Subject:
Goals:
Educational:
Show Kuprin's skill in depicting the world of human feelings, how the writer depicts the influence of love on a person; the role of the detail in the story; reveal the meaning of the symbolic images of the story.
Developing:
Awaken the desire of students to philosophize on the topic of love, learn to defend their opinions, citing strong arguments from the text and from life.
Develop skills to identify the main means of creating an artistic image.
Develop the ability to determine the function of artistic images in the text.
Educational:
To cultivate a reverent attitude to the feeling of love as an eternal spiritual value of a person
Method: teacher's word, commented reading, analytical conversation, students' retelling, expressive reading by heart, listening to audio recordings, watching movie episodes, presentations.
Technologies: problem learning technology ( problematic issue: "Understand how Kuprin resolves this eternal problem of unrequited love?").
Lesson type: combined.
Lesson equipment: audio and video recordings, a portrait of the writer, an exhibition of books by A. I. Kuprin, a presentation.
During the classes.
Epigraph:
The union of the soul with the soul of the native.
Their unity, combination
And their fatal merger,
And the duel is fatal.
And than one of them is more tender
The more inevitable and more certain
It wears out at last.
(F. I. Tyutchev)
As you understood from the epigraph, today in the lesson we will talk with you about love.
But what kind of love? ( undivided, misunderstood.)
Recording the topic of the lesson.
3. The word of the teacher (slide 1).
The story "Garnet Bracelet", written by Kuprin in 1910, is dedicated to one of the main themes of his work - love. In the epigraph of the story was the first musical line from Beethoven's Second Sonata. Let us recall the statement of Nazansky, the hero of the Duel, that love is a talent akin to a musical one. The work is based on a real fact - the love story of a modest official for a secular lady, the mother of the writer L. Lyubimov.
4. Hshadow teacher
“In the period between her first and second marriages, my mother began to receive letters, the author of which, without naming himself and emphasizing that the difference in social status does not allow him to count on reciprocity, expressed his love for her. These letters were kept in my family for a long time, and I read them in my youth. An anonymous lover, as it turned out later - Yellow (in Zheltkov's story), wrote that he served on the telegraph office (at Kuprin, Prince Shein jokingly decides that only some telegraph operator can write like that), in one letter he reported that under the guise the floor polisher entered my mother's apartment and described the situation (at Kuprin, Shein again jokingly tells how Zheltkov, disguised as a chimney sweep and smeared with soot, enters the boudoir of Princess Vera). The tone of the messages was sometimes pompous, sometimes grouchy. He was either angry with my mother, or thanked her, although she did not react in any way to his explanations ...
At first, these letters amused everyone, but then (they came almost every day for two or three years) my mother even stopped reading them, and only my grandmother laughed for a long time, opening another message from a telegrapher in love in the morning.
<...>and my father, who was then my mother's fiancé, went to Yellow. All this happened not in the Black Sea city, like Kuprin, but in St. Petersburg. But Yellow, like Zheltkov, did indeed live on the sixth floor. “The spit on the stairs,” writes Kuprin, “smelled of mice, cats, kerosene and laundry” - all this corresponds to what I heard from my father. Yellow huddled in a shabby attic. He was caught writing another message. Like Kuprin's Shein, the father was more silent during the explanation, looking "with bewilderment and greedy, serious curiosity into the face of this strange man." My father told me that he felt in Yellow some kind of secret, a flame of genuine selfless passion. Uncle, again like Kuprin's Nikolai Nikolaevich, got excited, was unnecessarily harsh. Yellow accepted the bracelet and grimly promised not to write to my mother again. This is how it all ended. Anyway, oh future fate We don't know anything about him."
L. Lyubimov. In a foreign land, 1963
5. Analytical conversation of a comparative nature.
How artistically transformed Kuprin real story heard by him in the family of a high-ranking official Lyubimov?
What social barriers (and are they the only ones?) push the hero's love into the sphere of an inaccessible dream?
Is it possible to say that the dream of Kuprin himself about an ideal, unearthly feeling was expressed in the “Garnet Bracelet”?
Kuprin was not a poet, but there is one poem written by him (slide 2).
Is there a connection between the garnet bracelet that the hero of the story gives to Vera Sheina and the “ruby bracelet” from Kuprin’s late poem “Forever”?
-- At what time does the story take place?
What role does the landscape play in conveying the mood of Vera Sheina? (slide 4).
How does Kuprin draw the main character of the story, Princess Vera Nikolaevna Sheina? (slide 5).
(The external inaccessibility, inaccessibility of the heroine is stated at the beginning of the story by her title and position in society - she is the wife of the marshal of the nobility. But Kuprin shows the heroine against the backdrop of clear, sunny, warm days, in the silence and solitude that Vera rejoices in, reminding, perhaps, of Tatyana Larina’s love for solitude and the beauty of nature (also, by the way, a married princess). We see that outwardly royally calm, with everyone "coldly and condescendingly amiable" with a "cold and proud face" princess (compare with the description of Tatyana in St. Petersburg, chapter eight, stanza XVII: "But an indifferent princess, / But an impregnable goddess / Luxurious, regal Neva")- a subtly sensitive, delicate, selfless person: she tries to quietly help her husband "make ends meet", observing decency, still save money, since "I had to live above means." She dearly loves her younger sister (their obvious dissimilarity both in appearance and in character is emphasized by the author himself, chapterII), with a "sense of lasting, faithful, true friendship" refers to her husband, childishly affectionate with "grandfather", General Anosov, a friend of their father.)
, friend of people
What gifts did Vera receive? What is their meaning? (Reading the description of gifts).
(Princessreceives not just expensive, but lovingly chosen gifts: “beautiful pear-shaped pearl earrings” from her husband, “a small notebook in
What does Zheltkov's gift look like against this background? What is its value?
(Gift Zheltkov-
- What is the symbolic meaning of this detail?
(This is a symbol of his hopeless, enthusiastic, disinterested, reverent love. Let us recall the gift left by Olesya to Ivan Timofeevich - a string of red beads.)
- How does the theme of love develop in the story?
(At the beginning of the story, the feeling of love is parodied. Vera's husband, Prince Vasily Lvovich, a cheerful and witty man, makes fun of Zheltkov, who is still unfamiliar to him, showing the guests a humorous album with a “love story” of a telegraph operator to the princess. However, the ending of this funny story turns out to be almost prophetic: “Finally, he dies, but before his death he bequeaths to give Vera two telegraph buttons and a bottle of perfume filled with his tears.”)
Further, the theme of love is revealed in inserted episodes and acquires a tragic connotation. General Anosov tells his love story, which he will remember forever - short and simple, which in retelling seems to be just a vulgar adventure of an army officer. “I don’t see true love. And I didn’t see it in my time!” - says the general and gives examples of ordinary, vulgar unions of people concluded according to one or another calculation. “Where is the love? Love disinterested, selfless, not waiting for a reward? The one about which it is said - “strong as death”? .. Love should be a tragedy. The greatest secret in the world!” Anosov talks about tragic cases similar to such love. The conversation about love brought the telegraph operator to the story, and the general felt its truth: “maybe your life path, Verochka, crossed exactly the kind of love that women dream of and that men are no longer capable of.")
9. Continued conversation.
(Kuprin develops the theme of the “little man”, traditional for Russian literature. An official with the funny surname Zheltkov, quiet and inconspicuous, not only grows into a tragic hero, he rises above petty fuss, life's conveniences, and decency with the power of his love. He turns out to be a man in no way inferior in nobility to aristocrats. Love lifted him up. Love has become suffering, the only meaning of life. “It so happened that I am not interested in anything in life: neither politics, nor science, nor philosophy, nor concern for the future happiness of people- - he writes in a farewell letter to Princess Vera. Departing from life, Zheltkov blesses his beloved: “May the your name". Here you can see blasphemy- for these are the words of a prayer. Love for the hero is above everything earthly, it is of divine origin. No "decisive measures" and "appeals to the authorities" can make people fall out of love. Not a shadow of resentment or complaint in the words of the hero, only gratitude for the "great happiness"- Love.)
- How do the participants in this scene behave?
What character traits does Yolk show in this episode?
