Portrayal of the nobility in Dubrovsky's novel. The theme of the essay is Noble Society in the story “Dubrovsky

June 19 2015

Noble society in the story “Dubrovsky” is represented by a number of characters, some of whom are depicted comprehensively and completely (Troekurov, Dubrovsky), others in less detail (Prince Vereisky), and others are remembered in passing (Anna Savishna and other guests of Troekurov). One of the main characters of the story is Kirila Petrovich Troekurov. In this man he reflected the most firmly standing part of the nobility, the rulers of the world, ardent supporters of serfdom. It was this part of the nobility at the beginning of the eighteenth century that dictated its terms to the country and felt at ease, especially in the outback of Russia. Receiving huge incomes from the exploitation of the peasants under their control, the landowners did not bother themselves with any business, spending their time idlely and wildly. They did not want any democratic changes in the country, since such events threatened their undivided rule and well-being.

As for Kirila Petrovich Troekurov, “his wealth, noble family and connections gave him great weight in the provinces where his estate was located. The neighbors were happy to cater to his slightest whims; provincial officials trembled at his name; Kirila Petrovich accepted signs of servility as a proper tribute; his house was always full of guests, ready to entertain his lordly idleness... No one dared to refuse his invitation or on certain days not to appear with due respect in the village of Pokrovskoye.”

This wayward Russian gentleman did not bother himself with science. The author says with obvious irony and condemnation that “Kiril and Petrovich showed all the vices of an uneducated person.” And since Troekurov had more than enough physical strength, he endlessly organized all kinds of entertainment events on his estate and gave “full freedom to all the impulses of his ardent disposition and all the ideas of his rather limited mind.” One of the ideas that was intended to amuse his guests, and most of all, himself, was the idea of a bear, which Troekurov specially fattened on his estate in order to play a trick on the new guest on occasion.

Despite the fact that almost every one of the guests of the utterly spoiled landowner visited the room with the bear and not only experienced inhuman fear, but also received physical injuries, no one dared to complain about Kiril Petrovich - his power in the district was too limitless. More than any other entertainment, Kirila Petrovich loved hunting with dogs; he prepared for it in advance and carefully. After the hunt, there was usually a long drinking party for all the participants on the master’s estate. Very often, the friends of the hospitable owner went home only in the morning. In order for the reader to get a complete picture of the spoiledness and tyranny of Kiril Petrovich, the author introduces an episode that describes in detail the landowner’s kennel, the object of his pride and admiration.

In this kennel “...more than five hundred hounds and greyhounds lived in contentment and warmth, glorifying the generosity of Kiril Petrovich in their canine language. There was also an infirmary for sick dogs, under the supervision of the staff doctor Timoshka, and a department where noble bitches gave birth and fed their puppies.” What care for animals, what nobility - isn’t it? Yes, all this would look exactly like this if this master’s serfs, on whom his well-being rested, lived better than dogs, or at least the same. It costs Troekurov nothing to humiliate a person, even one for whom he has respect.

And not to submit to the will of a despot and tyrant means to become his sworn enemy. And then Kirila Petrovich will stop at nothing to demonstrate her superiority. This is exactly what he did with Andrei Gavrilovich Dubrovsky. He “loved his daughter madly, but got by

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“Life and customs of the Russian nobility in A.S. Pushkin’s novel “Dubrovsky” and “Tales of Belkin”

Completed by student 7 “B”

Bochkarev Ilya

Lyutikas Natalya Petrovna

1. Introduction

4. Conclusion

5. List of references used

1. Introduction

The socio-political situation in Russia after the War of 1812 can be characterized as the moment when the nobility became the main, decisive force in society. It is the best representatives of the nobles, people who have gone through the path of rapprochement with the people during the Patriotic War, who come to Senate Square on December 14, 1825. But are all nobles worthy of their social position?

