The story of A.P. Chekhov's "Ionych" tells about the tragic transformation of a person into a layman. The work has a clear composition (it is divided into five parts), which helps to convey the gradual degradation of the protagonist - the zemstvo doctor Dmitry Ionych Startsev.
The second chapter of the story shows us the "beginning of the fall" of the hero. The author shows that Startsev's life is gradually immersed in the routine and emptiness of a provincial town. The young hero resists this as much as he can, so he is forced to spend all his time alone: "More than a year has passed in this way in labor and loneliness."
One of the few joys for Startsev, in his opinion, should have been communication with the "most educated and interesting" family in the city - with the Turkins. After a long break, he resumes communication with them - as a doctor treating Vera Iosifovna for migraines.
Has anything changed in the life of this family? The author shows that no, their life was just as “turned into” a routine, like everyone else in the city of S.: Kotik played her “tedious exercises on the piano”, “Ivan Petrovich was telling something funny” ... But there were changes in Startsev’s life: he became interested in Ekaterina Sergeevna.
The girl pretended not to notice the feelings of the young doctor. And really, why does she need them when Kotik dreams of the capital and the future of the great pianist? She condescendingly accepted Startsev's courtship - after all, it is pleasant for any girl, but she did not take them seriously.
Chekhov shows that the hero largely invented Kotik for himself, idealized her: “Even in the way her dress sat, he saw something unusually sweet, touching with its simplicity and naive grace. And at the same time, despite this naivety, she seemed to him very smart and developed beyond her years.
Was such Ekaterina Sergeevna really? Chekhov gives us a dialogue that clarifies the situation. Startsev asks Kotik about the last book she read. The girl replies: “Pisemsky. "A Thousand Souls" And what can she say about this work? Only that Pisemsky's name was "very funny" - Alexei Feofilaktych!
And one more detail confirms that Ekaterina Sergeevna, rather, “seemed” than “was” - “... during a serious conversation, it happened that she suddenly started laughing inappropriately or ran into the house.”
This time, too, Kotik ran away, leaving Startsev a farewell note. In it, she made an appointment for the hero - at the cemetery, "at eleven o'clock in the evening", "near the monument to Demetti".
This invitation caused a surge of various feelings and doubts in Dmitry Ionych, which mainly boiled down to one thing - “What will people think and say about this date and romance with Ekaterina Sergeevna as a whole?”
However, the thirst for love and new emotions drowns out the “voice of reason” of the hero for a while, and he goes to the cemetery. And here, in this place, far from worldly fuss, Startsev experiences feelings unexpected for himself. For the first time in his life, he felt peace, peace, harmony, merging with everything around him: “... a world where the moonlight is so good and soft, as if here is its cradle, where there is no life, no and no, but in every dark poplar, in every grave one feels the presence of a mystery that promises a quiet, beautiful, eternal life.
But soon this state of the hero developed into another - into "deaf longing for nothingness, suppressed despair ..." Perhaps what Startsev felt at the cemetery is a metaphor for his stay in the city of S., a reflection of his inner feelings with which did he live all this time? In the hustle and bustle of the day, there was no time and no opportunity to feel the “cry of the soul”, the despair of vegetation, to which the life of doctor Startsev was reduced. And this state manifested itself here - at night, in the cemetery.
But the hero's thoughts were occupied with something else - he was waiting for Kotik, already imagining the upcoming date. Chekhov shows that his hero longed for love, that he is capable of experiencing passion, desire, strong emotions: “Startsev thought so, and at the same time he wanted to shout that he wants, that he is waiting for love at all costs.”
But this state did not last long. Unrealized, it went into the depths of the hero's soul, like "the moon went under the clouds." Chekhov writes that "as if a curtain had fallen." This phrase, like many others in the second part of the story, is symbolic. It marks a certain stage in Startsev's life - his soul closed even more, degraded one more step, brought the doctor Startsev a little closer to Ionych.
This is evidenced by the last thought of the hero, which ends the chapter: “Oh, you shouldn’t gain weight!” A sharp transition from lofty thoughts to purely material, prosaic and even reduced physiological ones confirms the moral degradation of Startsev.
Thus, the second chapter of the story "Ionych" tells about a certain stage in the "fall" of Dr. Startsev. We see that, despite the aspirations of this person for strong emotions, a rich life, the “virus” of philistinism is already strong in him and, in the end, will win.
This is very well clarified by the scene in the cemetery, where, with the help of subtle details, Chekhov shows that the destructive routine of life has already defeated the hero. We understand that now only one path awaits him - the path down.
Abstract of an open lesson of literature on the topic "Tatiana's dear ideal ...".
(Comparative characteristics of Tatyana and Olga)
(12/18/2014)
Lesson Objectives:
Educational:
Developing:
Educational:
Methods and techniques:
analytical conversation;
cultural commentary;
presentation;
heuristic conversation;
verbal (the word of the teacher).
reproductive (talk about the story).
visual and illustrative (slides of a computer presentation).
partially - search (finding keywords in the text).
practical (reading text with stops)
Equipment: presentation, illustrations for the novel, portraits of the main characters.