How does he characterize the behavior and words of Nikolai Nikolaevich?
Why do you think Vera cried? What caused the tears - "the impression of death" or something else? Maybe she realized that "a great love passed by her, which is repeated only once in a thousand years"? Or perhaps a reciprocal feeling awakened in her soul at least for a moment?
- What is the meaning of the image of the hero after his death?
(Dead Yolkkov acquires "profound importance,...
- What is the mood of the finale of the story? What role does music play in creating this mood?
(The ending of the story is elegiac, imbued with a feeling of light sadness, not tragedy. Zheltkov dies, but Princess Vera awakens to life, something that was previously inaccessible was revealed to her, that very “great love that repeats itself once in a thousand years.” The heroes "loved each other for only one moment, but forever." Music plays an important role in awakening the soul of Vera. Beethoven's second sonata is consonant with Vera's mood, through the music her soul seems to connect with the soul of Zheltkov.)
12.Main conclusions:
Can Zheltkov's feelings for Vera be called insanity?
What do you think is the power of love?
And the main question of the lesson: “How does Kuprin solve the eternal problem of unrequited love?”
The answer to the question about unrequited love can also be a poem by A. Dementiev.
Love is not only uplifting.
Love sometimes destroys us.
Breaks destinies and hearts...
Beautiful in her desires
She can be so dangerous
She bursts in suddenly.
And you can't tomorrow
Don't see a pretty face.
Love is not only uplifting.
Love rules and decides everything.
And we go into this captivity.
And we do not dream of freedom.
While the dawn in the soul rises,
The soul does not want change.
(A. Dementiev)
14. Final word of the teacher
A special case is poeticized by Kuprin. The author talks about love, which is repeated "only once in a thousand years." Love, according to Kuprin, "is always a tragedy, always a struggle and achievement, always joy and fear, resurrection and death." The tragedy of love, the tragedy of life only emphasize their beauty.
Kuprin wrote to F. D. Batyushkov (1906): Individuality is expressed not in strength, not in dexterity, not in mind, not in talent, not in creativity. But in love!
And I would like to end today's lesson with a poem by Nikolai Lenau, an Austrian poet of the first half of the 19th century: “Be silent and die ...”, which, it seems to me, has a connection with the content of the story “Garnet Bracelet”:
Silence and perish... But sweeter,
Than life, magic chains!
Your best dream in her eyes
Search without saying a word! -
Like the light of a shy lamp
Trembling in the face of the Madonna
And, dying, catches the eye,
Her heavenly gaze is bottomless!
"Silence and perish" - this is the spiritual vow of a telegraph operator in love. But still, he breaks it, reminding himself of his only and inaccessible Madonna. This supports hope in his soul, gives him the strength to endure the suffering of love. Passionate, sizzling love, which he is ready to take with him to the other world. Death does not frighten the hero. Love is stronger than death. He is grateful to the one who aroused in his heart this wonderful feeling that exalted him, little man, over a vast vain world, a world of injustice and malice. That is why, when he passes away, he blesses his beloved: “Hallowed be thy name.”
16.D/z.: Write an essay - reasoning "Unrequited love - "great happiness" or "great tragedy of the soul"?".
Download:
Preview:
Subject: The talent of love in the story of A. I. Kuprin "Garnet Bracelet".
Goals :
Educational:
Show Kuprin's skill in depicting the world of human feelings, how the writer depicts the influence of love on a person; the role of the detail in the story; reveal the meaning of the symbolic images of the story.
Developing:
Awaken the desire of students to philosophize on the topic of love, learn to defend their opinions, citing strong arguments from the text and from life.
Develop skills to identify the main means of creating an artistic image.
Develop the ability to determine the function of artistic images in the text.
Educational:
To cultivate a reverent attitude to the feeling of love as an eternal spiritual value of a person
Method: teacher's word, commented reading, analytical conversation, students' retelling, expressive reading by heart, listening to audio recordings, watching movie episodes, presentations.
Technologies: problem-based learning technology (problematic question: “To understand how Kuprin solves this eternal problem of unrequited love?”).
Lesson type: combined.
Lesson equipment:audio and video recordings, a portrait of the writer, an exhibition of books by A. I. Kuprin, a presentation.
During the classes.
Epigraph:
Love, love, says the legend,
The union of the soul with the soul of the native.
Their unity, combination
And their fatal merger,
And the duel is fatal.
And than one of them is more tender
In the struggle of unequal two hearts,
The more inevitable and more certain
Loving, suffering, passionately mleya,
It wears out at last.
(F. I. Tyutchev)
1. The student reads the epigraph by heart (Beethoven's Second Sonata sounds).
2. Announcement of the topic and objectives of the lesson.
As you understood from the epigraph, today in the lesson we will talk with you about love.
But what kind of love? (undivided, misunderstood.)
Recording the topic of the lesson.
3. The word of the teacher (slide 1).
The story "Garnet Bracelet", written by Kuprin in 1910, is dedicated to one of the main themes of his work - love. In the epigraph of the story was the first musical line from Beethoven's Second Sonata. Let us recall the statement of Nazansky, the hero of the Duel, that love is a talent akin to a musical one. The work is based on a real fact - the love story of a modest official for a secular lady, the mother of the writer L. Lyubimov.
4. Teacher readingan excerpt from the memoirs of L. Lyubimov about the prototypes of the story:
“In the period between her first and second marriages, my mother began to receive letters, the author of which, without naming himself and emphasizing that the difference in social status does not allow him to count on reciprocity, expressed his love for her. These letters were kept in my family for a long time, and I read them in my youth. An anonymous lover, as it turned out later - Yellow (in Zheltkov's story), wrote that he served on the telegraph office (at Kuprin, Prince Shein jokingly decides that only some telegraph operator can write like that), in one letter he reported that under the guise the floor polisher entered my mother's apartment and described the situation (at Kuprin, Shein again jokingly tells how Zheltkov, disguised as a chimney sweep and smeared with soot, enters the boudoir of Princess Vera). The tone of the messages was sometimes pompous, sometimes grouchy. He was either angry with my mother, or thanked her, although she did not react in any way to his explanations ...
At first, these letters amused everyone, but then (they came almost every day for two or three years) my mother even stopped reading them, and only my grandmother laughed for a long time, opening another message from a telegrapher in love in the morning.
And then there was a denouement: an anonymous correspondent sent my mother a garnet bracelet. My uncle<...>and my father, who was then my mother's fiancé, went to Yellow. All this happened not in the Black Sea city, like Kuprin, but in St. Petersburg. But Yellow, like Zheltkov, did indeed live on the sixth floor. “The spit on the stairs,” writes Kuprin, “smelled of mice, cats, kerosene and laundry” - all this corresponds to what I heard from my father. Yellow huddled in a shabby attic. He was caught writing another message. Like Kuprin's Shein, the father was more silent during the explanation, looking "with bewilderment and greedy, serious curiosity into the face of this strange man." My father told me that he felt in Yellow some kind of secret, a flame of genuine selfless passion. Uncle, again like Kuprin's Nikolai Nikolaevich, got excited, was unnecessarily harsh. Yellow accepted the bracelet and grimly promised not to write to my mother again. This is how it all ended. In any case, we do not know anything about his further fate.
L. Lyubimov. In a foreign land, 1963
5. Analytical conversation of a comparative nature.
How did Kuprin artistically transform the real story he heard in the family of a high-ranking official, Lyubimov?(Kuprin idealized and exalted the real vulgar story).
What social barriers (and are they the only ones?) push the hero's love into the sphere of an inaccessible dream?(There are social barriers and partitions of class inequality between Princess Vera and the petty official Zheltkov. Namely social status and Vera's marriage makes Zheltkov's love unrequited and unrequited. The hero himself admits in his letter that "only reverence, eternal admiration and slavish devotion" fell to his lot.)
Is it possible to say that the dream of Kuprin himself about an ideal, unearthly feeling was expressed in the “Garnet Bracelet”?
Kuprin was not a poet, but there is one poem written by him (slide 2).
6. Reading the poem "Forever" (slide 3).
Is there a connection between the garnet bracelet that the hero of the story gives to Vera Sheina and the “ruby bracelet” from Kuprin’s late poem “Forever”?