The great Russian poet A.S. Pushkin also analyzes the problem of the nobility. He develops his own personal view on this topic, connected, in many ways, with the facts of Pushkin’s biography and with his attitude to the present and future of Russia. In the poem “My Genealogy,” Pushkin ironizes the new Russian nobles who took high positions in the state thanks to intrigues and palace coups.

2.Russian nobility in A.S. Pushkin’s novel “Dubrovsky”

One of the main characters of the story is Kirila Petrovich Troekurov.

The depiction of the life and customs of the provincial nobility is connected primarily with its image. In Troekurov, the author depicted the most firmly standing part of the nobility, the rulers of the world, ardent supporters of serfdom. It was this part of the nobility at the beginning of the eighteenth century that dictated its terms to the country and felt at ease, especially in the outback of Russia.

Receiving huge profits from the exploitation of the peasants under their control, the landowners did not bother themselves with any business, spending their time idly and wildly. They did not want any democratic changes in the country, since such events threatened their undivided rule and well-being.

As for Kirila Petrovich Troekurov, “his wealth, noble family and connections gave him great

One of the ideas intended to amuse the guests, and most of all - for himself, was an idea with a bear, which Troekurov specially kept on the estate in order to play a trick on the guest on occasion. Almost every one of the guests of the extremely spoiled landowner visited the room with the bear and not only experienced inhuman fear, but also received physical injuries. But no one dared to complain about Kirila Petrovich - his power in the district was too limitless.

More than any other entertainment, Kirila Petrovich loved hunting with dogs; he prepared for it in advance and carefully. After the hunt, there was usually a long drinking party for all the participants on the master’s estate. Very often, the friends of the hospitable owner went home only in the morning.

What care for animals, what nobility - isn’t it? Yes, all this would look exactly like this if this master’s serfs, on whom his well-being rested, lived better than dogs, or at least the same.

It costs Troekurov nothing to humiliate a person, even one for whom he has respect. And not to submit to the will of a despot and tyrant means to become his sworn enemy. And then Kirila Petrovich will stop at nothing to demonstrate her superiority. This is exactly what he did with Andrei Gavrilovich Dubrovsky.

Kirila Petrovich didn’t even bother to listen to any of Masha’s words and requests to cancel the wedding with her unloved person.

Of course, this can be attributed to his excessive concern for the fate of his daughter, but is Masha happy because of this, will she be lucky enough to learn what mutual love is? We can say with almost certainty - no! Masha, like Onegin’s Tatiana, was brought up on the principle: “But I was given to another; I will be faithful to him forever.”

So, in the image of Troekurov, the author showed a part of the local nobility that was far from reformist ideas, leading a riotous life, an idle lifestyle. The distinctive features of these nobles are lack of education, primitiveness, greed and pride. Standing firmly on its feet, this part of the landed nobility fiercely defends the ancient way of life, based on the enslavement of man by man, and is ready to take the most brutal measures to ensure its dominance.

It is precisely such nobles, under a positive set of circumstances, who would be supporters of democratic reforms in Russia.

“Belkin's Tales” were written by Pushkin in the fall of 1830 in Boldin. The creative upsurge that the writer usually felt in the fall was felt this autumn with particular force. In Boldin, in his own words, he “wrote as he had not written for a long time.”

In addition to a number of works, Pushkin wrote five stories in prose, which he published in 1831, entitled: “Tales of the late Ivan Petrovich Belkin.” The writer wanted to hide his authorship because this was his first experience in the field of everyday prose.

In Belkin's Tales, Pushkin expanded the range of his observations. In "The Undertaker" he outlined the morals of the urban philistinism, in "The Station Agent" he first showed in the person of Samson Vyrin a humiliated man, a petty official, whose pitiful fate arouses the reader's pity.

What is also remarkable in “Belkin’s Tales” is the mastery of storytelling - economical, quick, and not dwelling on details. An entertaining plot, secrets that are revealed only towards the end, unexpected but deeply justified endings - all this continuously maintains the interest of readers and makes the stories extremely fascinating. Thus, the richness of social content is combined in Pushkin’s stories with grace and harmony of form.