Tatyana is an exceptional being,
Nature is deep, loving, passionate...
V.G. Belinsky
During the classes
I. Organizing time.
Guys, today we will continue working on the novel by A.S. Pushkin "Eugene Onegin". Our task is to reveal the images of Tatyana and Olga. And why do you think the lines of V.G. were taken as the epigraph to the lesson? Belinsky "Tatyana is an exceptional being, a deep, loving, passionate nature"? True, because it is Tatyana who is the ideal of A.S. Pushkin, the embodiment of Pushkin's ideas about the ideal woman. And we have to make sure of this.
II. 1. Introductory speech of the teacher.
The image of Tatyana is important for revealing the ideological meaning of the work. As for the image of Olga, it is not central, but her character serves not only as a background for the image of Tatyana, but is also interesting in itself.
Let's pay attention to the names of the heroines.
2. Cultural reference.
Tatyana is an ancient Greek name, "founder". From childhood, she is distinguished by emotionality, the keeper of the hearth, calm. With age, there is more tolerance.
Olga is an old Russian name, “holy, sacred”. Strong-willed, active, stubborn, in eternal problems. Serious, thoughtful, but very vulnerable and touchy.
By the end of the lesson, we will have to determine whether the characters of the heroines are similar to the meaning of their names.
3. Analysis of the second chapter of "Eugene Onegin".
Where does the second chapter start? (support with quotes from the text). (I)
(Begins with a description of the village where Eugene missed. Description of the village:
The village where Eugene missed,
There was a lovely corner;
There's a friend of innocent pleasures
I could bless the sky.
The master's house is secluded,
Protected from the winds by a mountain,
Stood over the river. away
Before him were full of flowers and blossomed
Meadows and fields of gold,
Villages flashed; here and there
The herds roamed the meadows,
And the canopy expanded thick
Huge, neglected garden,
Orphanage of pensive dryads.)
What does Onegin do in the village? (iv)
Alone among his possessions,
Just to pass the time
First conceived our Eugene
Establish a new order.
In his wilderness, the desert sage,
Yarem he is an old corvée
I replaced the quitrent with a light one;
What do the lines “he replaced the corvée with an old dues with a light yoke” mean? (cultural commentary )( Corvee is a duty served by serfs and temporarily obliged farmers in favor of the landowner, mainly for the provision of part of the land for their use. Obrok is an outgoing trade, usually unrelated to agriculture. Peasants brought money from quitrent. Quit was considered not only an easier form of serfdom, but also a way to the liberation of the peasants).
What is Onegin's relationship with his neighbors? (v) (At first, everyone came to him, but Onegin did not want to communicate with them, they seemed boring to him).
How does one get acquainted with Vladimir Lensky? (vi) (Handsome, in full bloom of years, an admirer of Kant and a poet, Vladimir was pure in soul, innocent, naive. His soul and mind aspired to the high and beautiful).
How was Lensky received in the village? (XII) (Like a bridegroom, since he was rich and good-looking).
What does Lensky think about this? Does he want to get married? (“Lensky, not having, of course, the desire to bear the bonds of marriage, with Onegin wished to make his acquaintance as short as possible”).
They agreed... Find the lines that describe Onegin's relationship with Lensky? (XIII) (Lensky and Onegin are opposite in their perception of life, in relation to it: on the one hand, a romantic who idealizes life, and on the other, a person who is disappointed in everything).
What brings Onegin and Lensky together? (xvi) (They are brought together by the range of socio-political, philosophical issues that was common to all advanced noble youth).
When does the acquaintance with Olga take place? Find its description. (XXI and XXIII)
A little boy, captivated by Olga,
I don't know the pain of the heart yet,
He was a touching witness
Her infantile amusements;
In the shadow of the protective oak forest
He shared her fun
And crowns were read to the children
Friends, neighbors, their fathers.
In the wilderness, under the shadow of the humble,
Full of innocent beauty
In the eyes of her parents, she
Bloomed like a hidden lily of the valley,
Unknown in the grass deaf
No moths, no bees.
Always humble, always obedient,
Always as cheerful as the morning
How simple is the life of a poet,
Like a kiss of love is sweet;
Eyes like the sky, blue
Smile, linen curls,
Everything in Olga ... but any romance
Take it and find it right
Her portrait: he is very sweet,
I used to love him myself
But he bored me to no end.
Allow me, my reader,
Take care of your big sister.
It would seem that the poet admires the purity and charm of the heroine. Pushkin painted a magnificent portrait of an impeccable beauty, but still does not consider her a model of perfection and an object of admiration. What confuses the poet? What shortcomings do we see in this standard of beauty? (XXIII)
but any novel
Take it and find it right
Her portrait: he is very sweet,
I used to love him myself
But he bored me to no end.
