Methodological development in literature.

The meaning of the landscape in Karamzin's story "Poor Lisa".

One of the features of European literature of the 18th century, compared with the literature of an earlier period, is the aesthetic understanding of the landscape. Russian literature is no exception; the landscape in the works of Russian writers has an independent value. The most indicative in this regard is the literary work of N. M. Karamzin, one of whose many merits is the discovery of the multifunctionality of the landscape in Russian prose. If the poetry of Russia could already be proud of natural sketches in the works of Lomonosov and Derzhavin, Russian prose of that time was not rich in pictures of nature. After analyzing the descriptions of nature in Karamzin's story "Poor Lisa", we will try to comprehend the meaning and functions of the landscape.

Karamzin's story is very close to European novels. We are convinced of this by the opposition to the city of a morally pure village, and the world of feelings and life of ordinary people (Lisa and her mother). The introductory landscape with which the story opens is written in the same pastoral style: “... a magnificent picture, especially when the sun shines on it ...! Fat, densely green flowering meadows spread below, and behind them, along the yellow sands, a bright river flows, agitated by the light oars of fishing boats. This landscape has not only a purely pictorial meaning, but also performs a preliminary function, it introduces the reader into the spatio-temporal situation created in the story. We see “the golden-domed Danilov Monastery; ... almost at the edge of the horizon ... the Sparrow Hills are blue. On the left side, you can see vast fields covered with bread, forests, three or four villages, and in the distance the village of Kolomenskoye with its high palace.

In a certain sense, the landscape not only precedes, but also frames the work, since the story also ends with a description of nature “near the pond, under a gloomy oak ... a pond flows in my eyes, leaves rustle above me,” although not as detailed as the first.

An interesting feature of Karamzin's story is that the life of nature sometimes moves the plot, the development of events: "The meadows were covered with flowers, and Liza came to Moscow with lilies of the valley."

The story of Karamzin is also characterized by the principle of psychological parallelism, which is expressed in the comparison of the inner world of man and the life of nature.

Moreover, this comparison takes place in two plans - on the one hand - comparison, and on the other - opposition. Let's turn to the text of the story.

“Until now, waking up with the birds, you had fun with them in the morning, and a pure, joyful soul shone in your eyes, like the sun shines in drops of heavenly dew ...,” writes Karamzin, referring to Lisa and recalling the times, when her soul was in perfect harmony with nature.

When Liza is happy, when joy controls her whole being, nature (or “nature”, as Karamzin writes) is filled with the same happiness and joy: “What a beautiful morning! How fun it is in the field!

The larks never sang so well, the sun never shone so brightly, the flowers never smelled so pleasantly!..” At the tragic moment of the loss of innocence by Karamzin’s heroine, the landscape perfectly matches Liza’s feelings: “Meanwhile, lightning flashed and thunder roared. Liza trembled all over ... The storm roared menacingly, rain poured from black clouds - it seemed that nature was lamenting about Liza's lost innocence.

The juxtaposition of the feelings of the characters and the picture of nature at the moment of the farewell of Lisa and Erast is significant: “What a touching picture! The morning dawn, like a scarlet sea, spilled over the eastern sky. Erast stood under the branches of a tall oak, holding in his arms his poor, languid, sorrowful girlfriend, who, bidding farewell to him, said goodbye to her soul. All nature was silent. Nature echoes Lisa’s grief: “Often a sad turtledove combined her plaintive voice with her moaning ...”

But sometimes Karamzin gives a contrasting description of nature and what the heroine is experiencing: Soon the rising luminary of the day awakened all creation: groves, bushes came to life, birds fluttered and sang, flowers raised their heads to drink life-giving rays of light. But Lisa was still sitting in a sad mood. Such a contrast helps us to more accurately understand the sadness, Lisa's split, her experience.

“Oh, that the sky would fall on me! If the earth had swallowed up the poor!..” Memories of former happy days bring her unbearable pain when, in a moment of grief, she sees ancient oaks, “which, a few weeks before, were weak-willed witnesses of her delights.”

Sometimes Karamzin's landscape sketches cross both descriptive and psychological boundaries, growing into symbols. Such symbolic moments of the story include a thunderstorm (by the way, this technique - the punishment of a criminal with a thunderstorm, a thunderstorm as God's punishment - later became a literary cliché), and a description of the grove at the time of the parting of the heroes.

The comparisons used by the author of the story are also based on a comparison of man and nature: “not so soon the lightning flashes and disappears in the clouds, as quickly her blue eyes turned to the earth, meeting his gaze, her cheeks burned like a dawn on a summer evening.”

Karamzin's frequent appeals to the landscape are natural: as a sentimentalist writer, he primarily addresses the feelings of the reader, and it is possible to awaken these feelings through descriptions of changes in nature in connection with changes in the feelings of the characters.

Landscapes that reveal to the reader the beauty of the Moscow region, though not always vital, but always truthful, recognizable; therefore, perhaps, "Poor Liza" so excited Russian readers. Accurate descriptions gave the story a special credibility.

Thus, we can single out several lines of landscape meaning in N.M. Karamzin's story "Poor Liza": the descriptive, pictorial role of the landscape, which is reflected in the detailed pictures of nature; psychological. The function of natural descriptions is in those cases when, with the help of a landscape, the author emphasizes the feelings of his characters, showing them in comparison or contrast with the state of nature, the symbolic meaning of nature paintings, when the landscape carries not only pictorialism, but also embodies a certain supernatural power.

The landscape in the story also has, in a certain sense, a documentary meaning, which creates the authenticity and truthfulness of the image, since all the pictures of nature are almost written off by the author from nature.

The appeal to the pictures of nature goes on at the language level of Karamzin's story, which can be seen in the comparisons used in the text.

N.M. Karamzin significantly enriched Russian prose with natural sketches and detailed landscapes, raising it to the level that Russian poetry was at that time.

Lesson topic: Exposition and landscape in the story of N.M. Karamzin

"Poor Lisa".

Lesson Objectives:

1. To consolidate knowledge about the biography of Karamzin, about sentimentalism.

2. Organize the activities of students aimed at careful reading and

perception of "Poor Lisa" by Karamzin.

3. Organize work to distinguish between the images of the narrator, the author-

narrator and writer in the work.

4. Repeat literary terminology (landscape, portrait, exposition,

composition of the work).

5. Organize work to determine the function of landscape in artistic

work.

6. Activate the activity of students with the help of search tasks.

7. Create conditions for independent work of students in pairs and groups.

8. Organize the reflective activity of students.

Expected results:

1. Students consolidate knowledge about the biography of Karamzin.

2. Students consciously read the text of "Poor Lisa".

3. Students are able to distinguish between the images of the narrator, narrator and

writer in the text.

4. Students repeat literary terminology.

5. Students are able to determine the functions of the landscape in the artistic

work.

6. Students are actively working in the lesson.

7. Students are able to work in pairs and groups.

8. Students are able to analyze and evaluate their activities.

Pedagogical technology:

Teaching methods:

Means of education:

• literature textbook for grade 9;
• "Poor Liza" N.M. Karamzin.
• multimedia projector and screen;
• vocabulary cards;
• Handout.

Lesson Plan

Lesson stage	Teacher activity	Student activities
Call stage		Pupils analyze the newly received information, answer the question.
Understanding stage	The teacher organizes work on the distinction between the concepts of "narrator", "author", "writer". The teacher organizes work in groups to determine the role of the landscape in the exposition. The teacher organizes work to determine the role of landscape in creating portraits of heroes. The teacher organizes work on the topic - landscape and love of heroes.	Students analyze the text, work with cards, answer questions. Students work with the text, analyze it, select the necessary information. Students look for the necessary information, compare facts, draw conclusions.
Reflection stage		Analysis of one’s own work in the lesson (“it was interesting…”, “it was difficult…”, “liked”, “didn’t like”, “it was boring, incomprehensible…”

Place of the lesson in the topic: the second lesson in the topic “Studying the work of N.M. Karamzin. "Poor Lisa".

In the first lesson, devoted to the work of Karamzin, the biography of the writer is studied and the distinctive features of sentimentalism are analyzed. Students write in their notebooks in the form of a table. Homework for the second lesson: read the story "Poor Lisa", think about the role of the landscape in the work and what is the meaning of the exposition. Make bookmarks.

Knowledge update.

Questions.

1) What can you say about N.M. Karamzin as a person?

2) Name the main events of his life. What, in your opinion, influenced the formation of his worldview?

3) What works did N.M. Karamzin write? Define genres and literary movement.

4) Tell us about the distinctive features of sentimentalism.

The topic of the lesson is announced . Goal setting.

The publication of “Poor Lisa” (“Moscow Journal”, 1792) by N.M. Karamzin became a literary shock for the reading Russian public. The innovative story made a real revolution in the reader's mind. The plot of the story was perceived by the Russian reader as reliable, and its characters - as real people. After the publication of the story, walks in the vicinity of the Simonov Monastery, where Karamzin settled his heroine, and to the pond into which she threw herself and which was called “Lizina Pond” (based on materials by O.B. Lebedeva), became fashionable.

What made the story so attractive to the reader? What was the writer's innovation? What is the composition of the story?

Consider the beginning of "Poor Lisa."

What can understand, referring to the introductory landscape, thoughtful and attentive

Reader?

Recall some literary concepts. What is exposure? What role

playing in a work of art? What is a landscape? What are its functions?

Work is carried out in groups and pairs or individually.

Discussion of the question "What role does nature play in human life?"

Nature occupies a huge place in human life. He himself is a part of nature and is inextricably linked with it in the closest way.

Writer - narrator - narrator

We read the beginning of the story.

“Perhaps no one living in Moscow knows the surroundings of this city as well as I do, because no one is more often than me in the field, no one more than me wanders on foot, without a plan, without a goal - where the eyes look - through the meadows and groves, hills and plains. Every summer I find new pleasant places or new beauties in old ones.