7. Conversation on the story "Garnet Bracelet".
-- At what time does the story take place?
What role does the landscape play in conveying the mood of Vera Sheina? (slide 4).
(Kuprin draws a parallel between the description of the autumn garden and the internal state main character. "The trees calmed down, silently and obediently dropping yellow leaves." Princess Vera is in the same calm, prudent state, she has peace in her soul: “And Vera was strictly simple, cold with everyone ... kind, independent and royally calm.”)
How does Kuprin draw the main character of the story, Princess Vera Nikolaevna Sheina? (slide 5).
(The heroine's external inaccessibility, impregnability is stated at the beginning of the story by her title and position in society - she is the wife of the marshal of the nobility. But Kuprin shows the heroine against the backdrop of clear, sunny, warm days, in silence and solitude, which Vera rejoices, reminding, maybe howl, oh love for solitude and the beauty of nature Tatyana Larina (also, by the way, a princess in marriage).We see that outwardly royally calm, with everyone "coldly and condescendingly kind" with a "cold and proud face" princess (compare with the description of Tatiana in St. Petersburg, chapter eight, stanzaXVII: "But an indifferent princess, / But an impregnable goddess / Luxurious, regal Neva")- a subtly sensitive, delicate, selfless person: she tries to quietly help her husband "make ends meet", observing decency, still save money, since "I had to live above means." She dearly loves her younger sister (the author himself, chapter II, emphasizes their obvious dissimilarity both in appearance and in character), treats her husband with a “sense of strong, faithful, true friendship”, is childishly affectionate with “grandfather”, General Anosov, friend of their father.)
(Kuprin "collects" all actors stories, with the exception of Zheltkov, for the name day of Princess Vera. A small community of pleasant friends friend of people cheerfully celebrates the name day, but Vera suddenly notes that there are thirteen guests, and this alarms her: “she was superstitious.”)
- What gifts did Vera receive? What is their meaning?(Reading the description of gifts).
(The princess receives not just expensive, but lovingly chosen gifts: “beautiful pear-shaped pearl earrings” from her husband, “a small notebook in
amazing binding ... love work of the hands of a skillful and patient artist ”from my sister.)
What does Zheltkov's gift look like against this background? What is its value?(Reading the description of the bracelet) (slide 6).
(Gift Zheltkov- “golden, base, very thick, but puffy and with an outer
The sides are completely covered with small old, badpolished garnets ”the bracelet looks like a tasteless trinket. But its meaning and value are different. The thick red grenades under the electric light light up with living lights, and Vera comes to mind: “It’s like blood!” - this is another disturbing omen. Zheltkov gives the most valuable thing he has - a family jewel.)
- What is the symbolic meaning of this detail?
(This is a symbol of his hopeless, enthusiastic, disinterested, reverent love. Let us recall the gift left by Olesya to Ivan Timofeevich - a string of red beads.)
- How does the theme of love develop in the story?
(At the beginning of the story, the feeling of love is parodied. Vera’s husband, Prince Vasily Lvovich, a cheerful and witty man, jokes with Zheltkov, who is still unfamiliar to him, showing the guests a humorous album with a telegraph operator’s “love story” for the princess. However, the end of this funny story turns out to be almost prophetic: “Finally he dies, but before his death he bequeaths to give Vera two telegraph buttons and a bottle of perfume filled with his tears.")
8. Retelling of love stories told by General Anosov (slide 7).
Further, the theme of love is revealed in inserted episodes and acquires a tragic connotation. General Anosov tells his love story, which he will remember forever - short and simple, which in retelling seems to be just a vulgar adventure of an army officer. “I don’t see true love. And I didn’t see it in my time!” - says the general and gives examples of ordinary, vulgar unions of people concluded according to one or another calculation. “Where is the love? Love disinterested, selfless, not waiting for a reward? The one about which it is said - “strong as death”? .. Love should be a tragedy. The greatest secret in the world!" Anosov talks about tragic cases similar to such love. The conversation about love led to the story of the telegraph operator, and the general felt its truth: “maybe your life path, Verochka, has crossed exactly the kind of love that women dream of and that men are no longer capable of.”)
9. Continued conversation.
(Kuprin develops the theme of the “little man”, traditional for Russian literature. An official with the funny surname Zheltkov, quiet and inconspicuous, not only grows into a tragic hero, he, by the power of his love, rises above the petty fuss, comforts of life, decency. He turns out to be a man, not at all inferior in nobility to aristocrats. Love elevated him. Love became suffering, the only meaning of life. "It so happened that I am not interested in anything in life: neither politics, nor science, nor philosophy, nor concern for the future happiness of people- For me, my whole life is only in you,- he writes in a farewell letter to Princess Vera. Departing from life, Zheltkov blesses his beloved: "Hallowed be thy name." Here you can see blasphemy- for these are the words of a prayer. Love for the hero is above everything earthly, it is of divine origin. No "decisive measures" and "appeals to the authorities" can make people fall out of love. Not a shadow of resentment or complaint in the words of the hero, only gratitude for the "great happiness"- Love.)
10. Viewing the episode "Visit to Prince Shein and brother of Vera Nikolaevna Zheltkov" from the film "Garnet Bracelet".
- How do the participants in this scene behave?
What character traits does Yolk show in this episode?
How does he characterize the behavior and words of Nikolai Nikolaevich?
11. Reading the episode: Vera Sheina's farewell to the deceased Zheltkov (12 ch.).
Why do you think Vera cried? What caused the tears - "the impression of death" or something else? Maybe she realized that "a great love passed by her, which is repeated only once in a thousand years"? Or perhaps a reciprocal feeling awakened in her soul at least for a moment?
- What is the meaning of the image of the hero after his death?
(Dead Zheltkov acquires "profound importance,... as if, before parting with life, he had learned some deep and sweet secret that solved his whole human life. The face of the deceased reminds Vera death masks"great sufferers - Pushkin and Napoleon." So Kuprin shows the great talent of love, equating it with the talents of recognized geniuses.)
- What is the mood of the finale of the story? What role does music play in creating this mood?
(The ending of the story is elegiac, imbued with a feeling of light sadness, not tragedy. Zheltkov dies, but Princess Vera awakens to life, something previously inaccessible was revealed to her, that very “great love that repeats once every thousand years.” The heroes “only loved each other one moment, but forever". Music plays a big role in the awakening of Vera's soul. Beethoven's second sonata is in tune with Vera's mood, through music her soul seems to connect with the soul of Zheltkov.)
12.Main conclusions:
Can Zheltkov's feelings for Vera be called insanity?
(Find in the text the words of Prince Shein, which are the answer to the question posed. “I feel that this person is not capable of deceiving and lying knowingly ... ”(Ch. 10); “... I feel that I am present at some huge tragedy of the soul, and I cannot explain here” (ch. 11). And the prince’s appeal to his wife: “I will say that he loved you, but was not crazy at all”).
(The name George means victorious. Zheltkov is one of the victorious. Kuprin in his work painted a “small but great man”).
What do you think is the power of love?
And the main question of the lesson: “How does Kuprin solve the eternal problem of unrequited love?”
(Love elevates a person, transforms his soul. Love blossoms in Zheltkov’s heart and gives him “tremendous happiness.” He limited his life only to this feeling, neglecting everything else. This ideal, pure love elevates the “little man”, makes him significant in his own and other people's eyes. It is no coincidence that Vera saw in the face of the dead Zheltkov "deep importance", which could only be seen in the masks of such great people as Pushkin and Napoleon. Lyubov Zheltkova, the one that happens "once in a thousand years", remained immortal. It is this kind of love that was sung by Kuprin.Even in the 17th century, the famous playwright Jean-Baptiste Molière wrote about love:
The day would fade in the soul, and the darkness would come again,
Whenever on earth we banished love.
Only he knew bliss, who passionately did not live in his heart,
And who did not know love, he does not care,
That he didn’t live ...) (the teacher reads)
13. Reading a poem by A. Dementiev by heart.
The answer to the question about unrequited love can also be a poem by A. Dementiev.
Love is not only uplifting.
Love sometimes destroys us.
Breaks destinies and hearts...
