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 detail in the story; reveal the meaning of the symbolic images of the story.
Educational:
Awaken the desire of students to philosophize on the topic of love, learn to defend their opinions, citing compelling arguments from the text and from life.
Develop the ability to identify the main means of creating an artistic image.
Develop the ability to determine the function of artistic images in a text.
Educational:
To cultivate a reverent attitude towards the feeling of love as an eternal spiritual value of a person
Method: teacher's word, commented reading, analytical conversation, student retellings, expressive reading by heart, listening to audio recordings, watching film episodes, presentations.
Technologies: technology of problem-based learning (problematic question: “Understand how Kuprin resolves this eternal problem of unrequited love?”).
Lesson type: combined.
Lesson equipment: audio and video recordings, portrait of the writer, exhibition of books by A. I. Kuprin, presentation.
During the classes.
Epigraph:
Union of soul with dear soul.
Their unity, combination
And their fatal merger,
And the duel is fatal.
And which one is more tender?
The more inevitable and more certain,
It will finally wear out.
(F.I. Tyutchev)
As you understand from the epigraph, today in class we will talk to you about love.
But what kind of love? ( Undivided, misunderstood.)
Record the topic of the lesson.
3.The teacher’s word (slide 1).
The story “The Garnet Bracelet,” written by Kuprin in 1910, is dedicated to one of the main themes of his work—love. The epigraph of the story was the first line of music from Beethoven's Second Sonata. Let us remember the statement of Nazansky, the hero of “The Duel,” that love is a talent akin to musical talent. The work is based on a real fact - the love story of a modest official for a socialite, the mother of the writer L. Lyubimov.
4. Hteacher shadowing
“In the period between her first and second marriages, my mother began to receive letters, the author of which, without identifying himself and emphasizing that the difference in social status did not allow him to count on reciprocity, expressed his love for her. These letters were preserved in my family for a long time, and I read them in my youth. An anonymous lover, as it turned out later - Zhelty (in Zheltkov's story), wrote that he served at the telegraph (in 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 (in Kuprin, Shein again jokingly tells how Zheltkov, disguised as a chimney sweep and smeared with soot, enters Princess Vera’s boudoir). The tone of the messages was sometimes pompous, sometimes grumpy. He was either angry with my mother or thanking her, although she did not react in any way to his explanations...
At first, these letters amused everyone, but then (they arrived almost every day for two or three years) my mother even stopped reading them, and only my grandmother laughed for a long time, opening the next message from the loving telegraph operator in the morning.
<...>and my father, who was then my mother’s fiancé, went to see Yellow. All this happened not in the Black Sea city, like Kuprin, but in St. Petersburg. But Zhelty, like Zheltkov, actually lived on the sixth floor. “The spit-stained staircase,” writes Kuprin, “smelled of mice, cats, kerosene and laundry” - all this corresponds to what I heard from my father. Yellow lived in a squalid attic. He was caught composing another message. Like Kuprin’s Shein, the father remained 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 some kind of secret in Yellow, a flame of genuine selfless passion. My uncle, again like Kuprin’s Nikolai Nikolaevich, got excited and was needlessly harsh. Yellow accepted the bracelet and gloomily promised not to write to my mother again. That was the end of it. In any case, we know nothing 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 the high-ranking official Lyubimov?
What social barriers (and are they the only ones?) push the hero’s love into the realm of an unattainable dream?
Can we say that “The Garnet Bracelet” expressed Kuprin’s own dream of an ideal, unearthly feeling?
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”?
-- What time does the story take place?
What role does landscape play in conveying Vera Sheina’s mood? (slide 4).
How does Kuprin draw the main character of the story, Princess Vera Nikolaevna Sheina? (slide 5).
(The outward inaccessibility and 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 backdrop of clear, sunny, warm days, in silence and solitude, which Vera rejoices in, reminding, perhaps howling, of Tatyana Larina’s love for solitude and the beauty of nature (also, by the way, a married princess). We see that the princess is outwardly regal calm, “coldly and haughtily amiable” to everyone, with a “cold and proud face” (compare with the description of Tatyana in St. Petersburg, chapter eight, stanza XVII: “But an indifferent princess,/But an unapproachable goddess/The luxurious, royal Neva”)- a sensitive, delicate, selfless person: she tries to quietly help her husband “make ends meet”, maintaining decency, and still save, since “she had to live above her means.” She dearly loves her younger sister (their obvious dissimilarity in both appearance and character is emphasized by the author himself, the headII), treats her husband with a “feeling of strong, faithful, true friendship”, and is childishly affectionate with “grandfather”, General Anosov, a friend of their father.)
, friend of people
What gifts did Vera receive? What is their significance? (Reading descriptions of gifts).
(Princessreceives not just expensive, but lovingly chosen gifts: “beautiful earrings made of pear-shaped pearls” from her husband, “a small notebook in
How does Zheltkov’s gift look against this background? What is its value?
(Gift from Zheltkov-
- What is the symbolic meaning of this detail?
(This is a symbol of his hopeless, enthusiastic, selfless, reverent love. Let us remember the gift Olesya left for 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 the “love story” of the telegraph operator for 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 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 the retelling seems to be just a vulgar adventure of an army officer. “I don’t see true love. I haven’t seen it in my time either!” - says the general and gives examples of ordinary, vulgar unions of people concluded for one reason or another. “Where is the love? Is love unselfish, selfless, not waiting for 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 up the telegraph operator’s story, and the general felt its truth: “maybe your path in life, Verochka, was crossed by exactly the kind of love that women dream about and that men are no longer capable of.”)
9.Continuation of the conversation.
(Kuprin develops the traditional theme of the “little man” in Russian literature. An official with the funny surname Zheltkov, quiet and inconspicuous, not only grows into a tragic hero, he, with the power of his love, rises above the petty vanity, life's conveniences, and decency. He turns out to be a man in no way inferior in nobility to aristocrats. Love elevated him. Love has become suffering, the only meaning of life. “It so happened that nothing in life interests me: neither politics, nor science, nor philosophy, nor concern for the future happiness of people- - he writes in a farewell letter to Princess Vera. Leaving this life, Zheltkov blesses his beloved: “Hallowed be thy name.” Here you can see blasphemy- after all, these are the words of prayer. For the hero, love is above everything earthly; it is of divine origin. No amount of “decisive measures” or “appeals to the authorities” can make you stop loving. Not a shadow of resentment or complaint in the hero’s words, only gratitude for the “tremendous happiness”- Love.)
- How do the participants in this scene behave?
What character traits does Yolk show in this episode?
How do you 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 maybe a reciprocal feeling awakened in her soul at least for a moment?
- What is the significance of the image of a hero after his death?
(Dead Zheltkov acquires “deep importance,...
- What mood will the ending of the story have? 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 itself once every thousand years.” The heroes “loved each other only for a moment, but forever.” Music plays a big role in awakening the soul of Vera. Beethoven's second sonata is in tune with Vera's mood; through music her soul seems to connect with Zheltkov's soul.)
12.Main conclusions:
Can Zheltkov’s feeling for Vera be called madness?
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. Dementyev.
Love not only elevates.
Love sometimes destroys us.
Breaks destinies and hearts...
Beautiful in her desires,
She can be so dangerous
She bursts in suddenly.
And you can no longer tomorrow
Don't see a cute face.
Love not only elevates.
Love accomplishes and decides everything.
And we go into this captivity.
And we don’t dream of freedom.
While the dawn rises in the soul,
The soul does not want change.
(A. Dementyev)
14. Teacher's final words
A particular 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 this to F.D. Batyushkov (1906): Individuality is not expressed in strength, not in dexterity, not in intelligence, 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 perish...”, which, it seems to me, has a connection with the content of the story “Garnet Bracelet”:
To remain silent and perish... But dearer,
Than life, magical shackles!