We are working on the concepts of "writer - narrator - narrator". In a work, the author may exist as one of the characters, and he must be able to distinguish him from the writer himself. The writer N.M. Karamzin is the author of the story “Poor Lisa”. The direct narrator is Erast, who told the sad story of his life to the narrator. However, the function of Erast as a narrator is largely arbitrary, in the text it is only indicated (he himself told me this story), but not disclosed artistically. The true narrator is the author, who retells the story of Lisa to the reader, accompanying her with his reflections and commentary. The narrator is a fictional character, one of the characters in the story, the same as Liza and Erast.

Author- a man of a subtle, impressionable soul (I love those objects that touch my heart and make me shed tears of tender sorrow), he has a rich imagination. He perfectly feels nature (I come to grieve ... together with nature), understands it, needs to communicate with it. The author loves to wander around the outskirts of Moscow, contemplating beautiful views, and every summer he embarks on a search for new ones - perhaps that is why nature is given a prominent place in his works, great importance is attached. The author wanders without a plan, without a goal, goes “where his eyes look”, and this movement is not only the discovery of the beauty of the world and his soul, it is a “spiritual journey in search of truth” (T.A. Alpatova), nature for the author is a source of inspiration and is inextricably linked to creativity. The most significant point for him is the Simonov Monastery.

1) Both the author and Karamzin have a sensitive, meek soul. Here is what M.P. Pogodin writes about N.M. Karamzin: “His opinions, advice, bore the stamp of moderation, indulgence, and philanthropy. Having by nature a meek heart, which was disgusted by any, even temporary, injustice, any violence, any drastic measure, he desired natural improvements, gradual, peaceful, stemming from mutual consent, from a better direction; he did not want to disturb anyone's peace, not offend anyone's vanity, not arouse anyone's dislike, not sacrifice any rights. "Eulogy to Karamzin"

2) Both love nature. P. Vyazemsky recalls: “Karamzin said that in his youth he sometimes liked to go from a crowded and brilliant meeting, from a ball, from a theater straight out of town, to a forest, to a secluded place. After vague and disturbing secular sensations, he found in the surrounding silence, in the majestic surroundings of nature, in the freshness and pacification of impressions, a special charm that deeply envelops the soul. Article "Baratynsky"

3) Both are characterized by love for history and for their Fatherland: “I’m not saying that love for the fatherland should blind us and assure us that we are better than everyone and in everything, but the Russian should at least know his price. We agree that some peoples in general are more enlightened than we are: for the circumstances were happier for them, but let us also feel all the blessings of Fate in the reasoning of the Russian people; let us boldly stand along with others, say our name clearly and repeat it with noble pride." From N.M. Karamzin's article "On Love for the Fatherland and National Pride."

4) The author likes to walk around the Simonov Monastery(here I often sit in thought, leaning on the receptacle of Liza's ashes, a pond flows in my eyes ...), N.M. Karamzin is writing a story about "Poor Lisa" here: “Near the Simonov Monastery there is a pond, overshadowed by trees. Twenty-five years before this, I composed Poor Liza there ... "

But however, despite the striking similarity, the author and writer N.M. Karamzin are not the same person: “No matter how dangerously close this narrator is to the author, he still does not completely merge with him, because he meets Erast be that as it may, not the author himself, Nikolai Mikhailovich Karamzin, but the narrator" (V. Toporov).

So, it was here, near the walls of the Simonov Monastery, that Karamzin himself wrote “Poor Lisa”, and the introductory landscape begins from the monastery - a description of Moscow and its environs.

Landscape based on

We read the description of the landscape - what are the initial impressions? What features of the landscape can be noted?

First of all, the landscape describes the place of action, the events taking place in the story. Its peculiarity is that N.M. Karamzin depicts not exotic or imaginary regions, but a genuine area that Muscovites knew well. He himself loved to wander around the outskirts of Moscow, to explore the historical events associated with them, to admire their many beauties. The landscape convinces the reader of the reality of the events that are described in the story. He creates an appropriate atmosphere, dreamy and sentimental (description of the suburbs of Moscow), and on the other hand, mysterious and sad (Simonov Monastery), prepares the reader for further perception of the characters and events of the story.

Intermediate output:

♦ The introductory landscape introduces the reader to the scene of action and introduces the appropriate atmosphere, creates a mood that helps to perceive the main thoughts of the author.

Analyzing the landscape, we single out several semantic parts: 1) views of Moscow itself 2) the surroundings of the city 3) Simonov Monastery 4) Lisa's hut.

I Image of Moscow

Standing on this mountain, you see on the right side almost all of Moscow, this terrible mass of houses and churches, which appears to the eyes in the form of a majestic amphitheater: a magnificent picture, especially when the sun shines on it, when its evening rays blaze on countless golden domes, on countless crosses ascending to heaven!

The image of Moscow is twofold: on the one hand, it is a majestic, beautiful city, on the other, it is cruel and greedy, a source of sin and misfortune. No wonder Lisa's mother says:

"My heart is always out of place when you go to the city; I always put a candle in front of the image and pray to the Lord God that he save you from all trouble and misfortune."

We write out epithets and phrases that characterize Moscow:

the majestic amphitheater the sun shines

gorgeous picture evening rays

countless golden domes

terrible mass of houses

greedy Moscow

These epithets can be divided into two groups:

We draw attention to the ambiguity and peculiarities of the use of some words and phrases used by the writer to characterize Moscow - aboutnor create a complex, ambiguous image of the city in the story.

1. Amphitheater - in ancient Greece and Rome: a building for spectacles in which the seats for spectators rise in a semicircle. The buildings are located in an amphitheater (trans.: towering one after the other).

The semantics of the word indicates not only the beauty and majesty of the city, but also a certain theatricality, unnaturalness of city life.

This impression is reinforced by the phrase “it appears to the eyes”, since among the meanings of the word “represent” we find “ imitate, take on the appearance of someone else ”(Dal’s Dictionary), give an idea. Is Moscow really the way it appears to the eyes? Or does a beautiful appearance hide cruelty and deceit invisible to an inexperienced heart?

2. A terrible mass - a mass of houses, causing unaccountable fear, horror, but at the same time leading to awe and striking in its size.

3. Greedy Moscow - the writer has in mind the huge amount of food that is needed to feed the population of Moscow, but uses a word with a negative connotation as an epithet.

Greedy - greedy, insatiable gluttonous. The ancient city requires more and more victims.

4. The sun is shining: the sun is a symbol of light, joy, happiness, the divine principle. The rays of the sun "blaze". The second meaning of the word "blaze" - burn with passion, passionately desire something, and have a strong feeling. Evening rays: the evening carries the symbolism of decline, death.

Solar symbolism (the sun is shining, the rays are blazing, the evening rays) reflects the love story of Lisa

(the birth of a feeling, its heyday and decline), which three times finds itself in an alien space of the city.

The first meeting with Erast brought her love - an ardent, fiery feeling that made her forget about everything. The second meeting did not take place, and Liza throws lilies of the valley intended for Erast into the river. Lilies of the valley symbolize purity, tenderness, love and are associated with the soul and life of Lisa. Throwing lilies of the valley into the river, she predetermines her own death. The third meeting is tragic, fatal, leading to the death of the heroine.

The only color in the description of the city is gold, it is associated with gold, money.

At the same time, Karamzin notes “countless golden domes”, “countless crosses ascending to the sky”, which speaks of the spiritual beginning of city life and is associated with the image of Erast. At the end of the story, the unfortunate Erast realizes his guilt and repents: "Having learned about the fate of Lizina, he could not be consoled and considered himself a murderer."

The duality in the image of the city is associated with the image of Erast, a resident of Moscow, in which the author notes the contradictions that characterize the complexity of a person's inner life.

Tasks

In 1790, the author traveled around Europe and reflected his impressions in the Letters of a Russian Traveler. How does he portray European cities? Compare the description of Moscow by Karamzin and Pushkin (Eugene Onegin, chapter 7). (See Appendix 1)

IISuburbs of Moscow

The description of Moscow is compared with the image of the suburbs, peaceful life in villages and villages.

The picture of a rural idyll is opposed to the city as a natural human habitat (Rousseau's influence). The rural landscape is imbued with bright feelings, saturated with colors (blooming meadows), distinguished by the integrity of consciousness and tranquility of mood. The epithet "dull" alone is somewhat out of the ordinary, but in this context it may have a meaning

"sad", "drawn-out". The colors are bright, festive, light, saturated - thick green (symbolism of life), yellow, blue.

The rural landscape is associated with Lisa and reflects her whole, natural nature.

Intermediate output:

♦ The landscape not only acquaints us with the place of action - from the very beginning it correlates with the characters, their characters, inner life and even fate.

III Simonov Monastery

The description of the monastery Karamzin connects with autumn, while the description of Moscow and its environs - with spring. Autumn - spring correlate with the concepts of life and death. Everything in the monastery reminds the narrator of death and destruction:

This is how the philosophical motif of the frailty of earthly life begins to sound in the story. The characters that arose in the author's imagination are compared with Liza and her mother:

Plot and language overlaps allow drawing parallels between the characters and let you know that the fate of the monks and the monastery portends the death of the main character and her mother.

In the description of the tragic fate of the monastery, the theme of the historical memory of the people clearly sounds.

“The dull groan of times, swallowed up by the abyss of the past ...”

“Sometimes on the gates of the temple I look at the image of miracles that happened in this monastery, there fish fall from the sky to saturate the inhabitants of the monastery, besieged by numerous enemies; here the image of the Mother of God puts the enemies to flight. All this renews in my memory the history of our fatherland - the sad history of those times when the fierce Tatars and Lithuanians devastated the environs of the Russian capital with fire and sword and when unfortunate Moscow, like a defenseless widow, expected help from God alone in her fierce disasters.

In addition to the Simonov Monastery, the author mentions the Danilov Monastery and Kolomenskoye. Both places are closely connected with the history of Russia (See Appendix 2). The author connects historical events with the life of ordinary people: the author acts as a historian, chronicler of the life of his heroes and keeper of the memory of them.