Allow me, my reader,
Take care of your big sister.
So, she was called Tatyana.
Nor the beauty of his sister,
Nor the freshness of her ruddy
She would not attract eyes.
Dika, sad, silent,
Like a forest doe is timid,
She is in her family
Seemed like a stranger girl.
She couldn't caress
To my father, not to my mother;
A child by herself, in a crowd of children
Didn't want to play and jump
And often all day alone
She sat silently by the window.
How does Pushkin portray the Larin family? (XXIX) (Tatyana's father considered books an empty toy, although he never read them himself, did not particularly care about his daughter, his wife loved Richardson. She was always dressed in fashion, she was taken to the crown without asking her advice, she cried at first, with her husband a little not divorced, but then got used to it, took up housekeeping and discovered the secret of how to manage her husband).
Find the lines describing what the wife did behind her husband's back. (XXXII) (She kept expenses, gave her peasants as soldiers, beat the maids angry - all this without asking her husband).
How did her husband treat her? (XXXIV) (He loved her, believed her, and he ate and drank in a dressing gown).
How did they feel about Russian traditions? (XXXV) (They had pancakes for Shrovetide, fasted twice a year, and three “dropped tears” on the Trinity, dishes were brought to their guests at the table according to their ranks).
Tatyana's father dies, Vladimir Lensky visits his monument. What does he remember at this moment? (XXXVII) (He recalls how Dmitry held him in his arms, how he played with his medal, recalls that Dmitry wanted to give Olga for him).
4. Analysis of the third chapter of "Eugene Onegin".
- At the beginning of the third chapter, we learn that Lensky spends all his evenings with the Larins. What does Onegin say about this? (I) (He does not understand what a friend found interesting in the company of this family, where there is only talk about “rain, about flax, about the barnyard”).
What is Lensky's answer to this? (II) (“I hate your fashionable light, dearer to me is the home circle”). Surprised Onegin asks to be introduced to this family.
How does Onegin meet the Lensky family? (III) (When Onegin came to the Lenskys, they began to prepare treats).
On the way back from the Larins, Onegin shares his impressions with Lensky (V)
Say: which Tatiana?
- Yes, the one that is sad
And silent, like Svetlana,
She went in and sat by the window. -
"Are you in love with a smaller one?"
- And what? - "I would choose another,
When I was like you, a poet.
What does Onegin say about Olga? (v) (In Olga's features there is no life, she is round, red in the face, like this stupid moon.)
What impression did the appearance of Onegin make on the Lenskys? (vi) (It was decided that Tatyana had a fiancé, they even said that the matter had already been coordinated and that the wedding was about to be scheduled).
But Tatyana at this time is thinking about something else. Find the lines confirming Tatyana's love for Onegin. (VII and IX) (The time has come, she fell in love. Now with what attention she reads a sweet novel, Yulia Wolmar's lover, Malek-Adel and Werther have clothed themselves in a single image, merged in one Onegin).
What feelings does Tatyana experience at this moment? (xvi) (Feelings of longing and sadness).
What is Tatyana talking about with the nanny? (XVII) (Nanny tells how she got married.
Yes, it looks like God ordered it. My Vanya
Younger than me, my light,
And I was thirteen years old.
For two weeks the matchmaker went
To my family, and finally
Father blessed me.
I cried bitterly from fear
They untwisted my braid with weeping
Yes, with singing they led to the church.
Then the nanny notices that Tatiana is not listening to her. What does Tatiana say to this? (XIX, XX) ("I'm not sick: I ... you know, nanny ... in love").
It should be noted that Tatyana's letter is a translation from French. Writing in French, thinking in a foreign language is an indicator of high education, which is typical for any Russian nobleman of that time.
What happens after Tatyana wrote the letter? (Having sealed the letter, Tatyana asks the faithful nanny to send her grandson with a letter to Onegin. A day passed, another, and there was still no answer. Lensky arrives, but alone).
What does Tatyana feel at this moment? (XXXVIII) (“The soul in her ached, and her languid gaze was full of tears”).
Suddenly she hears a horse stomp... She runs into the garden and sees Eugene.
But the consequences of an unexpected meeting
Today, dear friends,
I am unable to retell;
I must after a long speech
And take a walk and relax:
I'll finish it somehow.
III. Summarizing.
Today we have analyzed the characters of Tatyana and Olga, determined how they are different. Let's go back to the meanings of the names of Olga and Tatyana and answer the question of whether the characters of the heroines converged with the meaning of their names.
IV. Homework.
V. Estimates.
Language teacher: ________________________________
Methodist: ___________________________________________
Analysis of the literature lesson "Tatiana's dear ideal ..."
Literature lesson on the topic "Tatiana's dear ideal ...". The theme corresponds to the thematic plan. This lesson is the third in the study of the novel by A.S. Pushkin "Eugene Onegin".