Beautiful in her desires
She can be so dangerous
Like an explosion, like nine grams of lead.
She bursts in suddenly.
And you can't tomorrow
Don't see a pretty face.
Love is not only uplifting.
Love rules and decides everything.
And we go into this captivity.
And we do not dream of freedom.
While the dawn in the soul rises,
The soul does not want change.
(A. Dementiev)
14. Final word of the teacher
A special case is poeticized by Kuprin. The author talks about love, which is repeated "only once in a thousand years." Love, according to Kuprin, "is always a tragedy, always a struggle and achievement, always joy and fear, resurrection and death." The tragedy of love, the tragedy of life only emphasize their beauty.
Kuprin wrote to F. D. Batyushkov (1906): Individuality is expressed not in strength, not in dexterity, not in mind, not in talent, not in creativity. But in love!
And I would like to end today's lesson with a poem by Nikolai Lenau, an Austrian poet of the first half of the 19th century: “Be silent and die ...”, which, it seems to me, has a connection with the content of the story “Garnet Bracelet”:
Silence and perish... But sweeter,
Than life, magic chains!
Your best dream in her eyes
Search without saying a word! -
Like the light of a shy lamp
Trembling in the face of the Madonna
And, dying, catches the eye,
Her heavenly gaze is bottomless!
"Silence and perish" - this is the spiritual vow of a telegraph operator in love. But still, he breaks it, reminding himself of his only and inaccessible Madonna. This supports hope in his soul, gives him the strength to endure the suffering of love. Passionate, sizzling love, which he is ready to take with him to the other world. Death does not frighten the hero. Love is stronger than death. He is grateful to the one who evoked this wonderful feeling in his heart, which elevated him, a little man, above the vast vain world, the world of injustice and malice. That is why, when he passes away, he blesses his beloved: “Hallowed be thy name.”
15. Beethoven's second sonata sounds and the students read the finale of the story.
16.D/z.: Write an essay - reasoning "Unrequited love - "great happiness" or "great tragedy of the soul"?".
»
How does Kuprin draw the main character of the story, Vera Sheina?
How was the gift - a garnet bracelet - perceived by Vera and her family? What is its value? What is the symbolic meaning of this detail?
What does General Anosov say about love?
To whom and why does the author sympathize in the story?
What is the mood of the finale of the story? What role does music play in creating mood?
In whom and how was nobility manifested, in whom and how - spiritual poverty in the face of great and pure love?
Do you agree that the story depicts a cruel world? If so, how did you see this cruelty?
What do you think is the most exciting part of the story?
The theme of love, what is its tragedy in this story?
How did the death of a telegraph operator affect Vera Sheina?
Why does the story of Zheltkov's love for the princess continue to excite today?
A.I. Kuprin "Garnet bracelet» (questions of increased complexity are highlighted)
How does Kuprin draw the main character of the story, Vera Sheina?
How was the gift - a garnet bracelet - perceived by Vera and her family? What is its value? What is the symbolic meaning of this detail?
What does General Anosov say about love?
To whom and why does the author sympathize in the story?
What is the mood of the finale of the story? What role does music play in creating mood?
In whom and how was nobility manifested, in whom and how - spiritual poverty in the face of great and pure love?
Do you agree that the story depicts a cruel world? If so, how did you see this cruelty?
What do you think is the most exciting part of the story?
The theme of love, what is its tragedy in this story?
How did the death of a telegraph operator affect Vera Sheina?
Why does the story of Zheltkov's love for the princess continue to excite today?
1 option
When and where do the events in the play "At the Bottom" take place? Give a description of the hostel.
Divide all the characters into two groups according to social status.
Follow how the play "At the Bottom" develops its first story line(Vasilisa - Ashes). What characters does she capture? Where does it reach its apogee?
What unites the lonely inhabitants of the rooming house? Is it possible to consider only social oppositions as the main conflict of the play?
Where do you think the plot of the play is? What strings of the soul of the heroes does Luke touch with his speeches?
Interpret the parable of the righteous land told by Luke?
What is the purpose of Luke's "consolation": does he pursue selfish interests, or is his interference in the fate of other heroes caused by other motives? Why doesn't Luka try to "comfort" Bubnov and Satin?
With the plays of which Russian writer, Gorky's drama is comparable in its compositional organization?
Option 2
Give a generalized description of Kostylev and Vasilisa.
Do the heroes of the play glimmer of hope in the exposition? Prove it.
What is a monologue, dialogue, polylogue? What is their role in the play?
Restore the event rad of the play. What events take place on stage, and what - behind the scenes?
It is not for nothing that the Stranger bears the name of one of the apostles of Christ. What does he promise, what does he call for? Why does none of the promises benefit the inhabitants of the "bottom"?
Under what circumstances does Satine deliver his monologue about a person? What motivated his rebuff to the Baron? Does Satin condemn or defend Luca in his monologue?
Why is Luke's vital conclusion about a righteous land so attractive: "if you believe, it is"?
So what is more important: truth or compassion? Whose position - Luke or Sateen - is closer to you?
Luke and Satin: antipodes or kindred spirits? Why does Satine suddenly protect Luka after the old man leaves?
3 option
Has the life of the overnight shelters changed with the advent of Luke?
What do heroes live for? What do the inhabitants of the "bottom" dream about?
How does Luke comfort the bed-seekers? How do they feel about his words?
What attracts in the appearance and judgments of Luke? What do you take in it?
Is it Luka's fault for what happened in the last scenes?
Do the Actor, Pepel, Nastya change in the play? How and why?
Do the weak need lies? Is pity, empathy, compassion always humiliating?
Is a dispute about Truth and Man necessary in the play? How do you feel about the participants in the dispute and their positions?
Why did Gorky entrust an important monologue about a person to Satin?
4 option
What event overturned all the illusions sown by Luke?
What has changed in the life of the overnight shelters after the murder of Kostylev and the disappearance of Luka?
Which character's fates shocked you the most and why?
So what is more important: truth or compassion?
Determine the compositional elements of the play.
What is the outcome of the debate about truth?
What is Gorky's innovation as a playwright?
What is the philosophical meaning of the play?
Highlight recurring, mirroring episodes in the play. What is their role in the composition of the work?
Portrait of Zakhar. (1 point)
Score as many points as you can by answering the questions
Oblomov's portrait. (1 point)
Score as many points as you can by answering the questions
Score as many points as you can by answering the questions
1 option
Genre of the play "Thunderstorm"
What is the tragedy of Catherine?
Option 2
composition features.
3 option
The composition of the play.
Meaning of the play's title.
4 option
5 option
6 option
.
Control work on the work of S. Yesenin.
(Questions are chosen by the student at will)
What poems did S. Yesenin dedicate to the "smaller brothers"?
How does Yesenin depict nature?
Do you agree that Yesenin's early poems are "full of sounds, smells, colors"? justify your answer.
What are the brightest, most interesting comparisons, images, metaphors, other figurative means you met in the early poems of the poet?
What is the life of the village in Yesenin's early poems?
Is it possible to judge from this poetry how the village lived, what processes took place in it?
What poems of Yesenin, in your opinion, most expressively indicate that he is in love "in the fields, in his village sky, in animals and flowers"?
What feelings do Yesenin's famous poems about animals evoke.
What poems of Yesenin about the motherland seemed to you the most significant, interesting?
What is “new, unfamiliar, young” in the poem “Soviet Rus'”? Do you agree that Yesenin, judging by this poem, did not find a place for himself in this new one? Justify your answer.
Do you agree that when talking about himself to a bully, the poet is pretending? Justify your answer.
How do you understand the definition of "decadence"? Do you agree that "Moscow Kabatskaya" demonstrates "elements of social and literary decadence"? Justify your answer.
Do you agree that even in the most "tavern" poems, Yesenin remains a gentle lyricist? Justify your answer.
Answer two questions (optional)
What is the reason for the innovative nature of Mayakovsky's poetry?
Which artistic techniques uses Mayakovsky?
Why did the poet come to futurism?
What is the difference between the depiction of the revolution in the works of Mayakovsky and Blok?
“Mobilized and called by the revolution”... Confirm these words of Mayakovsky with the facts of his biography and work.