The first two stories - “The Shot” and especially “The Blizzard” - depict the romantic interests characteristic of noble youth. The main theme of “The Shot” is the question of the duel, which was a widespread fashion among the nobility in the early 20s of the 19th century. Participation in duels was considered some kind of heroism and constituted a style of romantic behavior.

All this was reflected in “The Shot,” which is based on Pushkin’s observations during his stay in exile in Chisinau in the early 20s.

Marya Gavrilovna, the heroine of the story “Blizzard,” is completely in the grip of “romantic” moods, borrowed from the French novels on which she was brought up. “Romantic imagination” pushed her to agree to run away from her parents’ home and to a secret marriage with a poor army ensign, to whom her rich parents did not want to marry her.

Marya Gavrilovna's feelings are rather superficial. It is unknown how serious her love for Vladimir was and whether this was a consequence of her passion for French novels, to which there is an ironic hint in the story: “Marya Gavrilovna was brought up on French novels and, consequently, was in love.”

But there is one thing that adds a serious note to the ironic picture of provincial landowner life: this is the war of 1812-1814, which is included in the action of the story. This describes the general patriotic delight that gripped all the Russian people when the troops returned from abroad in glory: “Unforgettable time! Time of glory and delight! How strongly the Russian heart beat at the word Fatherland! How sweet were the tears of the date!”

In the story “The Undertaker” we enter from the military and landowner world into the environment of small Moscow artisans and traders. In this small world they are only interested in profits. The undertaker Adrian cannot wait for the death of the merchant Tryukhina on Razgulyai and is worried that other undertakers, taking advantage of his relocation from Basmannaya to Nikitskaya Street, will steal his rich funeral.

Adrian treats the dead as customers, consumers of his products. He is not interested in what kind of people they were during their lifetime. And even in a dream, when they come to congratulate him on his housewarming, the hero distinguishes them only from the point of view of profit or loss from the funeral.

The main feature of Pushkin’s prose in general and “Belkin’s Tales” in particular is the conciseness and simplicity of presentation, from which you cannot throw out a single word, because every word is in place and necessary. Pushkin avoids all unnecessary decorations. Every little thing is characteristic of him - it leads to something, is connected with everything else. So, for example, the bullet-riddled walls in the “poor mud hut” where Silvio lives speak of the severity of his character, of his pastime, of the secret goal to which he strives: “The walls of his room were all worn out by bullets, all in holes, like honeycombs.” bees."

And then, when describing Silvio’s departure, when the moment comes for the realization of what he had been preparing for whole years: “All his belongings had already been packed; there were only bare, bullet-riddled walls left.”

Pushkin never goes into detailed explanations of the actions of his heroes, but he always guesses with his brilliant artistic instinct what such and such a person should do due to his individual qualities, social skills and other reasons. And he guesses unmistakably, so that without any explanation, we immediately feel the living truth, we see living people with all their contradictions.

"Belkin's Tales" were a turning point in the history of Russian fiction. They were followed by other prose works of Pushkin: “Dubrovsky”, “The Queen of Spades”,

“The Captain's Daughter,” which reflected Russian life even more truthfully, even more broadly and deeply.

There is nothing simpler than what is written, and at the same time there is nothing more complex than Pushkin’s “Belkin’s Tales”. Surprisingly, a century and a half after they were written, debates do not cease about whether this is a literary parody or a good-natured, humane, heartfelt “world of Russian life” depicted under the cover of irony.

It’s interesting that the more you reread Belkin’s Tales, the more complex they seem to you. Not a trace remains of the original simplicity and clarity. The behavior of the characters, which initially seems very logical, suddenly appears completely devoid of logic and common sense.

(For example, why does Silvio, who has dreamed of revenge all his life, spare the count and even talk about his conscience? Why is S. Vyrin so upset about his daughter, because she is happy?)

In all the stories, one way or another, questions of conscience and Christian morality are raised. Without understanding the foundations of Russian Christian culture, it is impossible to understand the literature of the 19th century in general, especially Pushkin’s “Belkin’s Tales”.