Your best dream is in her eyes
Search without saying a word! -
Like the light of a shy lamp
Trembling in the face of the Madonna
And, dying, he catches the eye,
Her heavenly gaze is bottomless!
“Be silent and perish” - this is the spiritual vow of a telegraph operator in love. But still he violates it, reminding himself of his only and inaccessible Madonna. This supports hope in his soul and gives him 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 this wonderful feeling in his heart, which elevated him, a little man, above the huge, vain world, the world of injustice and malice. That is why, when leaving this life, he blesses his beloved: “Hallowed be thy name.”
16.D/z.: Write an essay - an argument “Unrequited love - “enormous happiness” or “enormous tragedy of the soul”?”
Download:
Preview:
Subject: The talent of love in A. I. Kuprin’s story “The 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 detail in the story; reveal the meaning of the symbolic images of the story.
Educational:
Awaken the desire of students to philosophize on the topic of love, learn to defend their opinions, citing compelling arguments from the text and from life.
Develop the ability to identify the main means of creating an artistic image.
Develop the ability to determine the function of artistic images in a text.
Educational:
To cultivate a reverent attitude towards the feeling of love as an eternal spiritual value of a person
Method: teacher's word, commented reading, analytical conversation, student retellings, expressive reading by heart, listening to audio recordings, watching film episodes, presentations.
Technologies: technology of problem-based learning (problematic question: “Understand how Kuprin resolves this eternal problem of unrequited love?”).
Lesson type: combined.
Lesson equipment:audio and video recordings, portrait of the writer, exhibition of books by A. I. Kuprin, presentation.
During the classes.
Epigraph:
Love, love, says the legend,
Union of soul with dear soul.
Their unity, combination
And their fatal merger,
And the duel is fatal.
And which one is more tender?
In the unequal struggle of two hearts,
The more inevitable and more certain,
Loving, suffering, passionately melting,
It will finally wear out.
(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 understand from the epigraph, today in class we will talk to you about love.
But what kind of love? (Undivided, misunderstood.)
Record the topic of the lesson.
3.The teacher’s word (slide 1).
The story “The Garnet Bracelet,” written by Kuprin in 1910, is dedicated to one of the main themes of his work—love. The epigraph of the story was the first line of music from Beethoven's Second Sonata. Let us remember the statement of Nazansky, the hero of “The Duel,” that love is a talent akin to musical talent. The work is based on a real fact - the love story of a modest official for a socialite, the mother of the writer L. Lyubimov.
4. Reading by the teacherexcerpt from L. Lyubimov’s memoirs 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 identifying himself and emphasizing that the difference in social status did not allow him to count on reciprocity, expressed his love for her. These letters were preserved in my family for a long time, and I read them in my youth. An anonymous lover, as it turned out later - Zhelty (in Zheltkov's story), wrote that he served at the telegraph (in 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 (in Kuprin, Shein again jokingly tells how Zheltkov, disguised as a chimney sweep and smeared with soot, enters Princess Vera’s boudoir). The tone of the messages was sometimes pompous, sometimes grumpy. He was either angry with my mother or thanking her, although she did not react in any way to his explanations...
At first, these letters amused everyone, but then (they arrived almost every day for two or three years) my mother even stopped reading them, and only my grandmother laughed for a long time, opening the next message from the loving telegraph operator in the morning.
And then came the denouement: an anonymous correspondent sent my mother a garnet bracelet. My uncle<...>and my father, who was then my mother’s fiancé, went to see Yellow. All this happened not in the Black Sea city, like Kuprin, but in St. Petersburg. But Zhelty, like Zheltkov, actually lived on the sixth floor. “The spit-stained staircase,” writes Kuprin, “smelled of mice, cats, kerosene and laundry” - all this corresponds to what I heard from my father. Yellow lived in a squalid attic. He was caught composing another message. Like Kuprin’s Shein, the father remained 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 some kind of secret in Yellow, a flame of genuine selfless passion. My uncle, again like Kuprin’s Nikolai Nikolaevich, got excited and was needlessly harsh. Yellow accepted the bracelet and gloomily promised not to write to my mother again. That was the end of it. In any case, we know nothing 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 the high-ranking official Lyubimov?(Kuprin idealized and elevated real vulgar history).
What social barriers (and are they the only ones?) push the hero’s love into the realm of an unattainable dream?(Between Princess Vera and the petty official Zheltkov, there are social barriers and partitions of class inequality. It is Vera’s social status and marriage that makes Zheltkov’s love unrequited and unrequited. The hero himself admits in his letter that he has received “only awe, eternal admiration and slavish devotion ".)
Can we say that “The Garnet Bracelet” expressed Kuprin’s own dream of an ideal, unearthly feeling?
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”.
-- What time does the story take place?
What role does landscape play in conveying Vera Sheina’s mood? (slide 4).
(Kuprin draws a parallel between the description of the autumn garden and the internal state of the main character. “The trees calmed down, silently and obediently dropped their 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... amiable, independent and royally calm.")
How does Kuprin draw the main character of the story, Princess Vera Nikolaevna Sheina? (slide 5).
(The outward inaccessibility and 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 in, reminding, maybe howling, about love for the solitude and beauty of nature of Tatyana Larina (also, by the way, a married princess). We see that the princess is outwardly regally calm, “coldly and haughtily kind” to everyone with a “cold and proud face” (compare with the description of Tatyana in St. Petersburg, chapter eight, stanzaXVII: “But an indifferent princess,/But an unapproachable goddess/The luxurious, royal Neva”)- a sensitive, delicate, selfless person: she tries to quietly help her husband “make ends meet”, maintaining decency, and still save, since “she had to live above her means.” She dearly loves her younger sister (their obvious dissimilarity both in appearance and in character is emphasized by the author himself, Chapter II), treats her husband with a “feeling of lasting, faithful, true friendship”, is childishly affectionate with her “grandfather”, General Anosov, their father's friend.)
(Kuprin “collects” all the characters in the story, with the exception of Zheltkov, on the name day of Princess Vera. A small company of pleasant friends friend of people celebrates her name day cheerfully, but Vera suddenly notes that there are thirteen guests, and this alarms her: “she was superstitious.”)
- What gifts did Vera receive? What is their significance?(Reading descriptions of gifts).
(The princess receives not just expensive, but lovingly chosen gifts: “beautiful earrings made of pear-shaped pearls” from her husband, “a small notebook in
amazing binding... a labor of love by the hands of a skillful and patient artist" from my sister.)
How does Zheltkov’s gift look against this background? What is its value?(Reading the description of the bracelet) (slide 6).
(Gift from Zheltkov- “golden, low-grade, very thick, but inflated and with an outer
The sides are completely covered with small antique, badpolished garnets,” the bracelet looks like a tasteless trinket. But its meaning and value lie elsewhere. The deep red grenades light up with living fires under the electric light, and it occurs to Vera: “It’s like blood!” - this is another alarming 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, reverent love. Let us remember the gift Olesya left for 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 the “love story” of the telegraph operator 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.”)
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 the retelling seems to be just a vulgar adventure of an army officer. “I don’t see true love. I haven’t seen it in my time either!” - says the general and gives examples of ordinary, vulgar unions of people concluded for one reason or another. “Where is the love? Is love unselfish, selfless, not waiting for 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 up the telegraph operator’s story, and the general felt its truth: “maybe your path in life, Verochka, was crossed by exactly the kind of love that women dream about and that men are no longer capable of.”)
