekness, self-control.”

We are not born merciful, but we can become so if we allow the Lord God to do the work in us of transforming our character. Therefore, the Word of God calls us: We are not born merciful, but we can become so if we allow the Lord God to work in us to transform our character. Therefore, the Word of God calls us: “He who remembers good will never do evil.” “He who remembers good will never do evil.”

From the “Gospel of Matthew”: “Love your neighbor...” “Love your neighbor...” “Blessed are you when they revile you and persecute you and speak all kinds of evil against you unjustly for My sake; Rejoice and be glad, for great is your reward in heaven: so they persecuted the prophets who were before you.” “Blessed are you when they revile you and persecute you and slander you in every way unrighteously because of Me; Rejoice and be glad, for your reward is great in heaven: so they persecuted the prophets who were before you.” “Take care: do not do your alms in front of people so that they see you, otherwise you will have no reward from your heavenly Father...” “See: do not do your alms in front of people so that they see you, otherwise you will have no reward.” from your heavenly Father..." F. Bacon

Social survey conducted by students. Topic: “Are empathy and compassion necessary today?” Preliminary work: -written permission from parents to conduct a social survey; - permission from the school administration to conduct a survey Work progress: 28 adults and 20 children were interviewed “Result: “Yes”: “Yes”: “Adults-28.”Adults-28. Children-18.Children-18. “No”: “No”: Adults-0.Adults-0. Children-2.Children-2.

Miniature essays (excerpts) From the work of Elena Chikina: From the work of Elena Chikina: “During her life, Yushka didn’t even have a name. Everyone offended him: both adults and children. He was considered an inferior being, and he believed that this was how people expressed their love for him. When he died, people became even more bitter. And now enmity and hatred settled in their homes - there was no one to take out their anger on. His love for people, for nature, had no boundaries.” I call people like Yushka: “People with big hearts.” “During his life, Yushka didn’t even have a name. Everyone offended him: both adults and children. He was considered an inferior being, and he believed that this was how people expressed their love for him. When he died, people became even more bitter. And now enmity and hatred settled in their homes - there was no one to take out their anger on. His love for people, for nature, had no boundaries.” I call people like Yushka: “People with a big heart.”

From the work of Andreeva L. The closest person to Alyosha was his grandmother, whose dark eyes, “smiling, shed a soul-warming light on everyone.” The slogan of her whole life was the words: “Lord, Lord! Everything is so good! No, look how good everything is!” It was as if I was sleeping before her, hidden in the dark, but she appeared, woke me up, brought me into the light, said everything around me in a continuous thread, wove everything into multi-colored lace and immediately became a friend for life, the closest to my heart, the most understandable and a dear person - it was her selfless love for the world that enriched me, filling me with strong strength for a difficult life.” One of the most memorable characters in M. Gorky’s story “Childhood” is Gypsy. The closest person to Alyosha was his grandmother, whose dark eyes, “smiling, shed a soul-warming light on everyone.” The slogan of her whole life was the words: “Lord, Lord! Everything is so good! No, look how good everything is!” It was as if I was sleeping before her, hidden in the dark, but she appeared, woke me up, brought me into the light, said everything around me in a continuous thread, wove everything into multi-colored lace and immediately became a friend for life, the closest to my heart, the most understandable and a dear person - it was her selfless love for the world that enriched me, filling me with strong strength for a difficult life.” One of the most memorable characters in M. Gorky’s story “Childhood” is Gypsy.

Alyosha learned that Tsyganok tried to ease his pain during the spanking by placing his hand under the whip. The gypsy simply answered the boy that he mistook the pain “for love,” and this ability for self-sacrifice in a world where everyone thinks only about themselves struck Alyosha. The gypsy occupied a special place in the house. He was a foundling, his grandmother raised him like a son. He was loved for his cheerful disposition, golden hands and good-natured character. The gypsy, fulfilling the vow of another person who committed a mortal sin, took the main burden upon himself and died, betrayed by this man.

You must be able to forgive Alexey Neskorodov Alexey Neskorodov You can’t forbid living beautifully And with God’s help, perhaps, you will win somewhere, in something, I know: God will help you! He will help you to love, to be kind, honest and fearless, to give goodness throughout the whole earth and to live in harmony in our world! I know there is a lot that you would like to see. I know: there is good and evil, There are those who can be offended! There are those who offended you, You can blame the whole world. Believe me: everyone needs to live lovingly. Believe me: you need to be able to forgive!

SITUATIONS Do you think it is necessary to sacrifice oneself to help other people? Do you think it is necessary to sacrifice oneself to help other people? You found a kitten, but your parents won't let you take it home. If you are kind, what will you do without violating the rules set by your parents? You have found a kitten, but your parents do not allow you to take it home. If you are kind, what will you do without breaking the rules set by your parents? Is it possible to sacrifice some people to help others? Is it possible to sacrifice some people to help others? Is it necessary to show mercy to “fallen” people: homeless people, drunkards, drug addicts...? Is it necessary to show mercy to “fallen” people: homeless people, drunkards, drug addicts...?

“Don’t forget the most wretched, but as far as you can, feed, and give to the orphan, and justify the widow yourself, and do not let the strong destroy a person.” “Don’t forget the most wretched, but as much as you can, feed, and give to the orphan, and justify the widow yourself, and do not let the strong destroy a person.” Vladimir Monomakh. Vladimir Monomakh.

Calling: Do good to people, not evil, share with them both joy and trouble, love, respect each other, be ready to help at any moment, know how to forgive out of compassion and philanthropy. Mercy is an inseparable fusion of feeling and action. Mercy is an inseparable fusion of feeling and action. “Be generous! Time will not forget to remember with a good word the One who gave his heart to people, Time will not forget to remember with a good word the One who gave his heart to people, Remember this, be generous!” Petrusya Brovka Petrusya Brovka Let's be merciful! Let's be merciful!