A.S. Pushkin is ourselves. Our essence.

We have been going to Pushkin all our lives. This road has no end for each of us. Every time at a new, more adult stage of our life, a new Pushkin is with us. The works “Dubrovsky” and “Belkin’s Tales” introduced us to the history of our country and taught us high morality. The positive heroes of his works teach courage, teach them to fight evil for bright ideals.

A. S. Pushkin depicted the life and customs of the provincial nobility with the idealized moral principles of the ancient nobility. He contrasted honesty with meanness, generosity with greed, love with hatred, restraint with revelry.

When you say, our land, our people, at the same time you want to say, our Pushkin. And then add – RUSSIA! The homeland cannot be cut into pieces like a pie and placed on a plate - the homeland is a feeling. For every Russian, Alexander Sergeevich Pushkin is one of the strongest feelings of the Motherland. That’s why we treat everything connected with the name of the most beloved Russian poet with such care, so we continue to collect bit by bit the story of his life and re-read his immortal creations.

5. List of used literature:

1. Schoolchild’s educational reference book.-3rd ed., stereotype. -M. : Bustard, 2001.-1664 p. Authors: P.I. Altynov, S.G. Antonenko, N.S. Akhmetov and others.

2. Korovin V.I. A.S. Pushkin in life and work, 2004 - Russian Word - Moscow. 2004. – 85 pp.

3. Literary Petersburg, Petrograd – album – Moscow. "Soviet Russia". 1991 – 334 p.

4. Boldino Estate Museum/Information and reference publication, 2009.

5. Offenbach P. All about Pushkin - St. Petersburg, A. Gromov Publishing House, 1997 - 317 pp.

Noble society in the story “Dubrovsky” is represented by a number of characters, some of whom are depicted comprehensively and fully (Troekurov, Dubrovsky), others in less detail (Prince Vereisky), and others are remembered in passing (Anna Savishna and other guests of Troekurov).

One of the main characters of the story is Kirila Petrovich Troekurov. In this man, the author depicted the most firmly standing part of the nobility, the rulers of the world, ardent supporters of serfdom. It was this part of the nobility at the beginning of the eighteenth century that dictated its terms to the country and felt at ease, especially in the outback of Russia.

As for Kirilla Petrovich Troekurov, “his wealth, noble family and connections gave him great weight in the provinces where his estate was located. The neighbors were happy to cater to his slightest whims; provincial officials trembled at his name; Kirila Petrovich accepted signs of servility as a proper tribute; his house was always full of guests, ready to entertain his lordly idleness... No one dared to refuse his invitation or on certain days not to appear with due respect in the village of Pokrovskoye.” This wayward Russian gentleman did not bother himself with science. The author, with obvious irony and condemnation, says that “Kiril, and Petrovich showed all the vices of an uneducated person.” And since Troekurov had more than enough physical strength, he endlessly organized all sorts of entertainment events on his estate and gave “full freedom to all the impulses of his ardent disposition and all the ideas of his rather limited mind.” One of the ideas that was intended to amuse his guests, and most of all himself, was the idea of a bear, which Troekurov specially fattened on his estate in order to play a trick on the new guest on occasion.

Despite the fact that almost every one of the guests of the extremely spoiled landowner visited the room with the bear and not only experienced inhuman fear, but also received physical injuries, no one dared to complain about Kiril Petrovich - his power in the district was too limitless.

In order for the reader to get a complete understanding of the spoiledness and tyranny of Kiril Petrovich, the author introduces an episode into the story that describes in detail the landowner’s kennel, the object of his pride and admiration. In this kennel “... more than five hundred hounds and greyhounds lived in contentment and warmth, glorifying the generosity of Kiril Petrovich in their canine language. There was also an infirmary for sick dogs, under the supervision of the staff doctor Timoshka, and a department where noble bitches gave birth and fed their puppies.” What care for animals, what nobility - isn’t it? Yes, all this would look exactly like this if this master’s serfs, on whom his well-being rested, lived better than dogs, or at least the same.