9.Continuation of the 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, with the power of his love, rises above the petty vanity, life’s conveniences, 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 lies only in you,”- he writes in a farewell letter to Princess Vera. Leaving this life, Zheltkov blesses his beloved: “Hallowed be thy name.” Here you can see blasphemy- after all, these are the words of prayer. For the hero, love is above everything earthly; it is of divine origin. No amount of “decisive measures” or “appeals to the authorities” can make you stop loving. Not a shadow of resentment or complaint in the hero’s words, only gratitude for the “tremendous happiness”- Love.)
10.Viewing the episode “Visit to Prince Shein and Vera Nikolaevna Zheltkov’s brother” from the film “Garnet Bracelet”.
- How do the participants in this scene behave?
What character traits does Yolk show in this episode?
How do you characterize the behavior and words of Nikolai Nikolaevich?
11.Reading the episode: Vera Sheina’s farewell to the deceased Zheltkov (chap. 12).
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 maybe a reciprocal feeling awakened in her soul at least for a moment?
- What is the significance of the image of a hero after his death?
(Dead Zheltkov acquires “deep importance,... as if, before parting with life, he had learned some deep and sweet secret that resolved his entire human life.” The face of the deceased reminds Vera of the death masks of “the great sufferers - Pushkin and Napoleon.” This is how Kuprin shows the great talent of love, equating it with the talents of recognized geniuses.)
- What mood will the ending of the story have? 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 itself once every thousand years.” The heroes “loved each other only one moment, but forever." Music plays a big role in awakening Vera’s soul. Beethoven’s second sonata is in tune with Vera’s mood, through music her soul seems to connect with Zheltkov’s soul.)
12.Main conclusions:
Can Zheltkov’s feeling for Vera be called madness?
(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 knowingly lying...” (chap. 10); “...I feel that I am present at some enormous tragedy of the soul, and I cannot explain here” (chap. 11). And the prince’s address to his wife: “I will say that he loved you, and was not crazy at all”).
(The name Georgy means victorious. Zheltkov from 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 “enormous 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 in the eyes of others. 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. Love Zheltkov, the one that happens “once in a thousand years,” remained immortal. It is this kind of love that Kuprin praised.Back in the 17th century, the famous playwright J.-B. Moliere wrote about love:
The day would fade in my soul, and darkness would come again,
If only we would banish love from the earth.
Only he knew bliss who passionately touched the heart,
And whoever didn’t know love doesn’t care
That he didn’t live...) (teacher reads)
13.Reading a poem by A. Dementyev by heart.
The answer to the question about unrequited love can also be a poem by A. Dementyev.
Love not only elevates.
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 no longer tomorrow
Don't see a cute face.
Love not only elevates.
Love accomplishes and decides everything.
And we go into this captivity.
And we don’t dream of freedom.
While the dawn rises in the soul,
The soul does not want change.
(A. Dementyev)
14. Teacher's final words
A particular 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 this to F.D. Batyushkov (1906): Individuality is not expressed in strength, not in dexterity, not in intelligence, 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 perish...”, which, it seems to me, has a connection with the content of the story “Garnet Bracelet”:
To remain silent and perish... But dearer,
Than life, magical shackles!
Your best dream is in her eyes
Search without saying a word! -
Like the light of a shy lamp
Trembling in the face of the Madonna
And, dying, he catches the eye,
Her heavenly gaze is bottomless!
“Be silent and perish” - this is the spiritual vow of a telegraph operator in love. But still he violates it, reminding himself of his only and inaccessible Madonna. This supports hope in his soul and gives him 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 this wonderful feeling in his heart, which elevated him, a little man, above the huge, vain world, the world of injustice and malice. That is why, when leaving this life, he blesses his beloved: “Hallowed be thy name.”
15. Beethoven’s second sonata sounds and students read the ending of the story.
16.D/z.: Write an essay - an argument “Unrequited love - “enormous happiness” or “enormous tragedy of the soul”?”
»
How does Kuprin draw the main character of the story, Vera Sheina?
How did Vera and her family receive the gift of a garnet bracelet? What is its value? What is the symbolic meaning of this detail?
What does General Anosov say about love?
Who does the author sympathize with in the story and why?
What mood will the ending of the story have? What role does music play in creating mood?
In whom and how was nobility manifested, in whom and how was spiritual poverty manifested in the face of great and pure love?
Do you agree that the story depicts a cruel world? If so, where did you see this cruelty?
What do you think is the most exciting thing about the story?
The theme of love, what is its tragedy in this story?
How did the death of the telegraph operator affect Vera Sheina?
Why does Zheltkov’s love story for the princess continue to excite today?
A.I. Kuprin "Garnet Bracelet"» (tasks of increased complexity are highlighted)
How does Kuprin draw the main character of the story, Vera Sheina?
How did Vera and her family receive the gift of a garnet bracelet? What is its value? What is the symbolic meaning of this detail?
What does General Anosov say about love?
Who does the author sympathize with in the story and why?
What mood will the ending of the story have? What role does music play in creating mood?
In whom and how was nobility manifested, in whom and how was spiritual poverty manifested in the face of great and pure love?
Do you agree that the story depicts a cruel world? If so, where did you see this cruelty?
What do you think is the most exciting thing about the story?
The theme of love, what is its tragedy in this story?
How did the death of the telegraph operator affect Vera Sheina?
Why does Zheltkov’s love story for the princess continue to excite today?
1 option
When and where do the events take place in the play “At the Bottom”? Give a description of the shelter.
Divide all characters into two groups according to social status.
Follow how the play “At the Bottom” develops its first storyline (Vasilisa - Ashes). What characters does it capture? Where does it reach its apogee?
What unites the lonely inhabitants of the shelter? Can we consider the main conflict of the play only the opposition of the social plane?
Where do you think the plot of the play is? What strings of the heroes’ souls 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 intervention 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 is Gorky's drama comparable in its compositional organization?
Option 2
Give a general description of Kostylev and Vasilisa.
Is there a glimmer of hope for the characters in the play in the exhibition? 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 events happen behind the scenes?
It is not for nothing that the wanderer 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 Satin pronounce his monologue about a person? What motivated his rebuke to the Baron? Does Satin condemn or defend Luke in his monologue?
Why is Luke’s life conclusion about the righteous land so attractive: “if you believe, it is”?
So what is more necessary: truth or compassion? Whose position – Luke’s or Satina’s – is closer to you?
Luka and Satin: antipodes or kindred spirits? Why does Satin suddenly protect Luka after the old man leaves?
Option 3
Has the life of the night shelters changed with the appearance of Luke?
What do heroes live for? What do the inhabitants of the “bottom” dream about?
How does Luke console the homeless people? How do they feel about his words?
What is attractive about Luke’s appearance and judgment? What do you take in it?
Is it Luke's fault for what happened in the last scenes?
Do Actor, Ashes, Nastya change me in the play? How and why?
Do the weak need lies? Are pity, empathy, and compassion always humiliating?
Is a debate about Truth and Man necessary in the play? How do you feel about the participants in the dispute and their position?
Why did Gorky entrust Satin with an important monologue about a person?
Option 4
What event overturned all the illusions sown by Luke?
What changed in the lives of the night shelters after the murder of Kostylev and the disappearance of Luka?
Which characters' fates particularly shocked you and why?
So what is more needed: truth or compassion?
Identify 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 repeating, mirrored episodes in the play. What is their role in the composition of the work?
Portrait of Zakhar. (1 point)
Score as many points as possible by answering the questions
Portrait of Oblomov. (1 point)
Score as many points as possible by answering the questions
Score as many points as possible by answering the questions
1 option
Genre of the play "Thunderstorm"
What is Katerina's tragedy?
Option 2
Features of the composition.
Option 3
Composition of the play.