I have set the following goals:
Educational:
to make a comparative analysis of the images of Tatyana and Olga;
Developing:
continue the development of figurative-analytical thinking, the ability to analyze, compare, generalize, systematize;
continue to develop the ability to work with text, quickly navigate it.
Educational:
cultivate a love for art;
to continue the formation of moral values.
The goals set for students contribute to the formation of positive motivation and an increase in interest in learning activities. When developing the lesson, the age characteristics of the students, the individual abilities of each were taken into account.
Type of lesson: combined (teacher's story about the novel, analysis of the 2nd and 3rd chapters, expressive reading of passages).
The following teaching methods were used during the lesson:
1. Verbal (the word of the teacher).
2. Reproductive (talk about the story).
3. Visual and illustrative (slides of a computer presentation).
4. Partially - search (finding keywords in the text).
5. Practical (reading text with stops)
The lesson was conducted taking into account the requirements from the standpoint of preserving the health of students. First, there was no overload of theoretical material; secondly, the types of learning activities were varied: listening, writing, reading, answering questions; thirdly, various methods were used: visual, verbal, commented reading method.
The classroom was prepared for the lesson. In order to save time, the necessary data was written on the board.
The lesson included the following steps:
1. Organizational moment (2 minutes);
2. Analysis of the chapters dedicated to Tatyana and Olga (30 minutes);
3. Commented reading of the text (10 minutes);
4. Summing up and defining homework (3 minutes).
The lesson began with an organizational moment. In addition to the mutual greeting of the teacher and students, the readiness of the students for the lesson was established, the topic was announced. The students wrote down in their notebooks the number and the topic of the lesson "Tatiana's dear ideal ...".
The second stage of the lesson was the analysis of the 2nd and 3rd chapters of the novel "Eugene Onegin". The students answered the questions and read passages from the text to prove their words.
In order to understand how well the students learned the material studied, the results of the lesson were summed up.
At the end of the lesson, grades were given, some students were given recommendations, and homework was assigned.
The performance of students in the classroom was ensured through the use of innovative communication technologies, creating a positive emotional mood and a favorable psychological atmosphere, picking up interesting, rich material that has theoretical, practical and cognitive significance.
Focusing on the level of preparation and speech abilities of students, I applied a differentiated approach.
Lesson performance is good.
Given the large class size, I tried to involve all students in different types of work, taking into account the level of their communicative activity.
There was no overload of children.
Lesson objectives completed. This was helped by a clear planning of the structure of the lesson, the use of various forms of teaching, carefully thought-out methods and techniques for presenting educational material.
In my opinion, all stages of the lesson were successfully implemented.
During the lesson, I tried to build my speech competently, expressively, politely. The lesson was built methodically competently: the presence of a clear structure, the implementation of each stage by appropriate methods.
Demandingness and tact characterized the relationship with the children in the lesson. I tried to treat them good-naturedly, responded to their every question. Students, in turn, actively worked at the lesson, answered questions.
I believe that the lesson I taught was effective: the goals set were achieved, all the stages were implemented, the time frames were observed.
The main difficulties that I encountered in the lesson were the problem of simultaneous presentation of material and control over discipline. Those guys who behaved in the lesson not in the best way, I tried to captivate with work, asked additional questions.
If I had the opportunity to lead this lesson again, then I would give advanced assignments on the topic in order to maximize the involvement of students in the work.
A dispute between friends broke out at the moment when Stoltz once again calls Oblomov to go somewhere, to do something, and they travel for a whole week on all sorts of business. “Oblomov protested, complained, argued, but was carried away and accompanied his friend everywhere,” the author writes. But the next evening, “returning from somewhere late,” Oblomov exploded: “I don’t like this Petersburg life of yours!” After Stolz's question: "Which one do you like?" - Oblomov burst into a sharp, caustic and long monologue about the meaningless fuss, in which there is no "integrity" and there is no person who "exchanged for every little thing." Oblomov’s long satirical speeches expose both the world and society, and card games without the “task of life”, and the activities of youth, and the absence of a “clear, calm look”, and the “non-awakening dream”, in which the fussy and active, first glance, society. In this monologue, only occasionally interrupted by Andrey with short, sharp objections or questions, Oblomov's remarkable mind and satirical talent are revealed.