To whom are addressed satirical works Mayakovsky?
What place does the theme of the poet and poetry occupy in Mayakovsky's work?
Why did some modern critics want to "throw off the steamer of poetry" Mayakovsky himself? Are the poems of the poet relevant for today?
1 option
What did you learn about Katerina from Day 1? How is she different from other characters? Which of them is closest to Katerina?
Genre of the play "Thunderstorm"
What are the similarities and differences between the characters of Boris and Tikhon? How do they feel about Katherine?
What is the manifestation of the tyranny of the Wild?
In the scene of farewell to Tikhon, Katerina says: “Fathers, I am dying!” Explain the cause of Katerina's suffering. What struggle is going on in her soul?
What is the tragedy of Catherine?
Option 2
Who can we consider "masters" of life?
What do you know about the environment in which Katerina was brought up?
Why did Boris consider himself "a black sheep in the city of Kalinov"? Prove it.
composition features.
In act 1 of Thunderstorms, two characters talk about the beauty of nature. How are these statements different? What features of the characters are reflected in their words about nature?
Why didn't Ostrovsky name the drama "Thunderstorm" after the main character? moral sense contained in the title of the drama?
3 option
How is it different from the inhabitants of the city of Kuligin?
Tell us about the Kabanov family. What are the customs of this family?
The composition of the play.
Is Boris worthy of Katerina's love?
Could Katerina find happiness in the family? Under what conditions?
Meaning of the play's title.
4 option
By what laws do they live in the city of Kalinov?
Why did Katerina "wither" when she got into the Kabanovs' house?
Why can't Varvara understand Katerina's suffering?
Prove the correctness of Varvara's words that "to love Tikhon for what."
What is the main conflict?
Will the city of Kalinov be able to live in the old way after the death of Katerina?
5 option
Boris says about himself: “I am a free bird”, but, in fact, who is freer, Katerina or Boris?
Why does Katerina consider her love for Boris "criminal"?
Who can we consider "victims of the dark kingdom"?
Are tyrants sure that they are right?
Did Kabanikha lose or win?
Prove that Katerina's death is a protest?
6 option
Katerina is Greek for “pure.” Why does Ostrovsky give this name to his heroine?
Tell us about the relationship between mother and son (Kabanova and Tikhon). Love? Respect? Submission? Fear? Too lazy to argue?
The scene with the key, her role in the play.
Why does Kuligin ask Wild for money? How does this characterize him?
What actions and statements of Katerina testify to her honesty, desire for freedom, directness?
Can Katerina's suicide be considered a protest against Kaban's notions of morality? Did Katerina have another way out .
Do you see only the “peaceful and gentle” sides of the “Oblomovism” in the novel?
Compare Oblomovka's way of life with the Petersburg life of a hero. How are they similar and how are they different?
Does Stolz inspire confidence in you? Do you believe he is a "great fellow"? Why?
Can you call Stolz a "public figure"? What is the purpose of this hero?
What features of Olga Ilyinskaya would you call defining? Why?
Could you explain why Olga Ilyinskaya fell in love with Ilya Oblomov? Can you call their relationship love?
Is Oblomov modern today?
Can Oblomov cause sympathy? How?
Score as many points as you can by answering the questions
How did Olga Ilyinskaya meet Oblomov? (1 point)
Tell us about Oblomovka and its inhabitants? (1 point)
Portrait of Zakhar. (1 point)
Compare the attitude of Olga and Agafya Matveevna towards Oblomov. (2 points)
What is Stolz's lifestyle like? What are his moral ideals? (2 points)
Is it possible to characterize inner world Oblomov on the material of part 1. (2 points)
Why is the first part of the novel devoted to only one day of Oblomov? (3 points)
What novels are written by I. Goncharov? What is their main conflict? (3 points)
Why does Goncharov compare Oblomov's death with a dream? (3 points)
Score as many points as you can by answering the questions
Oblomov's portrait. (1 point)
How were the years of Elijah's apprenticeship? (1 point)
Tell us how Agafya Matveevna lived after the death of Oblomov? (1 point)
What feature of Oblomov did Goncharov want to emphasize with the words "the poets touched him to the quick"? (2 points)
Express your attitude to Oblomov, Stolz, Ilinskaya, Pshenitsyna (choice of two characters) (2 points)
Why Oblomov refuses the last meeting with Olga? (2 points)
Spend comparative analysis the life of Oblomov on Gorokhovaya, in the house of Pshenitsyna and the memoirs of Ilya Ilyich about Oblomovka. (3 points)
What literary character known to you can be compared with Oblomov at the first meeting? (3 points)
Why did Oblomov's spiritual death come before Stolz's physical one? (3 points)
Score as many points as you can by answering the questions
What does the situation in his apartment say about the character and lifestyle of the hero? (1 point)
Tell us about Oblomov's service in the office. (1 point)
Tell us about Andrei Stolz's parents. What principles did they follow in raising their son? (1 point)
Why, in your opinion, does the relationship between Olga and Oblomov have no future? (2 points)
When and under what circumstances does the word "Oblomovism" appear in the novel? (2 points)
Why is the first part of the novel devoted to only one day of Oblomov? (2 points)
Why did Olga's marriage with Stolz become possible only after Olga's love for Oblomov? (3 points)
What features bring Stolz closer to Oblomov? (3 points)
How will Andrey Oblomov grow up? (3 points)
Score as many points as you can by answering the questions
What two "misfortunes" occupy Oblomov? What difficulties does he see in solving these problems? (1 point)
Visitors to Oblomov. The purpose of their visits (1 point)
How did you spend free time I.I. Oblomov? (1 point)
Tell us about the relationship between Olga and Ilya. (2 points)
What place does Tarantiev occupy in the system of images of the novel? What is his role in Oblomov's life? (2 points)
How does Oblomov feel about the innovations in the village that Stolz talks about? (2 points)
Compare the life together of Olga Ilyinskaya and Andrey Stolz. Have they reached the ideal? (3 points)
What artistic details does the author use when creating Oblomov's portrait characteristics? (3 points)
What is the role of Pshenitsyna in Oblomov's life? (3 points)
Alexander Vasilievich Kuprin was born in 1880 in Borisoglebsk. His father was a teacher at the county school. Since 1893 the Kupriny family lived in Voronezh. Here Kuprin studied; then need forced him to work as a clerk at railway. During these years, the attraction to art led him to the evening classes of the Society of Art Lovers. Then, having decided to become an artist, in 1902 he went to St. Petersburg. There he studies at the school of A.E. Dmitriev-Kavkazsky, but in 1904 he leaves it and moves to Moscow. Here he entered the studio of KF Yuon. After staying there for two years, Kuprin begins to study at the Moscow School of Painting, Sculpture and Architecture. In school, he turns out to be a very quarrelsome student. In 1908, for the first time, he saw new French painting in private collections of Moscow patrons. He became interested in it and in the same year began to write and exhibit works in the spirit of this art. In 1909, he participated in the Golden Fleece salon, where everything that was created in those years in Moscow under the influence of the latest trends in French art was collected. This was not in vain for Kuprin. In 1910 he was forced to leave the school and since then he plunged headlong into experiments for many years. Kuprin becomes one of the active members of the association "". Since 1910, for almost fourteen years, he painted mainly still lifes. At first these were cubist works, then the geometric forms gradually soften in them. But all this remained within the framework of the Jack of Diamonds program. In 1920 he left for Nizhny Novgorod, where he directed the Nizhny Novgorod and Sormovo art workshops. The year of his return to Moscow (1924) proved to be a turning point for his art. He turns to a realistic landscape, and in 1926-1930. makes annual trips to Bakhchisaray, where he paints his first significant realistic paintings. In 1930-1934. a new period begins in his art. The artist is working on an industrial landscape, depicting factories in Dnepropetrovsk and Moscow, oil fields in Baku. During these years, he again turns to the Crimea, and just before the war, to the motives of Russian nature. Since 1945, the Crimean landscapes again captured the attention of the artist, and, finally, in his last works, he returned to industrial themes.