The meaning of the play's title.
Option 4
Option 5
Option 6
.
Test work on the works of S. Yesenin.
(Questions are chosen by the student at will)
What poems did S. Yesenin devote to the “lesser 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 most striking, interesting comparisons, images, metaphors, and other figurative devices you came across in the poet’s early poems?
What is village life like in Yesenin’s early poems?
Is it possible to judge from this poetry how the village lived, what processes took place in it?
Which poems by Yesenin, in your opinion, most clearly indicate that he is in love “with the fields, with his village sky, with animals and flowers”?
What feelings do Yesenin’s famous poems about animals evoke?
Which poems by Yesenin about his homeland seemed the most significant and interesting to you?
What is “new, unfamiliar, young” noted 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 the poet talks about himself as a hooligan, the poet is pretending? Justify your answer.
How do you understand the definition of “decadence”? Do you agree that Moscow Tavern demonstrates “elements of social and literary decadence”? Give reasons for 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 determines the innovative nature of Mayakovsky's poetry?
What artistic techniques does Mayakovsky use?
Why did the poet come specifically to futurism?
How is the depiction of the revolution different 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.
Who are Mayakovsky's satirical works addressed to?
What place does the theme of the poet and poetry occupy in Mayakovsky’s work?
Why did some modern critics want to “throw Mayakovsky himself off the boat of poetry?” Are the poet's poems 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 Katerina?
How does the Wild’s tyranny manifest itself?
In the scene of farewell to Tikhon, Katerina says: “Fathers, I am perishing!” Explain the reason for Katerina's suffering. What struggle is going on in her soul?
What is Katerina's tragedy?
Option 2
Who can we consider the “masters” of life?
What do you know about the environment in which Katerina was raised?
Why did Boris consider himself “the black sheep in the city of Kalinov”? Prove it.
Features of the composition.
In Act 1 of “The Thunderstorm,” two characters talk about the beauty of nature. How are these statements different? What traits of the characters are reflected in their words about nature?
Why didn’t Ostrovsky name the drama “The Thunderstorm” after the main character? What moral meaning is contained in the name of the drama?
Option 3
How is it different from the residents of the city of Kuligin?
Tell us about the Kabanov family. What are the morals of this family?
Composition of the play.
Is Boris worthy of Katerina's love?
Could Katerina find happiness in her family? Under what conditions?
The meaning of the play's title.
Option 4
What laws do they live by in the city of Kalinov?
Why did Katerina “wither” when she got to the Kabanovs’ house?
Why can’t Varvara understand Katerina’s suffering?
Prove the correctness of Varvara’s words that “there is a reason to love Tikhon.”
What is the essence of the main conflict?
Will the city of Kalinov be able to live as before after Katerina’s death?
Option 5
Boris says about himself: “I am a free bird,” but, in essence, 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 confident that they are right?
Did Kabanikha lose or win?
Prove that Katerina’s death is a protest?
Option 6
Katerina means “pure” in Greek. 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, its role in the play.
Why does Kuligin ask Dikiy for money? How does this characterize him?
What actions and statements of Katerina indicate her honesty, desire for freedom, directness?
Can Katerina’s suicide be considered a protest against Kabanov’s concepts of morality? Did Katerina have another way out? .
Do you see only the “peaceful and gentle” sides of “Oblomovism” in the novel?
Compare Oblomovka’s lifestyle with the hero’s life in St. Petersburg. How are they similar and how are they different?
Does Stolz inspire confidence in you? Do you believe he is a “magnificent fellow”? Why?
Can you call Stolz a “public figure”? What is the purpose of this hero’s activities?
What features of Olga Ilyinskaya would you call defining? Why?
Could you explain “why” Olga Ilyinskaya fell in love with Ilya Oblomov? Can their relationship be called love, in your opinion?
Is Oblomov modern today?
Can Oblomov evoke sympathy? How?
Score as many points as possible 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 towards Oblomov of Olga and Agafya Matveevna. (2 points)
What is Stolz's lifestyle like? What are his moral ideals? (2 points)
Is it possible to characterize Oblomov’s inner world based on the material of part 1. (2 points)
Why is the first part of the novel dedicated 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 to a dream? (3 points)
Score as many points as possible by answering the questions
Portrait of Oblomov. (1 point)
How were the years of Ilya’s apprenticeship? (1 point)
Tell us how Agafya Matveevna lived after Oblomov’s death? (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 towards Oblomov, Stolz, Ilyinskaya, Pshenitsyna (two characters to choose from) (2 points)
Why does Oblomov refuse the last meeting with Olga? (2 points)
Conduct a comparative analysis of Oblomov’s life on Gorokhovaya, in Pshenitsyna’s house and Ilya Ilyich’s memories of Oblomovka. (3 points)
What literary character do you know that Oblomov can be compared to when you first met him? (3 points)
Why did Oblomov’s spiritual death come before Stolz’s physical death? (3 points)
Score as many points as possible 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 the parents of Andrei Stolts. What principles guided them in raising their son? (1 point)
Why do you think the relationship between Olga and Oblomov has 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 dedicated to only one day of Oblomov? (2 points)
Why did Olga’s marriage to Stolz become possible only after Olga’s love for Oblomov? (3 points)
What features bring Stolz and Oblomov together? (3 points)
How will Andrei Oblomov grow up? (3 points)
Score as many points as possible by answering the questions
What two “misfortunes” occupy Oblomov? What difficulties does he see in solving these problems? (1 point)
Visitors to Oblomov. Purpose of their visits (1 point)
How did I.I. Oblomov spend his free time? (1 point)
Tell us about how the relationship between Olga and Ilya develops. (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 Andrei Stolts. Have they achieved the ideal? (3 points)
What artistic details does the author use when creating a portrait of Oblomov? (3 points)
What is Pshenitsyna’s role in Oblomov’s life? (3 points)
Alexander Vasilievich Kuprin born in 1880 in Borisoglebsk. His father was a teacher at a district school. Since 1893, the Kuprin family lived in Voronezh. Kuprin studied here; then need forced him to become a clerk on the railroad. During these years, his attraction to art led him to the evening classes of the Society of Art Lovers. Then, deciding 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 enters the studio of K.F. Yuon. After staying there for two years, Kuprin begins to study at the Moscow School of Painting, Sculpture and Architecture. At school he turns out to be a very difficult student. In 1908, he first saw new French painting in the private collections of Moscow patrons. I 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 has been painting mainly still lifes. At first these were cubist works, then the geometric shapes gradually softened 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) turned out to be a turning point for his art. He turned to realistic landscape, and in 1926-1930. makes annual trips to Bakhchisarai, 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, Crimean landscapes again captured the artist’s attention, and finally, in his last works he returned to industrial themes.
Kuprin survived, tested with his own hands, experienced almost all the artistic hobbies and manners that in his youth confused the souls of young artists. Kuprin was led to realism by the complex process of the formation of a new man and a new artist, the process of merging the artist’s creativity 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. There is a certain system of his creative interests, which were characteristic of the early period and remained characteristic of the mature period of his art. This is attention to the emotional expressiveness of color, the desire for strict constructiveness of the drawing, a keen interest in the rhythmic mood of the composition, which reveals the regularity of the structure of objects, landscapes, etc. His work is characterized by great intellectual power; in love with the living beauty of nature, he is inspired by the desire to test his impressions with his mind; in his art there shines the light of creative, cognitive insight into the world he depicts.