The monologue of Ilya Ilyich ends with the key phrase: “No, this is not life, but a distortion of the norm, the ideal of life, which nature has indicated as the goal of man ...” To Andrei’s question, what is this ideal, Oblomov did not find an answer immediately, but only after a long dialogue with short remarks of both. Stolz in this dialogue ironically teases Oblomov's awkward attempts to explain at least something to a friend, but then, apparently irritated by this irony, Ilya Ilyich begins to describe in detail how he would "spend his days." This description is long, kind and poetic, even the rather dry Stolz remarks: “Yes, you are a poet, Ilya!” Inspired, Oblomov, who seized the initiative at this time of the conversation, exclaims: “Yes, a poet in life, because life is poetry. It is free for people to distort it.” Oblomov's ideal is not in immobility, into which he seems to have plunged now, Ilya, on the contrary, is very mobile and poetic in this story, this ideal lies in the fact that everything should be “to your liking”, sincerely, honestly, freely, measuredly, “what is in eyes, in words, then in the heart. And he, Oblomov, actively participates in this life: he makes and gives his wife a bouquet, carries on a conversation with sincere friends, fishes, takes a gun, although, of course, Oblomov’s immobility and gluttony often slip through this story. "That's life!" - sums up Oblomov and immediately stumbles upon an alternative answer: “This is not life!” And it is at this moment that the word “Oblomovism” appears for the first time on the stage of the novel, which Stolz pronounces. Then, with each new objection by Oblomov, he repeats this word in various interpretations, while not finding more convincing arguments against Oblomov's logic that all Stoltsev's "running around" is the same "workout of peace", has the same goal: "Everything looking for rest and peace.
Here, Stoltz still manages to seize the initiative by reminding him of the joint dreams of youth, after which Oblomov’s confidence disappears, he begins to speak unconvincingly, with numerous pauses (the author uses ellipses), hesitations. He still languidly resists: “So when to live? .. Why suffer all the time?” Stolz dryly and meaninglessly answers: "For the work itself." Here, too, the author is not on the side of Stolz, because labor as an end in itself is really meaningless. In fact, the heroes at this moment remain in their positions. And here Stolz again uses the only winning technique - once again reminds Ilya of childhood, dreams, hopes, ending these reminders with the key phrase: “Now or never!” Reception works flawlessly. Oblomov is touched and begins his sincere and pure confession about the lack of a lofty goal, about the fading of life, about the loss of pride. “Either I didn’t understand this life, or it’s no good, but I didn’t know anything better ...” Oblomov’s sincerity unnerved Andrei’s soul, he seemed to swear to a friend “I won’t leave you ...” At the end of the 4th chapter, it seems that victory in the duel was left to Stolz, but at the beginning of the 5th there is a comic decline and, in fact, the destruction of this “victory”.
Stolz's alternative to "Now or never!" turns for Oblomov into the Hamlet question “To be or not to be?”, But at first Oblomov wants to write something (to start acting), he took a pen, but there was no ink in the inkwell, and paper in the table, and then, when it already seemed , decided to answer the Hamlet question in the affirmative, "he got up from his chair, but did not immediately hit his shoe with his foot, and sat down again." The lack of ink and paper and missing the shoe return Oblomov to his former life.
There will still be the whole story with Olga ahead, the internal struggle in Oblomov’s soul is far from over, but in the history of the relationship between Oblomov and Stolz, and in Oblomov’s possible fate after this scene, the accents have already been placed. Even I. Goncharov himself, who believed in the possibility of combining Oblomov's soulfulness with Stoltsev's efficiency and practicality in a Russian person, seems to understand at this moment of his story that the heroes will remain the same: neither from Oblomov, nor from Stolz, as the author originally wanted , such an ideal does not work. One will be prevented by laziness, contemplation and poetry, which are not compatible with the heroes of everyday life, the other - winglessness and the rejection of any reflection on the meaning of life. The author and the reader painfully realize after this dispute that the true ideal, which would combine purity and efficiency, is unattainable. That is why, despite the fact that the heroes still face many trials, this argument about the ideal can be considered the key episode of the novel. This is what will happen later, when each of the heroes finds his “peace”: Oblomov is at first the cozy and satisfying, but devoid of poetry house of Agafya Matveevna Pshenitsyna, and then death, and Stolz is a safe haven with Olga tormented by the loss of the meaning of life, who did not recognize in time for his possible happiness with Oblomov.
In the episode of the dispute between friends, the main question is about the purpose and meaning of human life, and it is this question that is decisive for the entire novel. As a true great artist, I. Goncharov raises this eternal question, but leaves the answer open. Therefore, it is worth recognizing that no one won the dispute between friends in the considered episode of the great novel.
Sections: Literature
(Slide #2)
Target: To observe the details of the literary text, at the same time analyzing their own feelings that arose as a response to the events happening to the characters.
(Slide #3)
Tasks:
- Explain the reasons for the actions of Pontius Pilate through the observation of his emotional experiences; notice all the subtleties in his behavior, speech, intonation, explain the inconsistency of his feelings.
- Analyze your own feelings that appear when reading the text.
- Make a psychological dictionary of your feelings.
Equipment: Microsoft Power Point presentation (Appendix 1), two sheets of whatman paper, felt-tip pens
During the classes
Introduction by the teacher.
So, today we are starting to analyze the 2nd chapter of the novel by M.A. Bulgakov "The Master and Margarita", which is based on the eternal problems of human existence: Good and Evil, Faith and Unbelief, Betrayal and Love, Power and Freedom, the problem of repentance and fair retribution.