He “loved his daughter madly, but treated her with his characteristic waywardness, sometimes trying to please her slightest whims, sometimes frightening her with harsh and sometimes cruel treatment.” He built his relationship with Masha, as well as with everyone else, on the demand for her complete submission to his person. Kirila Petrovich didn’t even bother to listen to any of Masha’s words and requests to cancel the wedding with her unloved person. Of course, this can be attributed to his excessive concern for the fate of his daughter, but is Masha happy because of this, will she be lucky enough to know what shared love is? We can say with almost certainty - no. Masha, like Onegin’s Tatiana, was brought up on the principle: “But I was given to another; I will be faithful to him forever.”

So, in the image of Troekurov, the author showed a part of the local nobility that was far from reformist ideas, leading a riotous, idle lifestyle. The distinctive features of these nobles are lack of education, primitiveness, greed and pride. Standing firmly on its feet, this part of the landed nobility fiercely defends the ancient way of life, based on the enslavement of man by man, and is ready to take the most brutal measures to ensure its dominance.

The image of another local nobleman, Andrei Gavrilovich Dubrovsky, appears completely different to us. “Being the same age, born in the same class, raised in the same way...”, having similar characters and inclinations, Troekurov and Dubrovsky Sr. looked at the peasant and the meaning of life differently. The Kistenevsky master did not oppress his peasants, so they treated him with love and respect. Andrei Gavrilovich condemned Troekurov’s attitude towards the serfs, which is why he said to his friend: “... it’s a wonderful kennel, it’s unlikely that your people will live the same as your dogs.” Just as fond of hunting as Troekurov, Dubrovsky, however, treated his neighbor’s idle and riotous drinking sessions unfavorably and attended them with reluctance. This person has a highly developed sense of self-esteem and pride.

Neither in the first years of his life on the estate, nor later, Andrei Gavrilovich agreed to take advantage of the gifts that Troekurov offered him. Moreover, unlike other landowners, Dubrovsky was never afraid to express his thoughts in the presence of Kirila Petrovich. Currying favor with a rich neighbor was not in his rules. The image of Andrei Gavrilovich Dubrovsky is the image of a noble nobleman who cares not only about his wallet, but also about the peasants entrusted to him. I think that it is precisely such nobles, under a positive set of circumstances, who would be supporters of democratic reforms in Russia.

SECTION 2. PICTURE OF CHARACTER AND CIRCUMSTANCES IN A WORK OF ART: TRADITION AND MODERNITY

Kislina M. S.

Manor life in A. S. Pushkin’s novel “Dubrovsky”

The article examines the role of the estate space in the plot of A. S. Pushkin’s novel “Dubrovsky”; Kistenevka, Pokrovskoye, Arbatovo are studied as different types of estate structures associated with the characters of the owners.

Key words: A.S. Pushkin, novel “Dubrovsky”, estate, landowner, nobleman, master.

The scene of action in Pushkin’s novel “Dubrovsky” is localized by the space of three lordly estates: Pokrovskoye, owned by

Troekurov, Kistenevka Dubrovsky, Arbatovo of Prince Vereisky. The scene in court and the episode at the end of Vladimir Dubrovsky's life in St. Petersburg are directly related to the fate of the family estate. In fourteen of the nineteen chapters, events take place on the Troekurov-Pokrovsky estate. Pokrovsky’s estate includes a manor house, a church, a kennel yard with an infirmary for dogs: “Kirilla Petrovich was proud of this wonderful establishment,” a grove and a garden. When describing the complex of Troekurov’s manorial estate, the prevailing story is about the wealth and prosperity of its owner: “above the dense greenery of the grove