“With the voice of the author, the theme of the great history of the fatherland enters into the private plot of the story - and the story of one soul and love turns out to be equal to it: “Karamzin motivated the human soul, love historically and thereby introduced it into history” (V. Toporov). The life of the heroes is inscribed in the historical context, although they themselves do not think about it. The continuity of history, large and private, is emphasized by the repetition of the word at the beginning and at the end of the story:

IV Lisa's hut

The description of the hut is very short and is interconnected with the image of the monastery: an empty hut is an empty monastery; no doors, no ends, no floors; the roof rotted and collapsed long ago - gloomy towers, ruins of tombstones; overgrown with tall grass. In the epilogue, the image of the destroyed hut appears again, which is also closely connected with the Simonov Monastery: the hut is empty - the monastery is empty; the wind groans in it, a dead man groans there - the winds howl terribly in the monastery, the author listens to the "deaf groan of times." Ring composition (semantic and lexical) gives the work completeness and integrity.

The image of Moscow connects all parts of the landscape: the first paragraph is a description of Moscow itself, in the depiction of the suburbs Moscow is a "greedy" consumer of the labors of the villagers, in a historical context Moscow appears as an unhappy, defenseless widow, in the last paragraph - this metaphorical image suddenly turns into a real "defenseless widow - Lisa's mother.

♦ Even before the development of the plot, the themes of the main hero
ev story - the theme of Erast, whose image is inextricably linked with the "greedy" Moscow, subject
Liza, correlated with the life of natural nature, and the theme of the author, who
acts as a historian, chronicler of the life of his heroes and keeper of their memory.

Landscape portrait

Karamzin does not give a direct description of Lisa's appearance. He only writes about
Lisa was very beautiful: "of rare beauty" "beautiful, kind Liza", "beautiful
body and soul”, “charming”. Liza's naturalness, her closeness to the natural world
is reflected in portrait sketches. Portrait sketches of Lisa are always given
as a detailed comparison with natural phenomena:

– it is not so soon that lightning flashes and disappears in a cloud, as quickly as her blue eyes
turned to the earth, meeting his gaze;

– her cheeks glowed like the dawn on a clear summer evening;

– a pure, joyful soul shone in your eyes, like the sun shines in
drops of heavenly dew;

– smiled like a May morning after a stormy night;

– There, the often quiet moon, through its green branches, silvered its bright rays with its rays.
Lysine's hair, with which the marshmallows played ... Lisa is compared to a May morning, a dawn on a clear summer evening. Her soul is like
the sun, a quick glance - lightning. All comparisons are saturated with the symbolism of light; even
we are talking about the evening, then it is immediately indicated that it is clear; if about the night moonlight, then
it silvers Lisa's blond hair, thus reinforcing the glow motif. Erast Lisa also perceives through natural categories: “Without your dark eyes
bright month; without your voice, the singing nightingale is boring; without your breath the breeze
unpleasant to me."

However, this perception reflects the changes that have taken place with Lisa.

Intermediate output:

The landscape is a means of portrait characteristics of the characters.

Landscape and love of heroes. Group work 1 group: l love in the life of Erast

Erast is a city dweller, he is not connected with nature as closely as Lisa, and perceives it rather romantically. His attitude to nature is shaped by books - it was from them that he drew a certain vague, dreamy image of “nature” embellished by his imagination, which has little in common with reality: “He read novels, idylls, had a rather vivid imagination and often mentally moved to those times (former or not former), in which, according to the poets, all people carelessly walked through the meadows, bathed in clean springs, kissed like turtle doves, rested under roses and myrtle and spent all their days in happy idleness. The flower symbolism of roses and myrtle is associated with the image of Erast.

The rose is a very complex, dual symbol, because it symbolizes both heavenly perfection and earthly passion, time and eternity, life and death, fertility and virginity.

Myrtle is a symbol of eternal love and marriage. The evergreen shrub in ancient times was dedicated to the goddess of love Venus, so in ancient Rome the groom adorned himself with myrtle on his wedding day. In addition to Venus, myrtle was an attribute of her maids, the three graces - Aglaya, Euphrosyne and Thalia, personifying the three stages of love: beauty, desire, satisfaction. In relation to Erast, whose name is derived from the word eros - love, the symbolism of roses and myrtle is the symbolism of sensual earthly love.

It is clear that roses and myrtle, these attributes of European culture, are by no means characteristic of the peasant life of Russia and emphasize the difference in the position and worldview of Erast and Liza.

Perhaps only one natural image is directly related to Erast - this is the river along which he sails to the girl: “Suddenly Liza heard the noise of oars - she looked at the river and saw a boat, and Erast was in the boat.” The symbol of a river is no less complex than the symbol of a rose. The river is at the same time the source of life, the Kingdom of God, the stream flowing from the Tree of Life in the center of paradise - a metaphor for divine energy and spiritual food that feed the entire universe. On the other hand, the river is the border separating the worlds of the living and the dead, a symbol of changeable time, irreversible changes.

Erast's appeal to nature is temporary - it is associated with an interest in Lisa and is secondary in the system of Erast's spiritual preferences. He himself speaks of this with enthusiasm, which, however, is perceived ironically by both the narrator and the readers. They are well aware that the passion for both Lisa and nature will be short-lived:

"Natura calls me into its arms, to its pure joys," he thought, and he decided - at least for a while - to leave the great light. In love with Lisa, in a fit of feelings, Erast tells the girl that he will live with her in dense forests, as in paradise. Perhaps at that moment he sincerely believed in the possibility of implementing his plans, but the image of "dense forests" was clearly drawn by Erast from book sources and introduces the theme of a lost paradise into the work.

2 group: Love in Lisa's life

Pictures of nature that accompany the description of the dates of young people correlate, first of all, with Lisa, with her perception of the world around her.

Let us analyze the first landscape connected directly with the heroine: “Even before the sun rose, Liza got up, went down to the banks of the Moskva River, sat down on the grass and, grieving, looked at the white mists that waved in the air and, rising up, left brilliant drops on the green cover of nature. Silence reigned everywhere." The state of Lisa's soul in this episode - sad, sad - fully corresponds to what is happening in nature. White fogs, symbolizing uncertainty, mystery, are the emblem of power, which confuses everything and hides the truth from a mere mortal. Since the fog is short-lived, it can serve as the personification of the transition from one state to another. Lisa is experiencing a new, strange, perhaps not fully understandable feeling even to herself. She is no longer the happy and serene girl that she was quite recently.

If earlier Liza’s life and her inner state were in tune with nature (until now, waking up with the birds, you had fun with them in the morning, and a pure, joyful soul shone in your eyes, like the sun shines in drops of heavenly dew), then after meeting with Erast, Lisa perceives the environment through the prism of her feelings for the hero - the bright moon, the nightingale and the breeze have lost their natural value for Lisa, the nature that comes to life under the rays of the sun leaves her indifferent, the beauty of the environment cannot disperse the girl’s thoughts, only the presence of Erast gives meaning to Lisa’s life and the surrounding nature. After the appearance of Erast, Liza again begins to perceive the beauty of nature. The feeling of love enhances the charm of the landscape: “What a beautiful morning! How fun everything is in the field! The larks never sang so well, the sun never shone so brightly, the flowers never smelled so pleasantly!" Erast's one kiss for Liza is the whole Universe: "He kissed her, kissed her with such fervor that the whole universe seemed to her on fire burning" For the sake of Erast, Liza even forgets God.

Group 3: development of the feelings of heroes

The development of Erast and Lisa's love: confession, dates, Lisa's fall, the heroes' farewell. A declaration of love takes place on a clear spring morning. “But soon the rising luminary of the day awakened all creation: the groves, the bushes came to life, the birds fluttered and sang, the flowers raised their heads to drink the life-giving rays of light.” A clear, fresh morning, the life-bearing rays of the sun, the joyful revival of nature - all this corresponds to the tender, just born feeling of love between Erast and Lisa.

Dates take place in a birch or oak grove. The symbolism of the birch is light, purity, innocence, femininity. The symbolism of the oak is ambiguous: it symbolizes strength, power, endurance, at the same time, the oak is a sacred tree, the axis of the world, connecting the upper and lower worlds, sacrifices were made in oak groves. In the legends and fairy tales of the ancient Slavs, the oak is often a sacred place with which the fate of a person is connected and near which decisive events take place for the heroes.

The scene of Liza's fall is accompanied by an image of a thunderstorm. The deepening darkness of the evening, not illuminated by a single star, prophesies a thunderstorm in nature and in the life of the heroine. The description of the thunderstorm is short, but very expressive: “Meanwhile, lightning flashed and thunder struck. A storm roared menacingly, rain poured from black clouds ... ”Lisa is unable to express her feelings. She perceives what is happening to her as the death of her soul, therefore she feels like a criminal and perceives a thunderstorm as a punishment for sin. The darkness of the night, sharp flashes of lightning that do not illuminate the surroundings, but only blind and instill fear, a formidable storm, black clouds covering the sky - all this reflects the girl's confusion, her confusion and portends a tragic outcome.

The farewell of Lisa and Erast takes place at dawn. “The dawn, like a scarlet sea, spilled over the eastern sky. All nature was silent. The scarlet dawn of the ominous color of blood, the silent nature, the shining sun, which does not give life, but, on the contrary, deprives Lisa of her last strength, in tune with the state of the heroine, who, saying goodbye to Erast, parted with her soul. goodbye morning contrasted with the morning of a declaration of love.

The rising star awakened all creation.	The morning dawn, like a scarlet sea, spilled over the eastern sky.
The birds fluttered and sang.	All nature was silent.
The bushes revived, the flowers lifted their heads to drink the life-giving rays of light.	The sun shone, and Lisa lost her senses and memory. The light seemed to her dull and sad.

If in the description of the morning of confession the author emphasizes bright colors, revival in nature, then in the parting scene he chooses an alarming scarlet color. The silence in nature, the dull, sad view of the landscape surrounding Lisa and given in her perception, help to understand the state of the girl, for whom the world, after the departure of her lover, lost her colors and life.