A whole panorama of human mores unfolds before us, exposing questions as old as the world and eternal as life itself. What is a person? Is he responsible for his own affairs? Can even the harshest circumstances justify an immoral act? You know that a part of Bulgakov's novel "The Master and Margarita", its separate chapters is the novel of its hero, the Master, turned by events into almost two thousand years of history, but having a direct connection with the events taking place in Moscow in the 30s. The plot of this novel is reminiscent of the biblical story of the crucifixion of Jesus Christ and gives the impression of a documentary accurate presentation of the events that really took place, since its heroes are almost historical figures. However, there is something that distinguishes the Master's novel.
The Gospel of Matthew says that, having gathered 12 disciples for the Last Supper on the eve of the Easter holiday, Jesus Christ predicted his death from the betrayal of one of them...
(Slide number 4)
Student's message about the biblical story of the crucifixion of Christ ( tells the legend of the crucifixion of Christ, supplementing the story with the following quotations from the Bible):
“Truly I say to you, one of you will betray me.
The disciples were saddened by this, and they began to ask one after another:
- Isn't it me, Lord?
Then Judas, who had previously betrayed Him, also asked:
“Of course not me, Master?”
Jesus replied:
“Yes, you…”
(Gospel of Matthew, ch.26 (20–22, 25, 46–52,) ch.27 (1–5)
Teacher: There is no doubt that Yeshua Ha-Nozri is a kind of double of Jesus Christ. Moreover, Yeshua in Aramaic means Lord (salvation), and Ha-Nozri - from Nazareth. Jesus Christ, who was born in Bethlehem, lived permanently in Nazareth before beginning his activity, which is why he is often called Jesus the Nazarene. What, in your opinion, is the peculiarity of the interpretation of the gospel story?
(The writer significantly deepened the biblical plot, conveyed a whole gamut of feelings and experiences of the characters, he “humanized” them, which causes empathy and compassion for the readers. He puts them before a moral choice, and it seems that Bulgakov addresses everyone: “I could are you just as courageously, meekly as Yeshua, to accept suffering in the name of your idea, to the end retaining faith in a good beginning in a person, not allowing a single iota of feeling of anger and resentment for your fate?”)
At the second lesson of studying the novel by M.A. Bulgakov "The Master and Margarita" you received the task: to reread the 2nd chapter of "Pontius Pilate" and answer the questions:
- Can we, sincerely sympathizing with Yeshua, understanding the injustice of his punishment, categorically condemn Pilate for his cruelty? What is Pilate's true fault?
- Why were circumstances superior to the procurator's desire to save the preacher? Why was Yeshua above these circumstances?
- Did Pilate have a choice, why did he still choose evil?
Individual homework (report by 2 students presenting their slide)
1 student completed the task: to trace how the mood of Pontius Pilate changes. Make a dictionary of your feelings that arose while reading chapter 2.
2 the student analyzes the behavior of Yeshua Ha-Nozri and makes a dictionary of his own feelings.
(Slide number 5)
Presentation by 1 student:
As soon as Bulgakov introduces us to the palace of Herod the Great and introduces us to Pontius Pilate, an atmosphere of some kind of unrest immediately catches our eye. Pilate's ill state confirms this (“an attack of hemicrania has begun again, when half of the head hurts”).
So, meeting with the procurator for the first time, we see him irritated. It is felt that the inhabitants of the palace and those close to him are accustomed to the cruelty and harshness of his character. Speaking with the prisoner brought to him, he interrupts him in mid-sentence, when Yeshua turned to him: “Good man…” Pilate declares that in Yershalaim everyone whispers about him: “fierce monster”, “and this is absolutely true” In support of his words Pilate calls the centurion, the formidable Mark Ratslayer: “The criminal calls me a “good man…” Explain to him how to talk to me. But don't hurt."
(There is some kind of terrible feeling of fear and bewilderment and the question: “For what?”)
But later, it seems, Pilate himself became interested in talking with this man. After all, “the easiest way would be to drive this strange robber from the balcony, uttering only two words:“ hang him. However, the procurator does not do this. And when Yeshua explains to the procurator the reason for his suffering (“the truth is, first of all, that your head hurts ... You are not only unable to talk to me, but it’s hard for you to even look at me ...”), Pilate is simply smitten.
The procurator calms down when Yeshua continues to talk about the fact that “there are no evil people in the world”, and a formula formed in his head: “the hegemon sorted out the case of the wandering philosopher Yeshua, nicknamed Ha-Notsri, and did not find corpus delicti in him. In particular, I did not find the slightest connection between the actions of Yeshua and the riots that took place in Yershalaim recently. The wandering philosopher turned out to be mentally ill. As a result, the death sentence ... the procurator does not approve ... "
(Here the reader involuntarily rejoices for the procurator and for Yeshua, and is already waiting for a happy ending.) And suddenly it turns out that everything is not so.