Kuprin survived, checked with his own hands, experienced almost all the artistic hobbies and manners that in the years of his youth embarrassed the souls of young artists. Kuprin was led to realism by the complex process of the formation of a new person and a new artist, the process of merging the artist's work with the social and artistic life of the country. It would be wrong to say that Kuprin in his youth and Kuprin the realist at the time of his creative maturity are two completely different artists. Eat certain system his creative interests, which were characteristic of the early and remained characteristic of the mature period of his art. This is attention to the emotional expressiveness of color, the desire for a strict constructiveness of the drawing, a keen interest in the rhythmic mood of the composition, which reveals the regularity of the structure of objects, landscape, etc. His work is characterized by great intellectual power; in love with the living beauty of nature, he is inspired by the desire to check his impressions with the mind, in his art there is a spark of creative, cognitive penetration into the world he depicts.
Even during his years of study at the Moscow School of Painting, Sculpture and Architecture, struck by the new French painting, Kuprin, with a fiery passion, turned to the search for an open, pure sound of color. It is known that in those years he, for example, painted a model with clean yellow. The young artist was interested in the expressiveness of color. The laconicism of elementary color combinations changed around the beginning of the 1910s. cubist hobbies. Kuprin was fascinated by the desire to find their internal structure in the visually perceived forms of the world, to discover an internal regularity in a seeming accident. This is how numerous still lifes appear, which the artist writes until about 1923. The main thing in them is a clear construction of generalized and geometric forms. These works are dominated by rigid volumes, subject to their own internal logic, not coinciding with the shape of objects. Moreover, the artist makes himself still lifes from dummies: he paints artificial flowers, models of fruits and fruits that he makes himself. Through these paintings passed, now fading, then gradually strengthening, the desire of the artist to capture the visible world not only with his eyes, but also with his mind, the desire to create an artistic program verified by himself, and not taken for granted.
Mallows on a black background (1910)
Nude model with a red ribbon in her hair and a blue tray (1910)
Landscape with a mountain. Goodouts (1911)
Gudauts. Home (1912)
Still life with bread (1914)
Still life with cactus (1917)
Still Life with a Pipe (1917)
Still life with a hat (1917)
Old Russian architecture. Moscow (1918)
Moscow. Landscape with a Church (1918)
Rural house. The village of Zyuzino (1918)
Large still life with artificial flowers, red tray and wooden plate (1919)
Still life on a round table. Milkman, copper coffee pot and red pepper (1919)
Still life with a statuette of B.D. Korolyov (1919)
Sokolniki. Tower (1919)
Tea shop (1919)
Fili. Kutuzov Church (1921)
Spring landscape. Apple tree in spring (1922)
Eastern City (1922)
Urban architectural motif (1922)
Still life (1922)
Landscape with Church (1922)
Ancient Castle (1922)
Church with a bell tower near the bridge (1922)
Bouquet of autumn leaves on a blue background. The village of Krylatskoe (1923)
Krylatskoe. Group of Trees (1923)
The desire to move away from abstract geometrism, to feel the real flesh of the depicted matter, is found in a still life painted in 1917 with an earthen jug. Lines, planes and faces of earlier still lifes are replaced here by the feeling of a heavy, weighty mass; the form is built primarily with the help of transitions of color tones, and the light-and-shadow modeling merges with the movement of color. Such painting is one of the most realistic variants of the art of "Jack of Diamonds".
Still life with earthenware jug and purple drapery on a round table (917)
During these years, another important process was going on. By the day the Soviet government moved from Petrograd to Moscow, he wrote, together with A.V. Lentulov, a banner that was raised on the building of the Moscow Soviet. In Nizhny Novgorod, he performs cubo-futuristic scenery for the theater production of Vasily Kamensky's play "Stepan Razin".
Lenin still life (1927)
Second half of the 20s. is considered the so-called first Bakhchisaray period of Kuprin's work. He wrote in those years a huge number of studies, in some of them we will find a well-known randomness of the composition, calculated to create the effect of a direct look at nature. In them, the color becomes dynamic and moving, and the geometrism of the drawing is replaced by a faster outline of objects. Of course, all these properties are only shades in the art of Kuprin, who retained his main qualities - the desire for constructiveness, logical harmony. Finally, we will see in his works of this time a gradually strengthening sense of the inner significance of the depicted motif of natures.
Bakhchisaray. Street with Three Figures (1927)
Bakhchisaray. Churuk-Su. Noon (1927)
Landscape with Moon (1927)
Evening in Bakhchisarai (1928)
Bakhchisaray. Evening. Churuk-Su River (1930)
Bakhchisaray. Abandoned Mosque (1930)
Bakhchisaray. Noon (1930)
Bakhchisaray. Rocks in the Russian Sloboda (1930)
Theodosius. Temple of the 11th century (1930)
Baku. Evening in the Old City (1931)
In the Crimea during these years, the artist paints his painting Poplars (1927). After the early still lifes of Kuprin, this picture looks like a real revelation. It sounds joyful, excited acceptance by the artist of a colorful picture of nature, captivating with its vibrant life. Immediate impressions of the landscape inspire this work. After still lifes, the artist's passion for a dynamic, moving picture of life is especially striking.
poplars. Bakhchisaray (1927)
The composition of the picture is built in steps going deep and upward. Behind the soft masses of greenery of the foreground, above the heavy geometric shapes houses, against the backdrop of mountains with their measured rhythms, the silhouettes of poplars ascend. They grow like jets of a fountain, beating upwards, and this movement, losing strength at the end, ends with soft outlines of peaks, and then, as it were, returns down again. Small, fractional spots of clouds are woven into this picture of nature, full of inner quivering. Kuprin enthusiastically talks about what he saw in southern nature, teaches him to see in it what an inattentive observer could not notice and not feel. In his eyes, mountains, and poplars, and the sky with clouds become a single material environment, embraced by a single life. And in painting itself, in the methods of writing, the artist makes the viewer perceive these ideas of his. The tops of the poplars are not just written against the sky, they are surrounded by the mass of the sky. Strokes of colors of light yellowish hues, with which Kuprin paints the evening sky, go around the outlines of poplars, as if describing them, accommodating trees in their environment. The tops of the poplars, laid with light strokes, seem to quickly ascend upwards, but lower, to the roots of the tree, the strokes of paint become thick and heavy, the paint seems to flow down, making it possible in the very texture of the painting to feel both the solid structure of the tree and the effect of the upward movement.
Urban landscape with a pink church. Twilight (1924)
Autumn Bouquet (1925)
Garden near Moscow. Ruza (1925)
Pink, purple and black flowers on a pink background (1926)
Kremlin in winter (1929)
1929 Sudak. Mount Saint George (1929)
Early 30s. gave completely new themes to art. At the turn of the 20-30s. the industrial theme attracts the attention of many artists. Those masters who at the initial stage of their work were associated with the "Jack of Diamonds" also turned to them. Kuprin turned in these years to the industrial landscape. From the work on industrial landscapes, the artist brought a new ideological beginning of his art. Working on these landscapes, Kuprin found himself at the forefront of Soviet artists who fought for the ideological significance and social effectiveness of art. His landscapes no longer look like a private conversation between the artist and nature. They sound the thoughts and feelings of the artist-public figure.
Factory near Moscow (1915)
Donbass (1921)
Dnepropetrovsk. Metallurgical plant them. G.I. Petrovsky. Blast shop (1930)
Dnepropetrovsk. Metallurgical plant them. G.I. Petrovsky-Cowper (1930)
Dnepropetrovsk coke plant (1930)
Baku. Oil fields. View from the Sea (1931)
Hammer and Sickle plant in Moscow. Martin shop. Steel casting (1931)
Moscow Metal Refinery Plant (1931)
The industrial landscape affirms the principle that human labor brings into nature. We are confronted by the close attention inherent in Kuprin to the active human principle in artistic image. The impression from nature becomes the living form in which the artist's thought is clothed, which carries a weighty social content. Landscape Kuprin, affirming the deed of man, becomes a document of the era of industrialization. In the first half of the 30s. the artist again returns to the familiar and well-known Bakhchisarai motifs. But in this second Bakhchisarai period, the thought that penetrates the life of nature organically merges with the brightness of the living impression.