Even during his years of studying at the Moscow School of Painting, Sculpture and Architecture, amazed by the new French painting, Kuprin with fiery passion turned to the search for an open, pure sound of color. It is known that in those years he, for example, painted the model in pure yellow. The young artist was interested in the expressiveness of color. The laconism of elementary color combinations changed around the early 1910s. cubist interests. Kuprin was fascinated by the desire to find their internal structure in the visually perceived forms of the world, to discover an internal pattern in apparent randomness. This is how numerous still lifes appear, which the artist painted until about 1923. The main thing in them is the clear construction of generalized and geometric forms. These works are dominated by rigid volumes, subordinate to their internal logic, which do not coincide with the shape of the objects. Moreover, the artist creates still lifes from dummies: he paints artificial flowers, models of fruits and fruits, which he makes himself. Through these paintings passed, now fading, now gradually strengthening, the artist’s desire to embrace 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 on faith.
Mallows on a black background (1910)
Nude model with a red ribbon in her hair and a blue tray (1910)
Landscape with a mountain. Gudauty (1911)
Gudauty. At 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 Church (1918)
Rural house. Village of Zyuzino (1918)
Large still life with artificial flowers, red tray and wooden plate (1919)
Still life on a round table. Milkman, Brass Coffee Pot and Red Pepper (1919)
Still life with a statuette of B.D. Korolev (1919)
Sokolniki. Kalancha (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)
Temple with a bell tower near the bridge (1922)
Bouquet of autumn leaves on a blue background. Village of Krylatskoye (1923)
Krylatskoe. Group of Trees (1923)
The desire to move away from abstract geometricism and to feel the real flesh of the matter depicted is revealed in a still life with a clay jug written in 1917. The lines, planes and edges of earlier still lifes are replaced here by a feeling of 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. This painting represents one of the most realistic versions of the work of “Jack of Diamonds”.
Still life with a clay jug and purple drapery on a round table (917)
During these years, another important process took place. On the day of the move of the Soviet government from Petrograd to Moscow, he and A.V. Lentulov painted a banner that was raised on the building of the Moscow Council. In Nizhny Novgorod he performs cube-futuristic scenery for the theater production of Vasily Kamensky's play "Stepan Razin".
Lenin's still life (1927)
Second half of the 20s. is considered the so-called first Bakhchisarai period of Kuprin’s work. In those years he wrote a huge number of sketches, in some of them we will find a well-known randomness of composition, designed to create the effect of a direct look at nature. In them, color becomes dynamic and sliding, and the geometricism of the design is replaced by a faster outline of objects. Of course, all these properties are just shades in Kuprin’s art, which retained its basic qualities - the desire for constructiveness and logical harmony. Finally, we will see in his works of this time a gradually strengthening sense of the internal significance of the depicted motif of nature.
Bakhchisaray. Street with Three Figures (1927)
Bakhchisaray. Churuk-Su. Afternoon (1927)
Landscape with Moon (1927)
Evening in Bakhchisaray (1928)
Bakhchisaray. Evening. Churuk-Su River (1930)
Bakhchisaray. Abandoned Mosque (1930)
Bakhchisaray. Afternoon (1930)
Bakhchisaray. Rocks in Russkaya Sloboda (1930)
Feodosia. Temple of the 11th century (1930)
Baku. Evening in the Old Town (1931)
In Crimea during these years the artist painted his painting “Polars” (1927). After Kuprin’s early still lifes, this painting looks like a real revelation. It sounds like a joyful, excited acceptance by the artist of a colorful picture of nature, captivating with its vibrant life. Direct 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 painting is built in steps going deeper and upward. Behind the soft masses of greenery in the foreground, above the heavy geometric shapes of the houses, against the backdrop of the mountains with their measured rhythms, the silhouettes of poplars rise. They grow like the jets of a fountain, beating upwards, and this movement, losing strength at the end, ends with the 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 trepidation. Kuprin talks with enthusiasm about what he saw in southern nature, teaches him to see in it what an inattentive observer might not notice or feel. In his eyes, mountains, poplars, and the sky with clouds become a single material environment, embraced by a single life. And in painting itself, in his writing techniques, the artist forces the viewer to 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. The paint strokes of light yellowish shades, with which Kuprin paints the evening sky, go around the outlines of the poplars, as if describing them, incorporating the trees into their environment. The tops of the poplars, laid with light strokes, seem to quickly rise upward, 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 to feel in the very texture of the painting both the solid structure of the tree and the effect of the upward movement.
Cityscape 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 St. 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 to the industrial landscape during these years. From his work on industrial landscapes, the artist brought out a new ideological principle for his art. Working on these landscapes, Kuprin found himself in the vanguard 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 convey the thoughts and feelings of an artist-public figure.
Factory near Moscow (1915)
Donbass (1921)
Dnepropetrovsk Metallurgical Plant named after. G.I. Petrovsky. Blast furnace shop (1930)
Dnepropetrovsk Metallurgical Plant named after. G.I.Petrovsky-Kauper (1930)
Dnepropetrovsk coke plant (1930)
Baku. Oil fields. View from the Sea (1931)
The Hammer and Sickle plant in Moscow. Open-hearth workshop. Casting Steel (1931)
Moscow metal refinery plant (1931)
The industrial landscape affirms the beginning that human labor introduces into nature. We see Kuprin’s close attention to the active human principle in the artistic image. The impression of nature becomes the living form in which the artist’s thought, which carries significant social content, is clothed. Kuprin's landscape, affirming human action, 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, thought penetrating the life of nature organically merges with the brightness of living impressions.
Nasturtiums (1930)
Bouquet of wildflowers in a white vase on a black background (1939)
In 1937, Kuprin created his best work of those years. This is his best painting - “Beasal Valley”; here a rich and majestic world of nature is created, living by its own laws. The movement of the internal forces of nature is revealed in living, immediate, visually convincing forms. It is clear that these internal forces with which the nature depicted in the picture is full belong not so much to nature itself as to man, the artist, who brings his thoughts and feelings into the landscape, finding in it an echo of his ideas. The natural rendering of the colors of objects is combined with the harmony of a single color scheme carefully worked out by the artist, appearing here as the fruit of the artist’s complex generalizing work. The natural appearance of nature carries within itself a carefully thought-out and richly developed system of spatial-volumetric and rhythmic construction of the picture.
Beasal Valley. Crimea (1937)
“Beasal Valley” essentially completed Kuprin’s entire pre-war work. Already from the end of the 30s. he begins to carefully work on the motifs of the Central Russian landscape. They became central to his art during the war years, when he, with the same subtlety and depth as in the Crimean landscapes, captured the lyrical picture of a quiet summer evening. Kuprin’s art began to resound with renewed vigor in 1945, when the artist again turned to his beloved Crimean nature. This time, Kuprin’s paintings are increasingly characterized by the strength and rigor of generalizing judgments.
1947 - a new stage in his art. It is marked by two large paintings. This is his “Frozen Swamp” and “Road to Beasaly”. The artist’s creativity is already at that stage of knowledge of nature when he gains the opportunity to freely narrate thoughts and reflections, operating with the motives of nature already embodied in his mind. Indeed, the composition of the painting “Road to Beasaly” is characterized by stable balance. Rocks to 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 internal logic. The picture depicts people, but neither the scale of their figures, nor their feelings and content are commensurate with the content filling the image of nature. Small figures of people only enrich the landscape and do not introduce 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 man, but contains generalized philosophical judgments about the world, about its grandeur, about its greatness, about those forces living in it that man comprehends with his intellect, but not with his feelings, expressed in the forms of nature . Accordingly, all means of artistic expression are subordinate to this task.