Nature shares Lisa's sadness: “Then it (the heart) only became easier when Liza, secluded in the density of the forest, could freely shed tears and moan about separation from her beloved. Often the sad turtledove combined her mournful voice with her moaning. Only in nature does Lisa feel free and able to express her feelings. Therefore, Lisa's state of mind is conveyed through natural metaphors: "But sometimes - although very rarely - a golden ray of hope, a ray of consolation illuminated the darkness of her grief."

Intermediate output:

The landscape becomes a means of characterizing the state of mind of the characters, who perceive nature in accordance with their inner mood. Lisa perceives the same spring morning first as dull and sad, and then as the best, brightest in her life. Perception changes depending on Lisa's mood and condition.

Before making a final conclusion about the role of the landscape in "Poor Lisa", we analyze the statement of V. Toporov:

"Poor Liza" was the first brilliant breakthrough in the mastery of landscape description. Three main features deserve special attention. Firstly, the landscape from an auxiliary technique with "frame" functions from a "pure" decoration and an external attribute of the text has turned into an organic part of the artistic structure that implements the general idea of ​​the work, which - the further, the more - is reflected in the landscape itself.

Secondly, the landscape has acquired the function of an emotionally fascination effect, has become an essential means of conveying the general atmosphere. And, finally, thirdly, the landscape was correlated with the inner world of a person as a kind of mirror of the soul.

Final Conclusions:

The landscape in "Poor Liza" not only introduces the reader to the scene of action, but also introduces the appropriate atmosphere - dreamy, sincere, a little mysterious, creates a mood that helps to perceive the main thoughts of the author. The second function of the description is compositional: at the beginning and at the end of the story, we see the author visiting the Simonov Monastery, next to which is the grave of Lisa. Descriptions loop the action, give the story integrity and completeness. But the role of the landscape in the work is not limited to this, the landscape in the story is multifunctional. It conveys the state of mind of the characters, used by the author to create portraits and characteristics characters. Scenery contributes to the expression of the author's attitude to events about which he narrates, and, finally, to a certain extent, it is through the landscape that the philosophical thought of the work is transmitted.

Nikolai Vasilyevich Gogol. "Enchanted Place"

Pedagogical goals:

1. Organize work on the conscious perception of a work of art.

2. To teach to determine the theme and main idea of ​​the work.

3. Organize work to determine the role of artistic means in a work.

4. Activate student activity with

search tasks.

5. Create conditions for independent work of students in pairs and groups.

6. Organize the reflective activity of students.

Expected results:

1. Students consciously read the text.

2. Students are able to determine the topic and the main idea of ​​the text.

3. Students are able to determine the role of artistic means in

work.

4. Students are actively working in the lesson.

5. Students are able to work in pairs and groups.

6. Students are able to analyze and evaluate their own

activity.

Pedagogical technology: technology for the development of critical thinking.

Teaching methods: partial search; explanatory and illustrative.

Means of education:

Literature textbook for grade 5;

multimedia projector and screen;

cards for vocabulary work;

· Handout.

Organizational forms of education: individual, group (including steam room), frontal.

Lesson Plan

Lesson stage	Teacher activity	Student activities
Call stage	The teacher updates the knowledge of the students. The teacher activates the students, creates learning motivation to work on the work.	Students analyze what they know. Students look at pictures and answer questions.
Understanding stage	The teacher organizes the work with the dictionary. The teacher organizes work on the content of the text on questions. The teacher organizes work in groups on the topics "Features of an enchanted place", "Creatures of an enchanted place". The teacher organizes work to determine the role of artistic means for creating an image. The teacher organizes work to discuss the final story.	Students connect the word with the meaning, work in pairs on the cards. Pupils answer questions, read fragments of the text, determine the topic of the text. Students work in groups, systematize information: make up a coherent statement or table. Pupils find epithets, hyperbole, comparisons in the text, determine their role in the text. They work in pairs. Students formulate conclusions, determine the idea of ​​the story. Form of work - frontal.
Reflection stage	Organization of work on the creation of syncwines. Organization of the analysis of work in the lesson. Student self-assessment.	Creation of syncwines. Analysis of one’s own work in the lesson (“it was interesting…”, “it was difficult”, “I liked it”, “it was difficult, but interesting…”.

Training tasks and formed UUD

Learning task	Formed UUD
I . Call stage
Recall what works were included in Gogol's first book, what is known about the history of the creation of "Evenings ...", about the assessment of contemporaries. Establish a connection between the previous and new lessons.	PUUD (general educational): WPUD (logical):
Think about what works of world literature read about enchanted places. Look at the illustrations and explain why these drawings were chosen for the lesson. Make suggestions about the purpose and content of the lesson.	goal setting, predicting the content of the lesson. WPUD (logical): analysis, comparison; establishment of causal relationships.
II. Understanding stage
Match the words with their lexical meaning.	PUUD (general educational): search and selection of the necessary information. WPUD (logical): analysis and synthesis.
Answer questions on the text.	PUUD (general educational): search and selection of information; construction of a speech statement in oral form. WPUD (logical): analysis and synthesis; construction of a logical chain of reasoning.
Group work - text analysis, systematization of information, compilation of a table or coherent text.	PUUD (general educational): semantic reading; search and selection of the necessary information; structuring knowledge; model transformation. planning of educational cooperation with peers; proactive cooperation in the search and collection of information; the ability to express one's thoughts with sufficient completeness.
Find the means of artistic expression in the "Enchanted Place" and determine their role in the text	PUUD (general educational): semantic reading; WPUD (logical): summing up the concept; proof. control, comparison with the sample.
Answer the questions and identify the main idea of ​​the text.
III stage of reflection
Compose a syncwine. Conduct a classroom analysis.	the ability to accurately express one's thoughts; partner behavior management. control; grade.

Lesson script

Place of the lesson: the second lesson in the topic “Studying the work of N.V. Gogol. "Enchanted Place"

At the first lesson, devoted to getting acquainted with the biography of N.V. Gogol and his book "Evenings on a Farm near Dikanka", the students read an article about the writer in a literature textbook, worked with a presentation telling the events of Gogol's life, and answered questions.

Homework for the second lesson: work in groups - find information about the history of the creation of "Evenings ...", statements about Gogol's first book, determine who is the narrator in the book.

I stage. 1. From each group, 1-2 students speak, presenting the results of their homework. Materials for answers (see Annex 1).

2. Quiz.

1. What stories are included in part 1 of "Evenings ..."? What - in the second?

2. What was the devil looking for at the fair?

3. Who helped Gritsk get a bride?

4. Where did Petro Bezrodny go for the treasure?

5. How did Petro get the treasure?

6. How did Levko find the sorceress among the drowned women?

7. How did grandfather manage to play cards with evil spirits?

8. What did Vakula have to bring to Oksana so that the proud beauty would marry him? 9. How did grandfather manage to get into the enchanted place for the second time?

3. Look at the pictures and say what unites them.

All the pictures depict fabulous, enchanted places.

– Are there such places in the work of N.V. Gogol? The illustrations will help you answer the question.

Students read short passages or talk about enchanted places in "Evenings ...".

1. Sorochinskaya fair. A strange incident happened at the fair: everything was filled with a rumor that somewhere between the goods a red scroll had appeared. An old woman selling bagels seemed to see Satan in the form of a pig, who constantly leaned over the wagons, as if looking for something. The window rattled with a noise; the glass flew out, clinking, and a terrible pig's face stuck out, moving its eyes, as if asking: "What are you doing here, good people?"

2. Evening on the eve of Ivan Kupala. With a heart that just did not want to jump out of his chest, he got ready for the road and carefully descended through a dense forest into a deep ravine called the Bear's Gully. Wild weeds grew black all around and drowned out everything with their density. But then a lightning flashed in the sky, and a whole ridge of flowers appeared before him, all wonderful, all unseen; there are also simple fern leaves. In The Evening on the Eve of Ivan Kupala, the enchanted place is a bear's ravine in the forest, with a blue flame escaping from the ground and an illuminated middle, as if poured from crystal, with gold coins, expensive stones and countless treasures that have turned into beaten ones in the real world. shards, because any meeting in an enchanted place ends in deceit, and sometimes in the death of the hero.

3. May night. In May Night, the enchanted place is located on the bank of a pond near the forest, it is a dilapidated wooden house, overgrown with moss and wild grass, with gloomy, always closed shutters. The house is magically transformed in a strange, intoxicating radiance of the other world, Levko first sees it reflected in the waters of the pond: “... the old manor house, tipping over, was seen clean and in some clear grandeur. Instead of gloomy shutters, cheerful glass windows and doors looked out. Gilding flickered through clean glass.

4. Missing letter. The late grandfather was a man not exactly from a cowardly dozen; used to meet a wolf, and grab it right by the tail; passes with his fists between the Cossacks - they all fall to the ground like pears. However, something was tearing at his skin when he stepped into the forest in such a dead night. At least a star in the sky. It is dark and deaf, like in a wine cellar; only one could hear that, far, far above, overhead, a cold wind was blowing over the tops of the trees, and the trees, like tipsy Cossack heads, swayed recklessly, whispering drunken tales with their leaves. How it blew so coldly that grandfather remembered his sheepskin coat, and suddenly, like a hundred hammers, they pounded through the forest with such a knock that his head rang. And, like a lightning bolt, it lit up the whole forest for a minute. Grandfather immediately saw a path that made its way between small bushes. Here is a burnt tree, and thorn bushes! So, everything is as he was told; no, the shinkar did not deceive. However, it was not exactly fun to push through the thorny bushes; never before had he seen the cursed thorns and boughs scratch so painfully: at almost every step he was taken to cry out.

- What do you think, what is the topic of today's lesson and what work will we talk about?

What is the purpose of today's lesson? Understand the author's intention, the main idea of ​​the work, trace how it is expressed in artistic relation.

II stage.

1. Vocabulary work. Connect the word and its lexical meaning.

parish sopilka Chereviki

Little Russians going for salt and fish, usually in the Crimea A place sown with watermelons and shoes In Ancient Rus': the area, area under one authority earthenware jug coastal deciduous forests, flooded in the flood Ukrainian folk musical instrument

2. Text analysis.

Question work.