towered the green roof and belvedere of a huge stone house,” “a five-domed church and an ancient bell tower.” The estate is located on one of the hills - a sign of the exclusive position of the owner. This description contrasts with the view of Kistenevka: located in an open place “a gray house with a red roof”, “a courtyard, once decorated with three regular flower beds, between which there was a wide road, carefully swept, turned into an unmown meadow”, “a dilapidated porch” . When comparing the two estates in the canonical text and in the autograph versions, it is noticeable that the author’s attention is intensified on Vladimir’s spiritual connection with his parental home, “the poor house of his father.” So, in the published text, Kistenevka is called the birthplace of Vladimir, in the versions - “village”. The contrast in social status, the difference in the moral foundations of life between Troekurov and the Dubrovskys appears in the description of the estate space. The kennel is a place of quarrel between two friends; irony is noticeable in the tone of the narrator when describing it: “The owner and guests went to the kennel yard, where more than five hundred hounds and greyhounds lived in contentment and warmth, glorifying the generosity of Kiril Petrovich in their dog language,” in this The same tone also speaks of Troekurov’s three thousand serfs, who were vain about “the wealth and glory of their master.”

Consider the episode at the kennel. Troekurov “paced around the kennel, surrounded by his guests and accompanied by Timoshka and the main hounds.” Troekurov and the huntsman Timoshka are named, the guests are presented in general terms, but the contrast between their admiration for the kennel and Dubrovsky’s frown gives rise to Troekurov’s logical question: “Why are you frowning, brother<... >Or don’t you like my kennel?” For Dubrovsky, an old nobleman, the life of a landowner is inextricably linked with the life of his peasants: “the kennel is wonderful, it’s unlikely that your people will live the same as your dogs,” in this context, the above-mentioned parallel between peasants and Troekurov’s dogs is especially relevant. Dubrovsky’s caustic remark offended the vain huntsman, who made a fatal joke: “We thank God and the master for our living, we don’t complain - and what’s true is true, it wouldn’t be bad for another nobleman to exchange the estate for any local canopy. “He would have been better fed and warmer.” Externally, the cause of the conflict is determined by everyday realities, but the true causes of a domestic quarrel lie in the plane of moral problems.

All the details depicting the way of life in Pokrovskoye reflect the character and various “noble amusements of the Russian master.” Troekurov's daily activities include driving around his property, hunting with dogs, playing Boston (in autograph versions: “played billiards in the living room”). 16 maids are locked in the outbuilding, as if in a harem, and serf children run around the yard, looking exactly like Troekurov. The fun of the Pokrovsky landowner is described in detail - pushing a guest into an empty room with a hungry bear. The spectacular scene of Deforge killing a bear, the courage shown by the “teacher”, predetermined the episode of revenge on Spitsyn for his meanness and cowardice. Plot-complete episodes acquire integrity and unity precisely in the estate space.

The temple holiday in Pokrovskoye turns out to be a plot event; here the collision of Dubrovsky’s adventurous dressing up as Deforge is completed. In addition, it is in the festive atmosphere that the microcosm of estate life is most fully represented. The fact that it is from the temple holiday that the line of further events is traced is evidenced by the variants of the autograph. In the canonical text, the author-narrator defines the content of Chapter IX as follows: “a description of this celebration and further incidents”; in the versions, the connection between the holiday and the subsequent development of the plot was not so specifically noted - “further incidents”. The date of the holiday is specified - “October 1st - the day of the temple holiday”, the church name of this day - “Protection of the Virgin” - is removed in the canonical text. Festive service in the five-domed new stone