Road to Beasaly (1945-1946)
It would be wrong to believe that Kuprin’s art of the 40s and 50s. lost touch with living observation of life. During these years we come across sketches and paintings written under the influence of direct impressions. In none of the new paintings will we find deviations from the truth of life. Undoubtedly, the artist’s desire to operate with categories that are more generalized and cleared of private observations. Success on this path comes 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 USSR Academy of Arts, and in 1956 he was awarded the title of Honored Artist of the RSFSR. But this did not end the creative path of the artist, who throughout his life tirelessly strived for truth and perfection, and boldly turned to innovative searches, regardless of prejudices. In March 1960, at an exhibition of Moscow artists, his latest works, written for the first republican exhibition “Soviet Russia,” were shown. Once 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.
Kuprin’s art went through a difficult path of testing. The patterns of this path led him to the embodiment of his brightest, most secret plans for creating 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 near the ancient Armenian temple (1946)
Trees in Kolomenskoye (1950)
Do you want to always be beautiful and irresistible? Double volume eyelash extensions from Richis will help you with this. Amazing results and reasonable prices.
Option I
To live is to live like this, to love is to fall in love. Kiss and walk in the lunar gold. If you want to worship the dead, then don’t poison the living with that dream.
S. Yesenin
You open the collected works of A.I. Kuprin and plunge into the wonderful world of his heroes. They are all very different, but there is something in them that makes you empathize with them, rejoice and be sad with them.
Despite the many dramatic situations, life is in full swing in Kuprin’s works. His heroes are people with an open soul and a pure heart, rebelling against the humiliation of man, trying to defend human dignity and restore justice.
One of the highest values in the life of A. I. Kuprin was love, therefore, in his stories “Olesya”, “Garnet Bracelet”, “The Duel”, “Shulamith” he raises this topic that is vital for all times. These works have common features, the most important of which is the tragedy of the fate of the main characters. It seems to me that in none of the literary works I have read does the theme of love sound like in Kuprin’s. In his stories, love is unselfish, selfless, not thirsty for reward, love for which to accomplish any feat, to go to torment is not work at all, but joy.
Love in Kuprin's works is always tragic; it is obviously doomed to suffering. It was this kind of all-consuming love that touched the Polesie “witch” Olesya, who fell in love with the “kind, but only weak” Ivan Timofeevich. The heroes of the story “Olesya” were destined to meet, spend wonderful moments together, experience a deep feeling of love, but they were not destined to be together. This outcome is due to many reasons, depending both on the characters themselves and on the circumstances.
The story “Olesya” is built on a comparison of two heroes, two natures, two worldviews. On the one hand, there is an educated intellectual, a representative of urban culture, the rather humane Ivan Timofeevich, and on the other, Olesya is a “child of nature,” a person who has not been influenced by urban civilization. Kuprin draws the appearance of the Polesie beauty, forcing us to follow the richness of shades of her spiritual world, always sincere and kind nature. Kuprin reveals to us the true beauty of the innocent, almost childish soul of a girl who grew up far from the noisy world of people, among animals, birds and plants. Along with this, Kuprin shows human malice, senseless superstition, fear of the unknown, the unknown. But true love conquers everything. A string of red beads is the last gift from Olesya’s heart, a memory “of her tender, generous love.”
Protesting against corrupt feelings and vulgarity, A. I. Kuprin created the story “Sulamith”. It was written based on the biblical “Song of Songs” by King Solomon. The king fell in love with a poor peasant girl, but because of the jealousy of the queen he abandoned, his beloved dies. Before her death, Shulamith speaks to her lover. “I thank you, my king, for everything: for your wisdom, to which you allowed me to cling to my lips, like to a sweet source... There has never been and never will be a woman happier than me.” The writer showed a pure and tender feeling: the love of a poor girl from a vineyard and a great king will never pass or be forgotten, because it is strong as death.
And how captivated I was by the plot of the story “The Garnet Bracelet,” which shows Zheltkov’s knightly romantic love for Princess Vera Nikolaevna! Love is pure, unrequited, selfless. No living conveniences, calculations, or compromises should concern her. Through the mouth of General Amosov, the author says that this feeling should not be frivolous, nor primitive, without profit or self-interest: “Love should be a tragedy. The greatest secret in the world! But! Gross interference in holy feelings, in a beautiful soul, killed Zheltkov. He leaves this life without complaints, without reproaches, saying like a prayer: “Hallowed be Thy name.” Zheltkov dies, blessing his beloved woman.
Many events take place before us on the pages of the story “The Duel”. The emotional climax is not the tragic fate of Romashov, but the night of love he spent with the captivating Shurochka. And the happiness experienced by Romashov on this pre-duel night is so great and impressive that it is precisely this that is conveyed to the reader.
This is how Kuprin describes love. You read and think: this probably doesn’t happen in life. But, despite everything, I want it to be like this.
Now, having read Kuprin, I am sure that these books do not leave anyone indifferent; on the contrary, they always beckon. Young people can learn a lot from this writer: humanism, kindness, spiritual wisdom, the ability to love, and most importantly, to appreciate love.
Option 2
And the heart burns and loves again - because it cannot help but love.
A. Pushkin
The work of Alexander Ivanovich Kuprin is closely connected with the traditions of Russian realism. In his work, the writer relied on the achievements of his three idols: Pushkin, Leo Tolstoy, Chekhov. The main direction of Kuprin’s creative search is expressed in the following phrase: “We need to write not about how people have become impoverished in spirit and vulgarized, but about the triumph of man, about his strength and power.”
The themes of this writer’s works are extremely diverse. But Kuprin has one cherished theme. He touches her chastely and reverently, but otherwise he cannot touch her. This is the theme of love.
For Kuprin, the true strength of man, capable of resisting the vulgarizing effects of false civilization, has always been selfless and pure love. In one of his works, the writer calls three manifestations of love: fanned with a “tender chaste fragrance”, “a powerful call of the body” and “luxurious gardens where every woman who loves is a queen, because love is beautiful!”
A new return to the theme of great, all-consuming love took place in the story “The Garnet Bracelet.” The hero of this story, the poor official Zheltkov, once met Princess Vera Nikolaevna and fell in love with her with all his heart. This love leaves no room for other interests of the lover. Zheltkov kills himself so as not to interfere with the princess’s life, and, dying, thanks her for the fact that she was for him “the only joy in life, the only consolation, the only thought.” This is a story not so much about love as a prayer to it. In his dying letter, the loving official blesses his beloved princess: “As I leave, I say in delight: “Hallowed be Thy name.” Especially in this story, A. I. Kuprin highlighted the figure of the old General Anosov, who is confident that high love exists, but it “... must be a tragedy, the greatest secret in the world,” without compromise. Princess Vera, a woman, for all her aristocratic restraint, very impressionable, capable of understanding and appreciating beauty, felt that her life had come into contact with this great love, sung by the best poets of the world. The love of the official Zheltkov is alien to that deep hiddenness in which noble modesty is intertwined with noble pride.
“Be silent and perish...” This talent was not given to Zheltkov. But for him, too, the “magic shackles” turned out to be dearer than life. The “little” man turned out to be higher and nobler than the representatives of the highest rung of the social ladder.
The story “Olesya” develops the theme of Kuprin’s creativity - love as a saving force that protects the “pure gold” of human nature from “degradation”, from the destructive influence of bourgeois civilization. It is no coincidence that Kuprin’s favorite hero was a man of strong-willed, courageous character and a noble, kind heart, capable of rejoicing in all the diversity of the world. The story “Olesya” is built on a comparison of two heroes, two natures, two worldviews. On the one hand, there is an educated intellectual, a representative of urban culture, the rather humane Ivan Timofeevich, on the other, Olesya is a “child of nature,” a person who has not been influenced by urban civilization. Compared to Ivan Timofeevich, a kind man, but a weak, “lazy” heart, Olesya rises with nobility, integrity, and proud confidence in her strength. Freely, without any special tricks, Kuprin draws the appearance of the Polesie beauty, forcing us to follow the richness of shades of her spiritual world, always original, sincere and deep.