- The story is called "The Enchanted Place". And what place do we call enchanted?

An enchanted place is a special space where the real world meets the other world. A person who enters an enchanted place gets the opportunity to move from one world to another. Usually the magical world is located in a secluded place - on the outskirts of the village, in a ravine, in a forest.

What is the subtitle of the story? How do you understand it?

The true story told by the deacon of the *** church. Bylichki tell about the experiences of the narrator himself. By definition, V.Ya. Proppa, “there were”, or “bylichki”, “bylichki” - “these are terrible stories that reflect folk demonology, but their name says that they believe in them.

Foma Grigorievich refers to the authority of his grandfather: “But the main thing in the grandfather’s stories was that in his life he never lied, and that he didn’t say anything, that’s exactly what happened.” The subtitle contains a contradiction: on the one hand, it is stated that everything that happened to the grandfather is a true story, and on the other hand, the grandfather's meeting with evil spirits is fantastic.

The subtitle also indicates that the narrator of the story is the deacon of the *** church, Foma Grigorievich. This is an explicit narrator, but there is also a hidden narrator - this is the grandfather of Foma Grigorievich, only he could tell his grandson about what happened to him in an enchanted place.

- By what signs do we know that the story happened in the past?

The narrator Foma Grigoryevich was still a child at that time. The story “The Missing Letter” refers to the letter that the hetman sends to the queen. The queen is Catherine II. This means that the action takes place at the end of the 18th century.

- What did the narrator remember about his grandfather?

The grandfather of Foma Grigorievich, apparently, is a prosperous peasant. He grows tobacco for sale and vegetables. This person is cheerful and sociable. He is a wonderful storyteller who listens with bated breath. But he himself likes to listen to interesting stories: “And for grandfather, it’s like a hungry dumpling.” Grandfather Maxim is an honest and responsible man, it is not for nothing that the hetman instructs him to deliver an important letter to the queen, but he likes to brag, cunning, on his own mind.

- Why did grandfather end up in an enchanted place and how did this happen?

What do you think? he did not have time to say - the old man could not stand it! I wanted, you know, to brag to the Chumaks.

Wow, damn kids! is that how they dance? That's how they dance! he said, rising to his feet, stretching out his arms and kicking with his heels.<…>I had just reached, however, halfway and I wanted to roam and throw some kind of thing with my feet into the whirlwind - my legs do not rise, and that's all!<…>In fact, someone behind me laughed.

So, grandfather loves dancing. And not just loves, but is very proud of his ability to dance. The desire to brag, pride, vanity - these are the sins of the grandfather, which made it possible for the evil spirits to laugh at him. So he had to dance to someone else's tune. In addition, the grandfather mentioned the devil, that is, he called him. And the devil - right there, was not slow to fool a naive and stingy person. Grandfather grew from seeds that he got from afar, a melon, curled into three deaths, like a snake. He called this melon Turkish. As you know, in Christian symbolism, the snake personifies Satan. It is not for nothing that grandfather calls melon Turkish - this also played a role in the fact that he was in the grip of evil spirits. The Turks in the perception of the Zaporozhye Cossacks were non-Christians, and in the famous answer of the Zaporizhzhya Cossacks to the Turkish Sultan, they call Mohammed IV the devil: “You, the Sultan, are the Turkish devil, and the damned devil’s brother and comrade, the secretary of Lucifer himself.”

- How many times did grandfather find himself in an enchanted place?

Twice he visited the enchanted place and once tried to get in, but he did not succeed. Each time, grandfather goes in search of an enchanted place in the evening. The second time, the grandfather finds himself in an enchanted place, when, finding himself in the middle of the garden, where there was no dancing, he hit the ground hard with a spade.

- Why does grandfather strive to get into an enchanted place? What's with him therehappening?

He really wants to get the treasure, although in the depths of his soul he understands that the treasure given by evil spirits will not bring happiness. In an enchanted place, various miracles happen to him, however, not so much terrible as funny.

Group work.

Group 1. What are the features of the enchanted place? (Space, relief, illumination)

An enchanted place - a place where the magical and the mundane intersect

worlds. At first glance, the fairy-tale world is no different from

familiar: “... the place, it seems, is not completely unfamiliar: there is a forest on the side, some kind of pole was sticking out from behind the forest and was seen far away in the sky. What an abyss! Yes, this is the dovecote that the priest has in the garden! On the other side, too, something is turning gray; peered: the threshing floor of the volost clerk. However, the magical world only pretends to be familiar. “But the fact that this is not a true similarity, but a deceptive similarity, is expressed primarily in their spatial incompatibility. The fairy-tale world “puts on itself” the space of the ordinary, but it is clearly not according to its standards: it is torn, wrinkled and twisted. “I also went out onto the field - the place is exactly the same as yesterday: there is a dovecote sticking out; but the threshing floor is not visible. "No, this is not the right place. That, therefore, is further away; it is necessary, apparently, to turn towards the threshing floor!" He turned back, began to go the other way - you can see the threshing floor, but there is no dovecote! Again he turned closer to the dovecote - he hid in a threshing floor. A point in the space of the magical world - a place from which both the threshing floor and the dovecote are visible - "spread out" in the ordinary, turning into a vast area. But as soon as ... we returned to the fantastic space, as the territorial spot again shrank into a point: “Look, around it again the same field: on one side a dovecote sticks out, and on the other there is a threshing floor.” (Lotman). The longer grandfather stays in an enchanted place, the more the terrain changes: in a usual place among a flat field, gaps, abysses and mountains suddenly appear: “there are gaps around; steep underfoot without a bottom; A mountain hung over his head and just about, it seems, just wants to break off on him!

Darkness reigns in the enchanted place, the sky is covered with clouds, on the first night only a white spot flashes instead of a month, on the second night the darkness thickens, there are no stars, the moon disappears completely - there is not even a white spot.

The only source of light is a candle on the grave, but it goes out as soon as the grandfather discovers the stone.

In an enchanted place, strange phenomena occur, incomprehensible sounds are heard.

Group 2. What creatures did grandfather meet in an enchanted place?

bird nose- a fantastic creature invented by Gogol: a bird's nose without a body. The bird's nose squeaks amusingly and pecks at the cauldron. Although the image turned out to be not so much scary as funny, nevertheless, it is related to demonology: symbolically, some birds were intermediaries between the world of the dead and the living.

lamb head- in folklore something empty, worthless, a symbol of stupidity. It is also related to demonology: one of the demons was depicted with three heads, one of which was a ram.

Bear- an image characteristic of Russian folklore, the hero of numerous fairy tales. As a representative of the natural world, the bear, according to popular beliefs, is known with evil spirits, and close family ties with the goblin are attributed to it. The people said that "the bear is the brother of the goblin." Sometimes the bear itself is called "leshak" or "forest devil". In some areas, the goblin was considered the owner of bears, like other forest animals. In Christian symbolism, it personifies evil, diabolical forces. The battle between David and the bear symbolizes the conflict between Christ and the devil. It is also a symbol of greed.

Mug- a bad, disgusting face, mug, creature. Mask, mask, mummer. Proverbs and sayings: Are you showing off your mug? By creature and mug. With such a harey, I wouldn’t even seem to be in people! Every mug (Khavronya) praises itself.

In the meaning of "mask" in Rus', the word "mug" was used: for example, when Avvakum drives away buffoons, he breaks their tambourines and "hari". Perhaps "mug" meant a mask depicting a pig's snout (from "khavrya", "savory").

Thus, fantastic creatures in an enchanted place personify the shortcomings and sins of the grandfather: weakness, greed, stupidity.

Group 3.

Find the means of artistic expression in the "Enchanted Place" and determine their role in the text.

Hyperbolas	... underfoot steep without a bottom, nostrils - at least pour a bucket of water into each ...
Comparisons	... nose - like fur in a forge, lips ... like two decks, melon ... like a snake. · people, you know, experienced: will go to tell - just hang your ears! And grandfather is like a hungry dumplings. legs like wooden steel · He asked such a runner as if he were a gentleman's pacer. · how pissed off! like a pig before Christmas! in the stomach, by God, as if roosters are crowing And he snored so that the sparrows that had climbed up the tower rose from fright into the air.
	cursed stone red eyes · vile mug a satanic lure · cunning bastard low oak forest

Students analyze which artistic means the writer uses to create fantastic pictures, and which ones to create the everyday world.

3. Answers to questions. Generalization of the material.

- What is the name of the enchanted place in the story?

Cursed place, devilish place

How did your grandfather's adventure end?

“Look, look here, what I brought you!” - said the grandfather and opened the boiler. What do you think it was there? …gold? here is something that is not gold: rubbish, squabbles ... ashamed to say what it is.

....there was never anything good in the enchanted place. They sow it properly, but it will sprout such that it is impossible to make out: a watermelon is not a watermelon, a pumpkin is not a pumpkin, a cucumber is not a cucumber ... the devil knows what it is!

Final conclusion of the lesson.

The treasure thrown by evil spirits is illusory: it turns into rubbish and does not bring happiness to a person. The thirst for enrichment, a destructive passion for money, profit, embodied by Gogol in fairy-tale images, invariably lead the heroes to loss and shame.

Stage III

Drawing up a syncwine and analysis of the work in the lesson.

Sinkwine example

enchanted place

Mysterious, scary

Attracts, captivates, attracts

Beware of enchanted places

This is a lie

Annex 1

1. The history of the creation of "Evenings on a farm near Dikanka".

The idea to write stories in the Little Russian spirit arose from the writer, probably shortly after arriving in St. Petersburg in the winter of 1829, when Gogol, in letters to his mother and sisters, asked to be sent everything that had anything to do with Ukrainian folk customs, costumes and legends: “You have a subtle, observant mind, you know a lot about the customs of our Little Russians ... In the next letter, I expect you to describe the full outfit of a rural deacon, from the top dress to the very boots with the name, as it was called by the most hardened, most ancient, least changed Little Russians... Another detailed description of the wedding, without missing the smallest details... A few more words about carols, about Ivan Kupala, about mermaids. If there are, in addition, any spirits or brownies, then more about them with names and deeds ... ”The career of an official has not yet taken shape, so maybe at least writing could bring income? After all, he remembered from childhood the unforgettable stories of his grandmother Tatyana Semyonovna, with which she spoiled him every time he came to her rooms in Vasilyevka: about the Cossacks and the glorious ataman Ostap Gogol, about terrible witches, sorcerers and mermaids, lying in wait for a traveler on dark paths.