Church pleases the master’s vanity just as much as a walk with guests through the kennel. In the church, the irreversible and tragic in its content wedding ceremony of Maria Kirillovna with the hated Prince Vereisky takes place. Troekurov’s tyranny forces him to indulge in “the ideas of his limited mind” even in a holy place - the church. The entire ceremony of the mass was aimed at honoring its “creator”: “everyone was drawn to the new stone church, built by Kiril Petrovich and annually decorated with his offerings.” Among all the “honorable pilgrims” and peasants, only he can influence the course of the service: “The mass did not begin - they were waiting for Kiril Petrovich,” “Kiril Petrovich was the first to approach the cross. Everyone followed him, then the neighbors approached him with respect." Self-love, pride, and vanity do not leave the landowner even during the church service: “[Kirilla Petrovich -M.K.] “bowed down to the ground with proud humility when the deacon loudly mentioned the creator of this temple.” The description of the Kistenevskaya wooden church, where the funeral service of Andrei Dubrovsky is held, is the opposite. The tone of the author-narrator is serious, and the features of the image are laconic: “The church was full of Kistenevsky peasants.” The composition of the church parish and the congregation of the two churches are profoundly different. The “honorary pilgrims” of the Pokrovsky church are called upon to please Troekurov’s vanity; the Kistenev peasants sincerely came to “give their last veneration to their master.”

In the episode dedicated to the festive dinner, the author-narrator’s attention is paid to the characteristics of provincial society. When seating themselves at the table, guests are guided by the established hierarchy and generally accepted etiquette norms: “Kirila Petrovich was the first to go sit at the table, the ladies moved behind him and took their places importantly, observing a certain seniority, the young ladies were shy among themselves like a timid herd of goats and chose their places alone next to another. The men stood opposite them. The teacher sat down at the end of the table next to little Sasha.” For the servants, the heterogeneity of the statuses and positions of the guests also mattered: “The servants began to carry the plates according to rank, in case of bewilderment, guided by Lavater’s guesses, and almost always without error.” The table was set for 80 people, which fully corresponded to the luxury of the festive reception. Of the many present, only Anton Pafnutich Spitsyn and Anna Savishna Globova are shown in close-up; each of them is plot-related to the Troekurov-Dubrovsky litigation. Spitsyn is involved in the fraudulent deprivation of the Dubrovskys' possessions, his false testimony contributed to the rapid commission of the lawless act, Spitsyn's name is mentioned in the court decision. Anna Savishna is not devoid of noble feelings. The poor widow can afford to disagree with Troekurov’s opinion about Vladimir Dubrovsky, whose impression is associated with the literary image of a noble robber.

A different type of nobleman is represented by the figure of Prince Vereisky, who spent most of his time abroad, never seeing his estate, but at the same time carefully receiving large incomes from it, which gave him the opportunity to “lead an absent-minded lifestyle” and indulge in “excesses.” The estate of Prince Vereisky - Arbatovo - was located on the banks of the Volga: “The Volga flowed in front of the windows, loaded barges walked along it under stretched sails and fishing boats, so expressively nicknamed gas chambers, flashed by. Beyond the river stretched hills and fields, several villages enlivened the surroundings.” The prince was not seduced by the intricate luxury of Troekurov’s estate: at the kennel he almost suffocated in the “canine atmosphere” and hurried to get out, “clutching his nose with a handkerchief sprinkled with perfume.” He, the owner of an English park, did not like Troekurov’s ancient garden “with its trimmed linden trees, a quadrangular pond and regular alleys.” Arbatovo is striking in its complete desolation; instead of the peasants themselves, only their “clean and cheerful huts” are shown. The stone manor house was built in the style of English castles, “in front of the house there was a dense green meadow on which Swiss cows grazed, ringing their bells. A spacious park surrounded the house on all sides.” Such adherence to English models is vain and ambitious.

So, the disposition of each of the landowners, the way of life on the estate is predetermined by the events taking place on the estates: how “in Rus' we can lose the estate to which we have an indisputable right.” The death of Dubrovsky, the unhappy marriage of Marya Kirillovna, the fate of Vladimir Dubrovsky, who turned into robbers along with his serfs, are also the result of autocracy.

Bibliography

1. Pushkin A.S. Complete works, 1837-1937: in 16 volumes (17 volumes additional). - M.; L.: Publishing House of the USSR Academy of Sciences, 1937-1959.

Ipatova S. A.

N. S. Leskov and “Frank stories of a wanderer to his spiritual father”

The article examines the theme of life's journey as a moral ascent in the anonymous story “Frank stories of a wanderer to his spiritual father” and the works of N.S. Leskova “Soborians”, “Sealed Angel”, “Enchanted Wanderer”.