Everything about him? Pilate asked the secretary.
No, unfortunately,” the secretary unexpectedly answered and handed Pilate another piece of parchment.
– What else is there? Pilate asked and frowned.
(Here I really want this second parchment to not be, it becomes scary that it will ruin everything.)
The procurator himself feels the same, who is trying with all his being to avert the danger, even condescending to giving signs to Yeshua. (Therefore, the feeling of excitement and anxiety increases) especially since Pilate has a terrible hallucination, which seems to portend trouble: “So, it seemed to him that the prisoner’s head had floated away somewhere, and another appeared instead. On this bald head sat a rare-toothed golden crown; there was a round ulcer on the forehead, corroding the skin and smeared with ointment, ... in the distance, as if, trumpets played softly and menacingly, and a nasal voice was very clearly heard, arrogantly drawing the words: "The law of lèse majesté ..." Yeshua's story about what and how he spoke to Judas of Cariath, giving Pilate a mood of hopelessness. He feels that he is losing the chance of saving the naive prisoner. (Feeling of anxiety increases)
(Slide number 6)
Presentation by 2 students:
The cruel, unjust punishment, it seems, did not even arouse indignation in the arrested person. He simply, like a child, asks the centurion in response to his formidable tone: “I understand you. Do not hit me." (This causes interest in him and respect)
(Slide number 7)
In the future, the sincerity and ease of his conversation with Pilate is simply breathtaking.
(Slide number 8)
For this reason, the directness of the answer struck Pilate with its impudence: “Don't you think that you hung her, hegemon? If so, you are very wrong." (At this point there is a fear that Yeshua might hurt himself) Pilate "shuddered and answered through his teeth, 'I can cut this hair.'
“Would you let me go, hegemon,” the prisoner suddenly asked, and his voice became anxious, “I see that they want to kill me.”
(At the moment of the verdict, the reader has an acute feeling of disagreement with what is happening: the cruelty of the procurator and his impotence are so vividly shown.)
(Slide number 9)
“Do you think, unhappy, that the Roman procurator will release a man who said what you said? I don't share your thoughts!
It is interesting that Pilate does not calm down, but arranges a meeting with the President of Sendrion Kaifa. Talking to him was the last hope for Yeshua's salvation, and Pilate made every effort to do so.
After that, he is seized by longing, growing into a terrible anger of impotence. the procurator realizes his guilt and feels terrible pangs of conscience, and then feels almost furious with him for trampling on his last hope. The procurator is seized with open indignation:
“You will then remember the saved Barravan and regret it.” But the high priest is adamant:
“... You wanted to release him so that he would embarrass the people, outrage over the faith and bring the people under the Roman swords! But I, the high priest of the Jews, as long as I live, will not let the faith be mocked and will defend the people!”
(Reading this scene, one feels such indignation at the fact that there was no force capable of preventing this ridiculous and monstrous injustice.)
Heading to the platform and pronouncing the words of the sentence, Pilate does not even look in the direction of the criminals. “He didn't see anything. He didn't need it. He already knew that behind him the convoy was already leading to Bald Mountain Ha-Notsri, to whom the procurator himself had pronounced a death sentence and whom he most wanted to see alive.
(When you read these lines, a feeling of indignation and horror seizes you. And more impotence. It remains only to watch what is happening.)(Slide number 10)
A dictionary reflecting feelings and experiences when reading a chapter
Pontius Pilate |
Yeshua |
Fear (incomprehensible cruelty) |
Sympathy (keep simple) |
Bewilderment (for what they beat) |
Interest (sincere as a child) |
Curiosity (outcome of the conversation) |
Respect (fortitude, fearlessness) |
Excitement (foreboding) |
Fear (may hurt yourself) |
Anxiety (sentence) |
Joy (waiting for a happy ending) |
Despair (recorded testimony) |
Fear (even if it doesn't ruin everything) |
Powerlessness (no one will help) |
Anxiety (the steadfastness of Yeshua) |
Resentment (from injustice) |
Disagreement (with the decision of the procurator) |
Disgust (cowardice is the meanest trait) |
Horror (death sentence) |
Teacher: So, we see that the figure of Pontius Pilate is indeed complex and contradictory. He wanted to save Yeshua, realizing the groundlessness of the sentence passed by the Sanhedrin. But even the all-powerful procurator, a man whose mere glance plunges one into a stupor, turned out to be powerless to save Yeshua from death. Why were circumstances beyond Pilate's will? Why was Yeshua above these circumstances? Did the procurator have a choice? And why did he still choose evil?
group task(performed on computers or on Whatman sheets)
Group1 Compile a cluster of character traits of Yeshua Ha-Nozri that appeared in chapter 2 of the novel
Group 2 Compile a cluster of Pontius Pilate's character traits that appeared in chapter 2 of the novel
Speech by representatives from groups with the defense of their work.