In addition, the then Petersburg society read Ukrainian stories with pleasure - Aladin's Kochubey, Somov's Haiduks, Kulzhinsky's Kazan Hat were also selling well in bookstores.

For the first time, Gogol tried to present his writings on Little Russian topics to the world in February 1830. His story in Ukrainian "Bisavryuk, or Evening on the Eve of Ivan Kupala" was published in Otechestvennye Zapiski. The editor of the magazine, however, decided to rework the work to his taste, which only ruined it.
The first part of "Evenings ..." was ready in the summer of 1831, when Gogol lived in Pavlovsk in the house of Princess Vasilchikova. Society that summer was fleeing outside the city from a cholera epidemic in St. Petersburg, Pushkin rented a dacha in Tsarskoye Selo, and for Gogol a place was secured for a home teacher for the son of the princess, who was born mentally underdeveloped. The house was full of hosts, and one of them, the old woman Alexandra Stepanovna, her girlfriends liked to gather to tie stockings together, and listen to the young author, who read excerpts from his writings. Once the nephew of the princess, a student of the University of Derpt, V.A. Sollogub, looked into the room: “I lounged in an armchair and began to listen to him; the old women began to stir their knitting needles again. From the first words I separated myself from the back of my chair, fascinated and ashamed, I listened eagerly; several times I tried to stop him, to tell him how much he amazed me, but he coldly looked up at me and steadily continued his reading ... And suddenly he exclaimed: “Yes, hopak is not dancing like that! ..” the reader really addresses them, in turn they were alarmed: “Why not?” Gogol smiled and continued reading the drunken peasant's monologue. Frankly, I was amazed, destroyed. When he finished, I threw myself on his neck and cried. It is believed that Gogol visited Pushkin, at Kitaeva's dacha, where he read excerpts from "Evenings ..."

And the book is already being printed in St. Petersburg at the printing house on Bolshaya Morskaya Street. Returning to the city in August, the young author hurries to pay a visit there to make sure for himself that everything is going well. The typesetters of the printing house, seeing him, turn away and spit into their fists - this is how the book given to them to work made them laugh.

Finally, in early September 1831, the book goes out of print and goes to bookstores. Laudatory reviews, "Evenings ..." are in great demand.
Gogol sends a copy of the book to his mother and immediately asks his sister Maria to continue sending him recordings of Ukrainian fairy tales and songs. Now, after such success, the second volume can be prepared for publication. This time, in his requests, Gogol is not limited to notes and observations: “I remember very well that once in our church we all saw one girl in an old dress. She will surely sell it. If you meet somewhere with a peasant an old hat or dress that is distinguished by something unusual, even if it was torn - get it! .. Put all this in one chest or suitcase, and in case you meet an opportunity, you can send ".

The second volume comes out in March 1832. (From materials to the biography of N.V. Gogol)

2. Sayings about Gogol's first book.

Review by A. S. Pushkin:“I just read Evenings near Dikanka. They amazed me. Here is real gaiety, sincere, unconstrained, without affectation, without stiffness. And in some places, what poetry! .. All this is so unusual in our current literature that I still have not come to my senses ... "

Poet Yevgeny Baratynsky Having received from the 22-year-old Gogol a copy of the stories “Evenings on a Farm near Dikanka” with an autograph, he wrote in April 1832 to the writer Ivan Kireevsky in Moscow: “I am very grateful to Yanovsky for the gift. I would very much like to get to know him. We have not yet had an author with such cheerful cheerfulness; in our north it is a great rarity. Yanovsky is a man of decisive talent. His style is alive, original, full of colors and often taste. In many places, an observer is visible in him, and in his story “Terrible Revenge” he was more than once a poet. Our regiment arrived: this conclusion is a little immodest, but it well expresses my feeling for Yanovsky.

V. G. Belinsky in his reviews, he invariably noted the artistry, gaiety and nationality of Evenings on a Farm near Dikanka. In "Literary Dreams" he wrote: "Mr. Gogol, who so cutely pretended to be a beekeeper, belongs to the number of extraordinary talents. Who does not know his Evenings on a Farm near Dikanka? How much wit, gaiety, poetry and nationality are in them!"

In the article “On the Russian story and the stories of Mr. Gogol,” Belinsky again returned to his assessment of “Evenings”: “These were poetic essays from Little Russia, essays full of life and charm. that the people can have an original, typical, all this glitters with iridescent colors in these first poetic dreams of Mr. Gogol. It was poetry young, fresh, fragrant, luxurious, intoxicating, like a kiss of love. "

3. Narrators in "Evenings ...".

There are several official narrators in Evenings. First of all, it should be said about the beekeeper Rudy Panka, the imaginary author of the preface to the book, which he allegedly published. “In 1831, having decided to publish a collection of stories, Gogol, according to his first biographer P. A. Kulish, in order to arouse curiosity in the public, came up with the name of the book and the beekeeper Rudy Pank. By the way, Rudy Panko is not just a pseudonym - the writer was red-haired, and if he were a simple peasant, they would call him, according to local custom, not after his father, but after his grandfather - Pankom (Gogol's grandfather - Panas, Afanasy) ”(V. A. Voropaev). Rudy Panko himself does not put his stories in the book, which, as he says, he will have enough for ten books, it is more interesting for him to retell other people's. The industrious beekeeper invented by Gogol is a good-natured and hospitable owner of the farm, who gladly hosts lovers of scary stories in his house. A smart, experienced person, not devoid of humor, with a cunning, he skillfully smooths out the conflicts that arise between the other two narrators - Foma Grigorievich and Makar Nazarovich.

The deacon of the *** church, Foma Grigorievich, is a fan of telling a fantastic story, although the publisher calls these stories "byli". But this is not the only paradox associated with the narrator. He bears the name Foma, which in the popular mind is firmly associated with the definition of "unbeliever", but the deacon firmly believes that everything in his stories is the true truth. Rudy Panko admires his mind and the gift of a storyteller: “For example, do you know the deacon of the Dikan church, Foma Grigorievich? Eh, head! What stories he knew how to let go! You will find two of them in this book. In the introduction to The Evening on the Eve of Ivan Kupala, Foma Grigorievich is characterized as follows: “Foma Grigorievich had a special kind of strangeness: he did not like to retell the same thing to death. Sometimes, if you beg him to tell him something again, then, look, let him throw something new or change it so that it’s impossible to find out. Despite the gentle humor with which Gogol treats his heroes, he endows Foma Grigorievich with a true creative beginning, however, changing the stories, the deacon invariably preserves the people's worldview in him.

The second narrator is Makar Nazarovich, a city panich in a pea caftan, he tells “pretentiously and cunningly, as in printed books!” Unlike Foma Grigoryevich, he focuses on the modern literary tradition. Maybe that's why listeners often do not understand his speeches.

In addition to these main storytellers, there are others: Stepan Ivanovich Kurochka from Gadyach (he wrote off the story about Shponka in the beekeeper's notebook), another storyteller who “dug up” such terrible stories that “his hair went over his head” (most likely, he belongs to a legend about a terrible revenge). There are direct narrators, for example, the grandfather of Foma Grigorievich, whose deacon was and reports to the *** church.

The story "Poor Lisa" was written by N.M. Karamzin in 1792. She made a huge impression on the Russian reader. Uneducated young ladies learned to read and write in order to read about the unfortunate fate of Lisa on their own. Although the plot of unequal love was far from new, the writer managed to write the story in such a way that for more than two hundred years we have been feeling pity and compassion for the deceived young girl.

And the point is not only that the author was one of the first in our literature to describe not the events, but the feelings of the characters. “Peasant women also know how to love!” - says the writer. And this was a discovery for his contemporaries in serf Russia. He does not give assessments, but just like we worry about his heroine, he sympathizes with her. The main theme of the story, as befits a sentimental work, is love. But there is also the theme of fate and circumstance, and, importantly for me, the theme of nature. Each event in the story is accompanied by a description of the picture of nature. And this is also a very unusual artistic device for Russian literature of the late 18th century. The artistic skill of N.M. Karamzin is obvious.

Liza's first meeting with Erast. And fog in the morning. Uncertainty. Nature suggests that this meeting does not promise happiness, what lies ahead is unknown. Next to Lisa is always the sun, light. But Erast never gets the sun's rays. And this is not accidental either. Liza is a sweet, pure, naive girl, but Erast is not like that at all. He is accustomed to pleasures, luxury. He is kind, but windy, as the author emphasizes. He says one thing and does another. When Liza yields to Erast in his desires, blindly trusting him, nature is indignant. Wind, thunder, rain. Nature cries, foreseeing the unfortunate fate of the girl. Erast lost interest in poor Lisa. And when he leaves, Liza grieves and nature mourns with her. The flowers in the story are also symbolic. White lilies of the valley in Lisa's hands at the first meeting. The next day, Lisa throws them into the water without waiting for Erast. Together with flowers, dreams of a happy life, of true and bright love are drowning.

What role do landscapes play in the story? The writer wants to show us that nature is not a judge, it does not condemn anyone, does not give judgments. She is a friend, a good adviser. She tells Lisa how to do the right thing. But the heroine forgot about her mind, succumbing to her feelings. For a while, the girl lost harmony with nature, and trouble happened. Therefore, a tragic ending was inevitable, as a punishment for a fatal mistake. Punishment awaits and Erast. N.M. Karamzin wanted to show that one should not succumb to passion, forgetting about the mind, that one must perceive nature as a friend who is trying to prompt and save us from mistakes that cannot be corrected.