Nasturtiums (1930)
Bouquet of wild flowers in a white vase on a black background (1939)
In 1937 Kuprin creates his own best work those years. This is his best canvas - "Beasal Valley"; here a rich and majestic world of nature, living by its own regularity, is created. In living, directly, visually convincing forms, the movement of the internal forces of nature is revealed. It is clear that these internal forces, with which the nature depicted in the picture is full, belong not so much to nature itself, but to a person, an artist who brings his thoughts and feelings into the landscape, finding an echo of his ideas in it. The naturalness of the color reproduction of objects is combined with the harmony of a single color scheme carefully worked out by the artist, which appears here as the fruit of the painter's complex generalizing work. The natural appearance of nature carries a carefully thought-out and richly developed system of spatial-volumetric and rhythmic construction of the picture.
Beasal Valley. Crimea (1937)
"Beasal Valley", in essence, completed the entire pre-war work of Kuprin. Since the end of the 30s. he begins to carefully work on the motives of the Central Russian landscape. They became the main thing in his art of the war years, when he, with the same subtlety and depth, as it was in the Crimean landscapes, captures the lyrical picture of a quiet summer evening. WITH new force Kuprin's art began to sound from 1945, when the artist again turned to the Crimean nature that he loved. This time, Kuprin's painting is increasingly characterized by the strength and severity of generalizing judgments.
1947 is a new stage in his art. It is marked by two large paintings. These are his Freezing Swamp and the Road to Beasaly. The artist's work is already at that stage of knowledge of nature, when he acquires the opportunity to freely narrate thoughts and reflections, operating with the motives of nature already implemented in his mind. Indeed, the composition of the painting "Road to Beasaly" is characterized by a stable balance. Rocks on the right and left, a road going straight into the depths along the bottom of the gorge, light mountains in the background - all this creates a panorama of majestic nature imbued with inner logic. The picture depicts people, but neither the scale of their figures, nor their feelings and content are commensurate with the content that fills the image of nature. Small figures of people only enrich the landscape, do not bring anything new into it. Nature lives according to its internal laws. The image of the picture is not imbued with direct human feelings and does not tell about the lyrical experiences of a person, but contains generalized philosophical judgments expressed in the forms of nature about the world, about its grandeur, about its greatness, about those forces living in it that a person comprehends with intellect, but not with feelings. . Accordingly, all means of artistic expression are subject to this task.
Road to Beasaly (1945-1946)
It would be wrong to believe that the art of Kuprin of the 40s and 50s. lost touch with living observation of life. During these years we meet sketches and paintings painted under the influence of direct impressions. In none of the new paintings we will find deviations from the truth of life. Undoubtedly, the artist's desire to operate with more generalized and cleared of private observations categories. Successes on this path are given only when the art of a landscape painter is armed with the experience of studying life, when he knows a lot about the nature that he captures in the picture, and about what can be expressed in a work of art in the visible forms of this nature.
In 1954, Kuprin was elected a corresponding member of the Academy of Arts of the USSR, and in 1956 he was awarded the title of Honored Artist of the RSFSR. But it didn't end there. creative way an artist who, all his life, tirelessly strived for truth and perfection, boldly turning, ignoring prejudices, to innovative searches. In March 1960, at an exhibition of Moscow artists, his last works, written for the first republican exhibition " Soviet Russia". Again, in his declining years, the artist was fascinated by industrial motifs - these are factory views painted based on materials from a trip to Tula in the summer of 1959.
The art of Kuprin passed the difficult path of testing. The laws of this path led him to the embodiment of his brightest, most intimate ideas about the creation of artistically perfect works. Alexander Vasilyevich Kuprin died in Moscow on March 18, 1960.
Still life with earthenware jug, blue glass and basket on a green tablecloth (1945)
The grave of I.K. Aivazovsky at the ancient Armenian temple (1946)
Trees in Kolomenskoye (1950)
Want to be always beautiful and irresistible? Richis double volume eyelash extensions will help you with this. Amazing results and reasonable prices.
How does Kuprin draw the main character of the story, Princess Vera Nikolaevna Sheina?
(The external inaccessibility, inaccessibility of the heroine is stated at the beginning of the story by her title and position in society - she is the wife of the leader of the nobility. But Kuprin shows the heroine against the background of clear, sunny, warm days, in silence and solitude, which Vera rejoices, reminding, perhaps, of love for solitude and the beauty of nature Tatyana Larina (also, by the way, a princess in marriage).We see that outwardly royally calm, with everyone "coldly and condescendingly kind", with a "cold and proud face" princess (compare with the description of Tatyana in St. Petersburg , chapter eight, stanza XX “But an indifferent princess, / But an impregnable goddess / Luxurious, regal Neva”) - a subtly feeling, delicate, selfless person: she tries to quietly help her husband “make ends meet”, observing decency, still saving , since "I had to live above means. " She dearly loves her younger sister (the author himself emphasizes their obvious dissimilarity both in appearance and in character, chapter II), with a "sense of lasting, faithful, true friendship" refers to her husband, childishly affectionate with "grandfather General Anosov, a friend of their father.)
(Kuprin “gathers all the characters in the story, with the exception of Zheltkov, for the name day of Princess Vera. A small community of people pleasant to each other celebrates the name day, but Vera suddenly notes that there are thirteen guests, and this alarms her: “she was superstitious.”)
What gifts did Vera receive? What is their meaning?
(The princess receives not just expensive, but lovingly chosen gifts: “beautiful earrings made of pear-shaped pearls” from her husband, “a small notebook in an amazing binding ... the love work of a skillful and patient artist” from her sister.)
What does Zheltkov's gift look like against this background? What is its value?
(Zheltkov’s gift is “gold, low-grade, very thick, but puffy and completely covered on the outside with small old, poorly polished grenades” the bracelet looks like a tasteless trinket. But its meaning and value are different. Thick red grenades under electric light light up alive lights, and Vera comes to mind: "Just like blood! - this is another disturbing omen. Zheltkov gives the most valuable thing he has - a family jewel.)
What is the symbolic meaning of this detail?
(This is a symbol of his hopeless, enthusiastic, disinterested, reverent love. Let us recall the gift left by Olesya to Ivan Timofeevich - a string of red beads.)
How does the theme of love develop in the story?
(At the beginning of the story, the feeling of love is parodied. Vera’s husband, Prince Vasily Lvovich, a cheerful and witty man, jokes with Zheltkov, who is still unfamiliar to him, showing the guests a humorous album with a telegraph operator’s “love story” for the princess. However, the end of this funny story turns out to be almost prophetic: “Finally he dies, but before his death, he bequeaths to give Vera two telegraph buttons and a perfume bottle filled with his tears.
Further, the theme of love is revealed in inserted episodes and acquires a tragic connotation. General Anosov tells his love story, which he will remember forever - short and simple, which in retelling seems to be just a vulgar adventure of an army officer. “I don’t see true love. And I didn’t see it in my time!” - says the general and gives examples of ordinary, vulgar unions of people concluded according to one or another calculation. “Where is the love? Love disinterested, selfless, not waiting for a reward? The one about which it is said - “strong as death”? .. Love should be a tragedy. The greatest secret in the world!" Anosov talks about tragic cases similar to such love. The conversation about love led to the story of the telegraph operator, and the general felt its truth: “maybe your life path, Verochka, has crossed exactly the kind of love that women dream of and that men are no longer capable of.”)
(Kuprin develops the theme of the “little man”, traditional for Russian literature. An official with the funny surname Zheltkov, quiet and inconspicuous, not only grows into a tragic hero, he, by the power of his love, rises above the petty fuss, comforts of life, decency. He turns out to be a man, not at all inferior in nobility to aristocrats. Love elevated him. Love became suffering, the only meaning of life. "It so happened that I am not interested in anything in life: neither politics, nor science, nor philosophy, nor concern for the future happiness of people - for me, all life is only in you - he writes in a farewell letter to Princess Vera. Departing from life, Zheltkov blesses his beloved: "Hallowed be thy name." Here you can see blasphemy - after all, these are the words of a prayer. Love for a hero is above all earthly, it is of divine origin. None "decisive measures" and "appeals to the authorities" cannot make you fall out of love. Not a shadow of resentment or complaint in the words of the hero, only gratitude for the "tremendous happiness" - love.)