(Slide number 11)
Comparison: the attention of students is offered to the attention of the color spectrum of the character traits of the characters, made by the teacher. Teacher's explanation:
Yeshua is the ideal of individual freedom. Its main feature is HUMANITY.
(Slide number 12)
The main goal on earth is the peaceful preaching of the kingdom of truth and justice. And therefore, no forces can force him to betray faith in goodness. (Recall the episode when he asks the executioner before his death not for himself, but for another: “Give him a drink”). He does not forever betray the accepted belief - his truth. He is internally surrounded by a halo of bright feelings: Love, Freedom, Goodness.
Pilate is always irritated, embittered, distrustful, cruel. In addition, he has to live in a city that he hates, he rules over a people that he does not like. His will cannot contradict the will of the higher authority of the clergy in the person of the Great Caesar, the high priests and the entire Sanhedrin. Therefore, Pilate turns out to be internally bound, dependent on his position.
He constantly experiences internal discord.
In Yeshua, Pilate felt what he himself lacked: understanding, sincerity, sensitivity, fortitude. In addition, this philosopher managed to guess not only his loneliness, suffering, but also removed his physical pain, awakened long-forgotten feelings. He wants to help Yeshua.
The procurator faces a choice face to face: either take a step towards the salvation of Yeshua and thus do Good; or destroy it and commit Evil.
Pilate understood perfectly well the injustice of the punishment of Yeshua and with all the strength of his soul wanted to choose Good
But on the other hand, the procurator is a powerful ruler. He cannot let go of a man who said about the authorities what he said, and what is recorded not only in the report of Judas, but also in the protocol of the secretary of the procurator. Then career and position will be ruined. He - servant of Caesar, his position and his career. Pilate chooses Evil, thereby betraying his conscience.
He was free to decide the fate of others, but he cannot, it turns out, control his own actions and deeds. And therefore Pilate is doomed to eternal spiritual torment, a guilt that for almost two thousand years he has not been able to expiate, since there is no greater vice than cowardice.
Conclusion: Yeshua leaves, and the procurator remains for millennia in the chamber of his loneliness, where he dreams of the lunar road along which he walks and talks with the prisoner Ha-Nozri, because, as he claims, he did not say something then on the fourteenth day of the spring month of Nisan. And he waits and hopes that he will be forgiven and released.
The literary drawing completely coincides with the historical drawing, even in small things and subtleties. And the name of Pilate - both as a gospel person and as Bulgakov's character - will always go hand in hand with the name of Yeshua-Jesus, as a punishment for inaction. Immortality through the ages is his curse.
By the image of Pilate, his fate, his mental anguish, Bulgakov convinces us that a person is responsible for his deeds. As a living being, he can oppose the fulfillment of his civic duty with all his strength and find justification for himself - in the thirst for life, in habits, in the natural desire for peace, in fear of suffering or of superiors, of hunger, poverty, exile, death. But as a spiritual being, possessing a moral consciousness, he is always responsible to his conscience. Here he has no allies to whom he could shift at least part of his responsibility, and no external circumstances and conditions of choice can justify him.
You come to such conclusions by analyzing the contradictory feelings experienced by Pontius Pilate. In his words, eyes, voice, a wide variety of feelings are captured: hopelessness, longing, rage, despair. And it turns out that Pilate is a suffering man, hardened by illness and misunderstanding, bound by his power. But the main thing is that he is lonely, intelligent, deeply feeling.
There is always a choice in life, even in the most hopeless situations, a person must make some kind of decision. And it depends only on him how he will live longer: in harmony or at odds with his conscience.
(Slides #13, 14)
Summing up the lesson: Why did Bulgakov need such an artistic device – in parallel with the narration about modernity, to also lead the line of a novel written by the Master and telling about events that took place two thousand years ago? ( The novel is dedicated to eternal problems, they exist in the present just like thousands of years ago. For a long time humanity has been moving towards the truth and whether it will come to its knowledge is unknown).
Lesson grades.
Homework: Select material relating to a) the history of the Master, b) the general atmosphere of life in the 30s of the 20th century, using chapters 5, 6, 7, 9, 13, 27.
Literature:
- “M.A. Bulgakov "Master and Margarita" Moscow "Olympus" 1997
- Russian literature of the 20th century, part 2, edited by V.P. Zhuravleva Moscow "Enlightenment" 2006.
- Russian literature of the 20th century. Reader” Compiled by A.V. Barannikov, T.A. Kalganova Moscow "Enlightenment" 1993 p.332.
- M.P. Zhigalova "Russian literature of the 20th century in high school" M Bulgakov and his novel "The Master and Margarita" in scientific and methodological research pp. 10-9 Minsk 2003.
- Journal "Literature at School" No. 7, 2002, pp. 11-20.
- When creating the presentation, Internet resources were used.