“Olesya” is Kuprin’s artistic discovery. At the beginning, the story makes us go through the anxious period of the birth of love. The naive, charming fairy tale continues for almost a whole month. Even after the tragic ending, the bright, fairy-tale atmosphere of the story does not fade. Kuprin revealed to us the true beauty of the innocent, almost childlike soul of a girl who grew up far from the noisy world of people, among animals, birds and forests. But along with this, Kuprin shows human malice, senseless superstition, fear of the unknown, the unknown. A miraculously emerging sublime soul is forced to hide from cruel people and suffer from the indifference of its loved ones. But true love triumphed over all this. A string of red beads is the last tribute to Olesya’s generous heart, the memory of “her tender, generous love.”
The peculiarity of A. I. Kuprin’s artistic talent - a heightened interest in each human personality and mastery of psychological analysis - allowed him to master the realist heritage in his own way. The value of his work lies in the artistically convincing revelation of the soul of his contemporary. The writer considers love as a deep moral and psychological feeling. A. Kuprin's stories raise the eternal problems of humanity - the problems of love.
The purpose of the lesson: show Kuprin’s skill in depicting the world of human feelings; the role of detail in the story.
Lesson equipment: recording of Beethoven's Second Sonata.
Methodical techniques: commented reading, analytical conversation.
During the classes.
I. The teacher's word
The story “The Garnet Bracelet,” written by Kuprin in 1910, is dedicated to one of the main themes of his work - love. The epigraph contained the first line of music from Beethoven's Second Sonata. Let us remember the statement of Nazansky, the hero of “The Duel,” that love is a talent akin to music. (It is possible to listen to a musical excerpt.) The work is based on a real fact - the love story of a modest official for a society lady, the mother of the writer L. Lyubimov.
II. Story prototypes
The teacher reads the following 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 identifying himself, emphasized that the difference in social status did not allow him to count on reciprocity, and expressed his love for her. These letters were preserved in my family for a long time, and I read them in my youth. An anonymous lover, as it turned out later - Zhelty (in Zheltkov's story), wrote that he served at the telegraph (in 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 (in Kuprin, Shein again jokingly tells how Zheltkov, disguised as a chimney sweep and smeared with soot, enters Princess Vera’s boudoir). The tone of the messages was sometimes pompous, sometimes grumpy. He was either angry with my mother or thanking her, although she did not react in any way to his explanations...
At first, these letters amused everyone, but then (they arrived almost every day for two or three years) my mother even stopped reading them, and only my grandmother laughed for a long time, opening the next message from the loving telegraph operator in the morning.
And then came the denouement: an anonymous correspondent sent my mother a garnet bracelet. My uncle<...>and my father, who was then my mother’s fiancé, went to see Yellow. All this happened not in the Black Sea city, like Kuprin, but in St. Petersburg. But Zhelty, like Zheltkov, actually lived on the sixth floor. “The spit-stained staircase,” writes Kuprin, “smelled of mice, cats, kerosene and laundry” - all this corresponds to what I heard from my father. Yellow lived in a squalid attic. He was caught composing another message. Like Kuprin’s Shein, the father remained 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 some kind of secret in Yellow, a flame of genuine selfless passion. My uncle, again like Kuprin’s Nikolai Nikolaevich, got excited and was needlessly harsh. Yellow accepted the bracelet and gloomily promised not to write to my mother again. That was the end of it. In any case, we know nothing about his further fate.”
L. Lyubimov. In a foreign land, 1963
III. Analytical conversation of a comparative nature
How did Kuprin artistically transform the real story he heard in the family of the high-ranking official Lyubimov?
- What social barriers (and are they the only ones?) push the hero’s love into the realm of an unattainable dream?
- Can we say that “The Garnet Bracelet” expressed Kuprin’s own dream of an ideal, unearthly feeling?
- 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”?
- Compare the understanding of love in the works of Kuprin and Bunin (based on Kuprin’s “Olesya’s “Duel”, “Garnet Bracelet” and Bunin’s stories “Sunstroke” and “Clean Monday”). What brings these two writers of the same age together and how do they sharply differ in other components of creativity - the processing of life material, the degree of metaphorical prose, “plot construction,” the nature of conflicts?
IV. Conversation on the story “Garnet Bracelet”
- How does Kuprin draw the main character of the story, Princess Vera Nikolaevna Sheina?
(The outward inaccessibility and 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 backdrop of clear, sunny, warm days, in silence and solitude, which Vera rejoices in, perhaps reminiscent of love for the solitude and beauty of nature of Tatyana Larina (also, by the way, a princess in marriage). We see that outwardly regal calm, with everyone “cold and haughtily 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 unapproachable goddess / Of the luxurious, royal Neva”) - a sensitive, delicate, selfless person: she tries to quietly help her husband “make ends meet”, observing decency, still saving , since “I had to live above my means.” She dearly loves her younger sister (their obvious dissimilarity both in appearance and in character is emphasized by the author himself, Chapter II), with “a feeling of lasting, faithful, true friendship” she treats her husband, childishly affectionate with “grandfather General Anosov, a friend of their father.)
- What technique does the author use to more clearly highlight the appearance of Zheltkov in the story?
(Kuprin “gathers all the characters in the story, with the exception of Zheltkov, for the name day of Princess Vera. A small society of people who are pleasant to each other 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 significance?
(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 labor of love of the hands of a skillful and patient artist” from her sister.)
- How does Zheltkov’s gift look against this background? What is its value?
(Zheltkov’s gift - “a gold, low-grade, very thick, but exaggerated and on the outside completely covered with small old, poorly polished garnets” bracelet looks like a tasteless trinket. But its meaning and value lie elsewhere. Deep red garnets light up alive under electric light lights, and it occurs to Vera: “It’s like blood! - this is another alarming 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, reverent love. Let us remember the gift Olesya left for 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 the “love story” of the telegraph operator 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 the retelling seems to be just a vulgar adventure of an army officer. “I don’t see true love. I haven’t seen it in my time either!” - says the general and gives examples of ordinary, vulgar unions of people concluded for one reason or another. “Where is the love? Is love unselfish, selfless, not waiting for 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 up the telegraph operator’s story, and the general felt its truth: “maybe your path in life, Verochka, was crossed by exactly the kind of love that women dream about and that men are no longer capable of.”)
- How is Zheltkov and his love portrayed by the author? What traditional theme for Russian literature does Kuprin develop?
(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, with the power of his love, rises above the petty vanity, life’s conveniences, 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 consists only in you - he writes in a farewell letter to Princess Vera. Leaving this life, Zheltkov blesses his beloved: “Hallowed be your name." Here one can see blasphemy - after all, these are the words of a prayer. Love for the hero is higher than everything earthly, it is of divine origin. None "decisive measures" and "appeals to the authorities" cannot make one stop loving. Not a shadow of resentment or complaint in the hero's words, only gratitude for the "tremendous happiness" - love.)
- What is the significance of the image of a 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 resolved his entire human life." The face of the deceased reminds Vera of the death masks of "the great sufferers - Pushkin and Napoleon." So Kuprin shows the great talent of love, equating it with the talents of recognized geniuses.)
- What mood will the ending of the story be filled with? What role does music play in creating this mood?
(The ending of the story is elegiac, imbued with a feeling of light sadness, and not tragedy. Zheltkov dies, but Princess Vera awakens to life, something inaccessible to her was revealed to her, that same “great love that repeats itself once every thousand years.” The heroes “loved each other only one moment, but forever.” Music plays a big role in awakening Vera’s soul.