Key words: “Frank stories of a wanderer to his spiritual father”, N.S. Leskov, spiritual prose.

Literature lesson in 6th grade

on this topic

“Life and customs of local life.

Lesson - immersion"

Teacher: Valiulina A.V.

Municipal educational institution secondary school No. 4, Lesogorsk village

Chunsky district, Irkutsk region

Class: 6a

Topic: Life and customs of local life.

Lesson - immersion.

(based on the novel by A.S. Pushkin “Dubrovsky”)

Goal: Based on the use of illustrative material, musical fragments, and text analysis, to create conditions for students to immerse themselves in the atmosphere of the early 19th century in order to get acquainted with the peculiarities of the life of landowners, the peculiarities of interpersonal relationships, relationships with peasants, and also lead them to understand the author’s assessment of events and heroes . Creating conditions for self-expression and creative realization of students.

Equipment:

illustrations depicting landowners' estates, costumes and interiors of the 19th century, scenes from peasant life

"Polonaise" by Oginsky

Progress:

Organizational moment.

Defining the topic, goal setting.

Oginsky's "Polonaise" sounds

Look at the illustrations. What do they have in common? What century are they taking us to? Write down the keywords (estate, peasants, space, etc.).

What do illustrations and keywords have to do with the characters in Pushkin’s novel “Dubrovsky?” Let's try to determine the topic of the lesson together.

What form of lesson is better to choose?

Lesson - reflection

Lesson - immersion

Lesson - discussion

Justify your opinion.

And for what purpose will we try to get as close as possible to the realities of life on a landowner’s estate? What do we want to know?

3. Vocabulary work.

- “Who is faster and more accurate” will explain the meaning of the words:

Serf, departing field, poison the beast, poison the beast, province, bill of sale, valet, belvedere, tutor, meal.

History of the creation of the work.

Word to the archivist (student speech)

What is interesting about the history of the creation of the work? Are the events and characters the result of the author’s imagination or do they have a very real basis?

Conclusion: Thus, Pushkin, taking us through the action of the novel to the 10s of the 19th century, paints a broad picture of Russian local life. At that time, 2/3 of Russia’s population lived in the provinces. Consequently, having become acquainted with the lifestyle of the heroes of Dubrovsky, we will learn how 2/3 of Russians lived at the beginning of the 19th century and draw a conclusion about how the author himself evaluates this life. Let's begin our acquaintance.

Heroes of the novel about their lives (prepared speeches by students).

Masha Troekurova
Houndmaster Troekurova
Andrey Gavrilovich Dubrovsky

Who lived on the estates?

What did you learn about the morals and way of life of local life from the stories of the heroes?

6. Working with illustrations. Comparison of life in two estates.

All events take place in two estates - Pokrovskoye (Troekurov) and Kistenevka (Dubrovsky). The illustrations show two estates. Which of them could belong to Troekurov, and which could belong to Dubrovsky? Give reasons for your opinion. How are the estates different?

Notice which of the estates has a wooden church and which one has a stone church? Why didn't the author miss this detail?

How do the landowners Troyekurov and Dubrovsky relate to the courtyards? How do serfs relate to masters?

What conclusion can be drawn by comparing the life of the two estates?

7. Interview with Troekurov.

Which landowner have we not met yet? Recognize this hero by a short description: “His wealth, noble family and connections gave him great weight in the provinces...etc.”

What would you like to ask him?

(students ask questions to the student acting as Troekurov)

Conclusion: what impression did this hero make on you? How were the relations between the landowners?

8. Local entertainment.

How did the landowners have fun? (balls, hunting)

Student’s speech “Ball at Troekurov’s through the eyes of an eyewitness”

Here's another lordly fun.

Reading the episode with the bear.

How does this fun make you feel? Why?

Conclusion: - What did you learn about the life and customs of local life?

What interested you most, excited you, shocked you?

What questions remain?