What is the meaning of the image of the hero after his death?
(The dead Zheltkov acquires deep importance, ... as if, before parting with life, he had learned some deep and sweet secret that solved his whole human life. "The face of the deceased reminds Vera of the death masks of" the great sufferers - Pushkin and Napoleon. "Thus Kuprin shows the great talent of love, equating it with the talents of recognized geniuses.)
What is the mood of the finale of the story? What role does music play in creating this mood?
(The ending of the story is elegiac, imbued with a feeling of light sadness, not tragedy. Zheltkov dies, but Princess Vera awakens to life, something that was not available before was revealed to her, that very “great love that repeats once every thousand years.” The heroes “loved each other only one moment, but forever.” Music plays an important role in awakening the soul of Vera.
Beethoven's second sonata is consonant with Vera's mood, through the music her soul seems to connect with the soul of Zheltkov.)
Author informationKlimov Sergey Alexandrovich
Place of work, position:
Bilyar middle comprehensive school, teacher of Russian language and literature
Republic of Tatarstan
Characteristics of the lesson (classes)
The level of education:
Basic general education
The target audience:
Teacher (teacher)
Class(es):
Item(s):
Literature
The purpose of the lesson:
Educational: to cultivate a love for the artistic word; induce responsibility for the expression of human feelings, self-cultivation. Developing: to develop the creative abilities of students, the culture of dialogical communication during the discussion of the story, to develop the ability to highlight the main thing, to generalize and draw conclusions. Educational: to show Kuprin's skill in depicting the world of human feelings; the role of the detail in the story.
Lesson type:
Combined lesson
Students in the class (audience):
Used textbooks and study guides:
1. “Pourochnye developments in the literature of the twentieth century; Grade 11, 1 semester. - 4th ed., revised. And additional - M .; WAKO, 2005.
Used methodical literature:
1. L. Lyubimov "In a foreign land"; M.; 1963.
2. Chalmaev V.A., Zinin S.A. “Russian literature of the twentieth century: Textbook for grade 11: In 2 hours, Part 1. - 2nd ed., corrected. And additional - M .: "TID "Russian Word-RS", 2003.
3. The story of A.I. Kuprin "Garnet bracelet".
Used equipment:
recording of Beethoven's Second Sonata, overhead projector, portrait of AI Kuprin.
Short description:
Consolidation of material on the work of Kuprin
During the classes:
- organizational moment.
1) Teacher's word:
The story "Garnet Bracelet", written by Kuprin in 1910, is dedicated to one of the main themes of his creativity - love. The epigraph contained the first musical line from Beethoven's Second Sonata. Let us recall the statement of Nazansky, the hero of the "Duel", that love is a talent akin to a musical one. The work is based on real fact - history the love of a modest official for a secular lady, the mother of the writer L. Lyubimov.
2) Story prototypes:
Reading an excerpt from the memoirs of L. Lyubimov:
“In the period between her first and second marriages, my mother began to receive letters, the author of which, without naming himself and emphasizing that the difference in social status does not allow him to count on reciprocity, expressed his love for her. These letters were kept in my family for a long time, and I read them in my youth. An anonymous lover, as it turned out later, Yellow (in Zheltkov's story), wrote that he worked at the telegraph office, in one letter he said that under the guise of a floor polisher he entered my mother's apartment, and described the situation. The tone of the messages was grumbling. He was either angry with my mother, or thanked her, although she did not react to his explanations in any way ...
At first, these letters amused everyone, but then my mother stopped even reading them, and only my grandmother laughed for a long time, opening the next message from the telegraph operator in love.
And then there was a denouement: an anonymous correspondent sent my mother a garnet bracelet. My uncle and father, who was then my mother's fiancé, went to Zheltkov. But Yellow, like Zheltkov, lived on the sixth floor. He huddled in a shabby attic. He was caught writing another message. Father is more silent while explaining. He told me that he sensed some secret in Yellow, a flame of genuine selfless passion. Uncle got excited, was unnecessarily harsh. Yellow accepted the bracelet and grimly promised not to write to my mother again. This is how it all ended. In any case, nothing is known about his further fate.
3) Analytical conversation of a comparative nature:
How did Kuprin artistically transform the real story he heard in the family of a high-ranking official, Lyubimov?
What social barriers push the hero's love into the realm of an inaccessible dream?
Is it possible to say that the dream of Kuprin himself about an ideal, unearthly feeling was expressed in the “Garnet Bracelet”?
4) Conversation on the story "Garnet Bracelet".
-How does Kuprin draw the main character of the story, Princess Vera Nikolaevna Sheina?
(The external inaccessibility, inaccessibility of the heroine is stated at the beginning of the story by her title and position in society - she is the wife of the marshal of the nobility. But Kuprin shows the heroine against the background of clear, sunny days, in silence and solitude, which Vera rejoices in, perhaps recalling the love of solitude. She is a sensitive, delicate, selfless person. She tenderly loves her younger sister, treats her husband with a “sense of strong, faithful, true friendship”, and is childishly affectionate with her “grandfather”, General Anosov, a friend of their father).
(Kuprin “gathers” all the characters in the story, with the exception of Zheltkov, for the name day of Princess Vera. A small community of people pleasant to each other celebrates the name day, but Vera suddenly notes that there are thirteen guests, and this alarms her: “she was superstitious”).
- What gifts did Vera receive? What is their meaning?
(She receives not just expensive, but lovingly chosen gifts: “beautiful pear-shaped pearl earrings” from her husband, “a small notebook in an amazing binding ... the love work of a skillful and patient artist” from her sister).
-What does Zheltkov's gift look like against this background? What is its value?
(Gift from Zheltkov - “golden, low-grade, very thick, but puffy and completely covered on the outside with small old, poorly polished garnets” bracelet looks like a tasteless trinket. But its meaning and value are different. Thick red garnets light up alive under electric light lights, and Vera comes to mind: "Just like blood!" - this is another disturbing omen. Zheltkov gives the most valuable thing he has - a family jewel).
What is the symbolic meaning of this detail?
(This is a symbol of his hopeless, enthusiastic, selfless love).
How does the theme of love develop in the story?
(At the beginning of the story, the feeling of love is parodied. Vera’s husband, a cheerful and witty man, jokes with Zheltkov, who is still unfamiliar to him, showing the guests an album with a telegraph operator’s “love story” for the princess. But the end of the story is prophetic: “Finally, he dies, but before his death bequeaths to pass two telegraph buttons and a perfume bottle filled with his tears.
Further, the theme of love takes on a tragic connotation. General Anosov tells his love story, where love is people's marriages of convenience. The conversation about love leads to the story of the telegrapher, and the general felt its truth: “Your life path, Verochka, was crossed by exactly the kind of love that women dream of and that men are not capable of.”
(Kuprin develops the theme of the “little man.” An official with the funny surname Zheltkov, quiet and inconspicuous, not only grows into a tragic hero, but by the power of his love rises above the petty vanity of life. Love elevated him. Love became suffering, the meaning of his life. Departing from life, he blesses his beloved: “Hallowed be thy name.” Love for the hero is above everything earthly, it is of divine origin).
-What is the significance of the image of the hero after his death?
(The dead Zheltkov acquires "deep importance." The face of the deceased resembles the death masks of the "great sufferers - Pushkin and Napoleon." So Kuprin shows the talent of love, equating it with the talents of recognized geniuses)
What is the mood of the finale of the story? What role does music play in creating this mood?
( The final is imbued with a feeling of light sadness. Zheltkov dies, but Vera awakens, love is revealed to her. Music plays an important role in awakening the soul of Vera. Beethoven's second sonata is consonant with the mood of Ver, through music her soul unites with the soul of Zheltkov).
5) Final word from the teacher:
The author talks about love, which is repeated "only once in a thousand years." The tragedy of love, the tragedy of life only emphasizes this. Kuprin wrote: “Individuality is expressed not in strength, not in dexterity, not in mind, not in talent, not in creativity. But in love!
The melody of Beethoven's Second Sonata sounds .
- summarizing the lesson (active students receive grades in a diary and in a journal).
-Homework:
Prepare for writing an essay on the work of A.I. Kuprin.