Beethoven's second sonata is in tune with Vera's mood; through music her soul seems to connect with Zheltkov's soul.)
V. Teacher's final words
A particular 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.
Let’s think about Kuprin’s words from a letter to F.D. Batyushkov (1906): “Individuality is not expressed in strength, not in dexterity, not in intelligence, not in talent, not in creativity. But in love!
The melody of Beethoven's Second Sonata sounds.
VI. Homework
Prepare for an essay based on the story of A.I. Kuprin.
Essay topics:
1. My thoughts about the story I read by A. I. Kuprin “The Garnet Bracelet.”
2. “...what was it: love or madness?” (Based on the story “Garnet Bracelet”)
Additional material (work on an essay)
1. Stages of working on an essay
During the discussion, students name eight stages of preparing for an essay:
1) thinking about the topic of the essay;
2) determining the main idea of the essay;
3) determining the genre of the essay;
4) selection of material (quotes, statements, etc.);
5) drawing up an essay plan;
b) thinking about the introduction to the main part;
7) drawing up a detailed plan for the main part;
8) analysis of the conclusion.
(“I chose the first topic. The main word in it, which I should rely on in my work on the essay, is “thoughts”: my thoughts about the characters and their feelings. I will write my essay in the genre of writing, the addressee of which is the author of the work - A.I. Kuprin, because I believe that when addressing a specific person, it is easier to express your thoughts.”
“I chose the second topic: “... what was it: love or madness”? It is more specific than the first topic. This is a reasoning essay, so it must have a thesis, i.e., an idea that needs to be proven, therefore, evidence and a conclusion are necessary. The main word in it is either “love” or “madness”, depending on what I’m going to prove.”)
3. Formulation of the idea of the essay.
(“The feelings of poor telegraph operator Georgy Zheltkov for Vera Sheina are love, not madness.”
“I tested myself - this is not a disease, not a manic idea - this is love with which God wanted to reward me for something.”
“The rarest gift of high love became the only content of Zheltkov’s life.”
“I believe that Zheltkov is not a madman, not a maniac, that his feelings for Vera are not madness, they are love, and I will try to prove my opinion.”
“Your story, dear Alexander Ivanovich, will help readers distinguish true love from infatuation.”)
4. Discussion by students of the selected material to substantiate the main idea of the essay.
Several students read out epigraphs, quotes taken from the text of the work that they will use to prove the idea of the essay, and try to justify their choice.
“As an epigraph to the essay, I decided to take the words of Shakespeare:
The agreement of the strings in the quartet tells us,
That the lonely path is like death.
Why did I choose this particular epigraph? I believe that these words echo the tragic fate of Zheltkov described in the story.”
(Epigraph - lines from Tyutchev’s poem:
Love, love, says the legend,
Union of soul with dear soul.
Their unity, combination
And their fatal merger,
And the duel is fatal.
And which one is more tender?
The more inevitable and more certain,
It will finally wear out.”
“It seemed to me,” said the prince, “that I was present at enormous suffering from which people were dying, and I even realized that in front of me was a dead man.” A. I. Kuprin
“I liked the words of Omar Khayyam:
Like the sun burns without burning out, love.
Like a bird of heavenly paradise - love.
But not yet love - nightingale moans,
Do not moan, dying of love - love!
It is these lines, in my opinion, that perfectly convey the meaning of Kuprin’s story “The Garnet Bracelet.” They very accurately define the image of the telegraph operator Zheltkov and his feelings for Princess Vera, which is why I take them as an epigraph to my essay.")
5. Drawing up an essay plan.
The plan is the framework of the essay. Without it, it is impossible to express your thoughts consistently and logically. Students read the written essay plans and comment on them.
1. Introduction. In it I will address the writer with words of greeting, since I am writing my essay in the epistolary genre.
2. Main part. I called it this: (My thoughts about the love described in the story “The Garnet Bracelet”:
a) General Anosov about love;
b) newfound feelings;
c) love and letters from Zheltkov;
d) soulless people;
e) last letter;
e) sonata number two.
3. Conclusion. M. Gorky about love. The meaning of the story “The Garnet Bracelet”.
“I will write my essay according to this plan:
1. Introduction. “The Theme of Love in the Works of Writers and Poets.”
2. Main part: What was it: love or madness? The main idea is in the following words: “I believe that Zheltkov is not a madman, not a maniac, that his feelings for Vera are not madness, but love.” As evidence, I cite Zheltkov’s letters to Vera.
The main part consists of points.
a) the depth of Zheltkov’s feelings;
b) Zheltkov’s last letter;
c) the attitude of Vera’s husband towards Zheltkov’s feelings and letters.
3. Conclusion. The meaning of the story “The Garnet Bracelet”.
6. Choice of introduction.
Introduction is the first point of the essay plan. The text begins with it. Its beginning should be bright, effective, arousing readers’ interest in the entire essay.
The teacher and students list and characterize the types of introductions.
1. Historical introduction (characterizes the era in which the work was created, or describes the history of its creation).
2. Analytical introduction (analyzes, explains the meaning of a word from the title of an essay or from a work).
3. Biographical (important information from the writer’s biography).
4. Comparative introduction (the approach of different writers to the disclosure of the same topic is compared).
5. Lyrical introduction (based on life or literary material).
(1. “Flipping through the tear-off calendar, I noticed a short parable by Felix Krivin. In it, he talks about how one day “Blinka fell in love with the Sun... Of course, it was difficult for her to count on reciprocity: the Sun has so much on Earth, where can he notice the small, unprepossessing Bylinka! And it would be a good pair - Bylinka and the Sun! But Bylinka thought that the pair would be good, and reached out to the Sun with all her might. She reached out to him so persistently that she stretched out into a tall, slender Acacia.
“Beautiful Acacia, Wonderful Acacia, who recognizes the old Bylinka in her! This is what love does sometimes, even unrequited love.”
What a beautiful fairy tale... - I thought. - But it reminds me of some kind of work. And suddenly the names surfaced in my memory: telegraph operator Zheltkov and Princess Vera... Bylinka - Zheltkov and the Sun - Vera.”
I think this is a lyrical introduction.
2. “Dear Alexander Ivanovich! An admirer of your work is writing to you. I address you with words of gratitude and respect for your wonderful creations. Your story “The Garnet Bracelet” aroused my particular interest. This work made a huge impression on me: I’m re-reading it for the third time.”
This introduction is lyrical.
3. “Love is a favorite theme of writers. In any work you can find pages dedicated to this feeling. Shakespeare subtly describes love in the tragedy “Romeo and Juliet”, Bulgakov - in the novel “The Master and Margarita”. Tyutchev has wonderful lines about love:
Love, love, says the legend,
Union of soul with dear soul.
Their unity, combination
And their fatal merger,
And the duel is fatal.
And which one is more tender?
In the unequal struggle of two hearts,
The more inevitable and more certain,
Loving, suffering, passionately melting,
It will finally wear out.
Kuprin dedicates his story “Garnet Bracelet” to love.”
This is a comparative introduction.)
During the discussion, students identify the advantages and disadvantages of the introductions they read. For example, in the last introduction, in their opinion, it is necessary to determine what kind of love is described in each of the named works.
7. Considering options for conclusion.
Students answer the question about what to write about at the end of the essay and read their own versions of the conclusion.
1. “In conclusion, you can write about the significance of Kuprin’s work, give statements about the writer and his work, express your opinion about the story you read.”
2. “Years will pass, but the ideal of love as a manifestation of the highest spiritual power of man will continue to live in the consciousness of Kuprin and be embodied in his new works.”
3. “This story is designed for a sophisticated reader who can deeply understand the soul of Kuprin’s heroes.”