The story "Poor Lisa" is the best work of N. M. Karamzin and one of the most perfect examples of Russian sentimental literature. It has many beautiful episodes that describe subtle emotional experiences.
In the work there are pictures of nature, beautiful in their picturesqueness, which harmoniously complement the narrative. At first glance, they can be considered random episodes that are just a beautiful backdrop for the main action, but in fact everything is much more complicated. Landscapes in "Poor Lisa" are one of the main means of revealing the emotional experiences of the characters.
At the very beginning of the story, the author describes Moscow and the “terrible mass of houses,” and immediately after that he begins to paint a completely different picture: “Down below ... along the yellow sands, a bright river flows, agitated by the light oars of fishing boats ... On the other side of the river an oak grove is visible, near which numerous herds graze; there young shepherds, sitting under the shade of trees, sing simple, dull songs ... "
Karamzin immediately takes the position of everything beautiful and natural. The city is unpleasant to him, he is drawn to "nature". Here the description of nature serves to express the author's position.
Further, most of the descriptions of nature are aimed at conveying the state of mind and feelings of the main character, because it is she, Lisa, who is the embodiment of everything natural and beautiful. “Even before the sun rose, Liza got up, went down to the banks of the Moskva River, sat down on the grass and, grieving, looked at the white mists ... silence reigned everywhere, but soon the rising luminary of the day awakened all creation: groves, bushes came to life, birds fluttered and sang, the flowers raised their heads to be nourished by the life-giving rays of light.
Nature at this moment is beautiful, but Lisa is sad, because a new feeling is born in her soul, which she has not experienced before.
Despite the fact that the heroine is sad, her feeling is beautiful and natural, like the landscape around.

A few minutes later, an explanation takes place between Lisa and Erast. They love each other, and her feelings immediately change: “What a beautiful morning! How fun everything is in the field! Never have larks sang so well, never have the sun shone so brightly, never have flowers smelled so pleasantly!”
A wonderful romance begins between Erast and Lisa, their attitude is chaste, their embrace is "pure and immaculate." The surrounding landscape is just as clean and immaculate. “After this, Erast and Liza, afraid not to keep their word, saw each other every evening ... most often under the shade of hundred-year-old oaks ... - oaks that overshadow a deep, clean pond, dug up in ancient times. There, the often quiet moon, through the green branches, silvered Liza's blond hair with its rays, with which the marshmallows and the hand of a dear friend played.
The time for an innocent relationship passes, Liza and Erast become close, she feels like a sinner, a criminal, and the same changes take place in nature as in Liza’s soul: “... not a single star shone in the sky ... Meanwhile, lightning flashed and thunder struck ... "This picture not only reveals Lisa's state of mind, but also portends the tragic ending of this story.
The heroes of the work part, but Lisa does not yet know that this is forever. She is unhappy, her heart is breaking, but a faint hope still glimmers in it. The morning dawn, which, like a "red sea", spills "over the eastern sky", conveys the pain, anxiety and confusion of the heroine and testifies to an unkind ending.
Lisa, having learned about Erast's betrayal, ended her miserable life. She threw herself into the very pond, near which she had once been so happy, she was buried under the “gloomy oak”, which is a witness to the happiest moments of her life.
The examples given are quite enough to show how important the description of pictures of nature in a work of art is, how deeply they help to penetrate into the soul of the characters and their experiences. It is simply unacceptable to consider the story "Poor Lisa" and not take into account the landscape sketches, because they help the reader to understand the depth of the author's thought, his ideological intent.

At the end of the 18th century, the works of N. M. Karamzin aroused great interest in Russian literature. For the first time, his characters spoke in a simple language, and their thoughts and feelings were in the foreground. What was new was that the author openly expressed his attitude to what was happening and gave him an assessment. The role of the landscape was also special. In the story "Poor Liza" he helps to convey the feelings of the characters, to understand the motives of their actions.

Beginning of the work

The environs of "greedy" Moscow and magnificent rural expanses with a bright river, lush groves, endless fields and several small villages - such contrasting pictures appear in the exposition of the story. They are absolutely real, familiar to every resident of the capital, which initially gives the story credibility.

The panorama is complemented by the towers and domes of the Simonov and Danilov monasteries shining in the sun, symbolizing the connection of history with the common people who keep it sacred. And with the beginning of acquaintance with the main character.

Such a landscape sketch cultivates the idyll of village life and sets the tone for the entire story. The fate of the poor peasant woman Lisa will be tragic: a simple peasant girl brought up close to nature will become a victim of an all-devouring city. And the role of the landscape in the story "Poor Lisa" will only increase as the action develops, since the changes in nature will be in complete harmony with what will happen to the characters.

Features of sentimentalism

This approach to writing was not something unique: it is a distinctive feature of sentimentalism. The historical and cultural trend with this name in the 18th century became widespread first in Western Europe, and then in Russian literature. Its main features:

• the predominance of the cult of feeling, which was not allowed in classicism;
• the harmony of the inner world of the hero with the external environment - a picturesque rural landscape (this is the place where he was born and lives);
• instead of the sublime and solemn - touching and sensual, connected with the experiences of the characters;
• the protagonist is endowed with rich spiritual qualities.

Karamzin became the writer in Russian literature who brought the ideas of sentimentalism to perfection and fully implemented all its principles. This is confirmed by the characteristics of the story "Poor Lisa", which occupied a special place among his works.

The image of the main character

The plot at first glance seems quite simple. In the center of the story is the tragic love of a poor peasant woman (something that did not exist before!) For a young nobleman.

Their chance meeting quickly turned into love. Pure, kind, brought up far from city life, full of pretense and deceit, Lisa sincerely believes that her feeling is mutual. In her desire to be happy, she steps over the moral standards by which she has always lived, which is not easy for her. However, Karamzin's story "Poor Lisa" shows how untenable such love is: very soon it turns out that her lover deceived her. The whole action takes place against the backdrop of nature, which has become an involuntary witness first to the boundless happiness, and then to the heroine's irreparable grief.

The beginning of a relationship

The first meetings of lovers are filled with joy from communicating with each other. Their dates take place either on the banks of the river, or in a birch grove, but more often near three oaks growing near a pond. Landscape sketches help to understand the smallest changes in her soul. In the long minutes of waiting, she is lost in thought and does not notice what has always been a part of her life: a month in the sky, the singing of a nightingale, a light breeze. But as soon as a lover appears, everything around is transformed and becomes surprisingly beautiful and unique for Lisa. It seems to her that never before have larks sang so well for her, the sun has not shone so brightly, and flowers have never smelled so pleasantly. Absorbed by her feelings, poor Liza could not think of anything else. Karamzin picks up the mood of his heroine, and their perception of nature in the happy moments of the heroine's life is very close: this is a feeling of delight, peace and tranquility.

Fall of Lisa

But there comes a point when pure, pure relationships are replaced by physical intimacy. Poor Liza, brought up on Christian precepts, perceives everything that happened as a terrible sin. Karamzin again emphasizes her confusion and fear of the changes taking place in nature. After what happened, the sky opened up above the heads of the heroes, and a thunderstorm began. Black clouds covered the sky, rain poured out of them, as if nature itself was mourning the “crime” of the girl.

The feeling of impending trouble is strengthened by the scarlet dawn that appeared in the sky at the moment of the farewell of the heroes. It reminds of the scene of the first declaration of love, when everything seemed bright, radiant, full of life. Contrasting landscape sketches at different stages of the heroine's life help to understand the transformation of her inner state during the acquisition and loss of the person dearest to her heart. Thus, Karamzin's story "Poor Liza" went beyond the classical depiction of nature. From a previously insignificant detail that played the role of decoration, the landscape turned into a way to convey heroes.

Final scenes of the story

The love of Lisa and Erast did not last long. The nobleman, ruined and in dire need of money, soon married a rich widow, which was the most terrible blow for the girl. She could not survive the betrayal and committed suicide. The heroine found peace in the very place where the most passionate dates took place - under the oak by the pond. And next to the Simonov Monastery, which appears at the beginning of the story. The role of the landscape in the story "Poor Liza" in this case comes down to giving the work of compositional and logical completeness.

The story ends with a story about the fate of Erast, who never became happy and often visited the grave of his former lover.

The role of the landscape in the story "Poor Lisa": results

When analyzing the work of sentimentalism, it is impossible not to mention how the author manages to convey the feelings of the characters. The main technique is the creation of an idyll based on the complete unity of rural nature with its bright colors and a pure soul, a sincere person, like poor Lisa was. Heroes like her cannot lie, pretend, so their fate is often tragic.

Master Class

Kontsur Yu.O., teachers of the Moscow School of EducationI- IIsteps №20

Topic: Analysis of the landscape in N.M. Karamzin's story "Poor Liza"

Goals: 1) give the concept of landscape as an element of composition; 2) analyze the role of the landscape in N.M. Karamzin's story "Poor Lisa"

Forms of work: group

1. Introduction

Writers very often in their works refer to the description

literary direction (trend) with which it is associated, the method of the writer, as well as the type and genre of the work. The landscape can create an emotional backdrop against which the action unfolds. The landscape, as part of nature, can emphasize a certain state of mind of the hero, set off one or another feature of his character by recreating consonant or contrasting pictures of nature.

In the story "Poor Liza" there are pictures of nature, beautiful in their picturesqueness, that harmoniously complement the narrative. At first glance, they can be considered random episodes that are just a beautiful backdrop for the main action. But everything is much more complicated. Landscapes in "Poor Lisa" are one of the main means of revealing the emotional experiences of the characters.

With a small knapsack on his back, Karamzin went for whole days to wander without a purpose or plan through the lovely forests and fields near Moscow, which came close to the white-stone outposts. He was especially attracted by the surroundings of the old monastery, which towered over the Moscow River. Karamzin came here to read his favorite books. Here he had the idea to write "Poor Lisa" - a story about the sad fate of a peasant girl who fell in love with a nobleman and was abandoned by him. The story "Poor Lisa" excited Russian readers. From the pages of the story, an image rose before them, well known to every Muscovite. They recognized the Simonov Monastery with its gloomy towers, the birch grove where the hut stood, and the monastery pond surrounded by old willows - the place where poor Lisa died. Accurate descriptions gave some special credibility to the whole story. The environs of the Simonov Monastery have become a favorite place for walks of melancholy-minded readers and female readers. Behind the pond, the name "Lizin's pond" was strengthened.

We will try to analyze the landscape against which the tragic fate of Lisa unfolded. It is important for us to prove that it is not a dispassionate background for the development of events, but a recreation of living nature, deeply perceived and felt.

(During the analysis, slides depicting the Simonov Monastery, Liza Pond, the scene of Lisa's death are shown on the interactive board).

2. Analysis of landscape sketches in the story "Poor Lisa"

Before you are excerpts from "Poor Liza", that part of the story that describes the subtle emotional experiences of the heroine. When analyzing landscape sketches, adhere to the following plan:

1. Determine the lexical means used by the author.

2. The tone of the episodes.

3. Images and symbols characteristic of sentimental prose.

4. The ratio of the description of the nature and mental state of the heroine.

5. Make a conclusion.

(The work is carried out in three groups)

First group

Perhaps no one living in Moscow knows the surroundings of this city as well as I do, because no one is more often than me in the field, no one more than me wanders on foot, without a plan, without a goal - where the eyes look - through meadows and groves. over hills and plains. Every summer I find new pleasant places or new beauties in old ones.

But the most pleasant for me is the place where the gloomy, Gothic towers of the Si ... new monastery rise. Standing on this mountain, you see on the right side almost all Moscow, this terrible mass of houses and churches, which appears to the eyes in the form of a majestic amphitheater: great picture especially when the sun shines on it, when its evening rays blaze on countless golden domes, on countless crosses ascending to the sky! Fat ones spread below, deep green flowering meadows, and behind them, by yellow sands, flowing bright river, agitated by the light oars of fishing boats or rustling under the helm of heavy plows that sail from the most fruitful countries of the Russian Empire and endow greedy Moscow bread. On the other side of the river, an oak grove is visible, near which numerous herds graze; there young shepherds, sitting under the shade of the trees, sing simple, dull songs and shorten the summer days, so uniform for them. Farther away, in the dense green of the ancient elms, shines golden-domed Danilov Monastery; even further, almost at the edge of the horizon, turn blue Sparrow Hills. On the left side one can see vast fields covered with bread, woods, three or four villages, and in the distance the village of Kolomenskoye with its high palace.

I often come to this place and almost always meet spring there; I come there and dark days autumn to grieve with nature. The winds howl terribly in the walls of the deserted monastery, between the coffins overgrown with tall grass, and in the dark passages of the cells. There, leaning on the ruins coffin stones I listen to the deaf groan times, swallowed up by the abyss of the past, - a groan, from which my heart shudders and trembles. Sometimes I enter cells and imagine those who lived in them, sad pictures! Here I see a gray-haired old man, kneeling before the crucifixion and praying for a speedy resolution of his earthly fetters, for all pleasures have disappeared for him in life, all his feelings have died, except for the feeling of illness and weakness. There is a young monk pale face, With languid gaze- looks into the field through the bars of the window, sees funny birds floating freely in a sea of ​​air, sees - and spills bitter tears from their eyes. He languishes, withers, dries up - and the dull ringing of the bell announces to me his untimely death. Sometimes on the gates of the temple I look at the image of miracles that happened in this monastery, where fish fall from the sky to saturate the inhabitants of the monastery, besieged by numerous enemies; here the image of the Mother of God puts the enemies to flight. All this renews in my memory the history of our fatherland - the sad history of those times when the fierce Tatars and Lithuanians devastated the outskirts of the Russian capital with fire and sword and when unfortunate Moscow, like a defenseless widow, expected help from God alone in fierce their disasters.

Second group

Night came - the mother blessed her daughter and wished her a good sleep, but this time her wish was not fulfilled: Lisa sleeping Very badly. The new guest of her soul, the image of the Erasts, seemed to her so vividly that she almost every minute woke up, woke up and sighed. Even before the sun rose, Liza got up, went down to the banks of the Moskva River, sat down on the grass and, grieving, looked at the white mists that waved in the air and, rising up, left brilliant drops on the green cover of nature. Silence reigned everywhere. But soon the rising luminary of the day awakened all creation: groves, bushes revived, the birds fluttered and sang, the flowers raised their heads to feed on the life-giving rays of light. But Liza was still sitting grieved. Oh Lisa, Lisa! What happened to you? Until now, waking up with the birds, you are with them had fun in the morning, and a pure, joyful soul shone in your eyes, like the sun shines in drops of heavenly dew; but now you thoughtful and the general joy of nature is foreign to your heart. Meanwhile, a young shepherd was driving his flock along the river bank, playing the flute. Lisa fixed her gaze on him and thought: “If the one who now occupies my thoughts was born a simple peasant, a shepherd, and if he now drove his flock past me: ah! I would bow to him with a smile and say affably: “Hello, dear shepherd boy! Where are you driving your flock? And here green grass grows for your sheep, and flowers bloom here, from which you can weave a wreath for your hat. He would look at me with an affectionate air - he would, perhaps, take my hand ... A dream! The shepherd, playing the flute, passed by and with his motley flock hid behind a nearby hill.

Third group

She threw herself into his arms - and in this hour, purity was to perish! - Erast felt an extraordinary excitement in his blood - Liza had never seemed so charming to him - her caresses had never touched him so much - her kisses had never been so fiery - she knew nothing, suspected nothing, was afraid of nothing - the darkness of the evening nourished desires - not a single star shone in the sky - no ray could illuminate delusions. - Erast feels a thrill in himself - Liza also, not knowing why - not knowing what is happening to her ... Oh Lisa, Lisa! Where is your guardian angel? Where is your innocence?

The delusion passed in one minute. Lila did not understand her feelings, she was surprised and asked questions. Erast was silent - he was looking for words and did not find them. “Oh, I'm afraid,” said Liza, “I'm afraid of what happened to us! It seemed to me that I was dying, that my soul... No, I don't know how to say it!... Are you silent, Erast? Do you sigh?.. My God! What's happened?" - meanwhile lightning flashed And thunder struck. Lisa is all trembled. "Erast, Erast! - she said. - I'm scared! I'm afraid the thunder will kill me like a criminal!" Terrible the storm roared, the rain was pouring down from black clouds - it seemed that nature was lamenting about Liza's lost innocence. - Erast tried to calm Lisa and walked her to the hut. Tears rolled from her eyes as she said goodbye to him. “Oh, Erast! Assure me that we will continue to be happy!” - “We will, Lisa, we will!” he answered. - “God forbid! I can't help but believe your words: I love you! Only in my heart... But it's full! Sorry! See you tomorrow, tomorrow."

Representatives of each group voice the result of their work. Next comes the conversation.

Questions for the first group

Why are the descriptions given at the beginning of the work? ( To evoke a certain mood in readers, with which they learn about the fate of the heroes.)

What epithets prevail in the description of the surroundings of the Simonov Monastery? ( gloomy, gothic towers, a terrible bulk, greedy Moscow, dull songs, a dull ringing, a dull moan, sad pictures, a pale face, a languid look, bitter tears, fierce disasters).

Questions for the second group

Questions for the third group

What is the reason for the author's use of numerous dashes as a connecting syntactic element? ( A similar syntax is used to depict the inner state of the heroine's soul - her impulses, excitement, a quick change of mental states.)

Find words in the passage that indicate the author's attitude towards the heroine. Comment on them.

General issues

What mood does the word "poor" evoke in you? Sadness, despondency.)

What is the role of the landscape in the text? ( The landscape is in tune with the mood of the work, causes sadness.)

Emotionality is an important sign of the works of sentimentalism. Is the text emotional? By what means is it transmitted?

The image of nature gives rise to a special mood, leading to the need to remember, dream, and reflect. What genre of lyrics arises in sentimentalism and becomes the leading one in romanticism? ( Elegy.) Is our work elegiac in mood?

The description of nature is aimed at conveying the state of mind and experiences of the main character. It helps the reader to understand the depth of the author's thought, his ideological intent. The author's introduction sets the reader in a certain emotional mood, causing empathy and sympathy.

The story "Poor Liza" is the best work of Karamzin and one of the most perfect examples of Russian sentimental literature. It has many beautiful episodes that describe subtle emotional experiences.

In the work there are pictures of nature, beautiful in their picturesqueness, which harmoniously complement the narrative. At first glance, they can be considered random episodes that are just a beautiful backdrop for the main action, but in fact everything is much more complicated. Landscapes in "Poor Lisa" are one of the main means of revealing the emotional experiences of the characters.

At the very beginning of the story, the author describes Moscow and the “terrible mass of houses”, and immediately after that he begins to paint a completely different picture. “Below… on the yellow sands, a bright river flows, agitated by the light oars of fishing boats… On the other side of the river, an oak grove is visible, near which numerous herds graze; there young shepherds, sitting under the shade of trees, sing simple, dull songs…”

Karamzin immediately takes the position of everything beautiful and natural, the city is unpleasant for him, he is drawn to “nature”. Here the description of nature serves to express the author's position.

Further, most of the descriptions of nature are aimed at conveying the state of mind and feelings of the main character, because it is she, Lisa, who is the embodiment of everything natural and beautiful. “Even before the sun rose, Liza got up, went down to the banks of the Moskva River, sat down on the grass and looked at the white mists in a huff ... silence reigned everywhere, but soon the rising luminary of the day awakened all creation: groves, bushes came to life, the birds fluttered and sang, the flowers raised their heads to be nourished by the life-giving rays of light.”

Nature at this moment is beautiful, but Lisa is sad, because a new, hitherto unknown feeling is born in her soul.

But despite the fact that the heroine is sad, her feeling is beautiful and natural, like the landscape around.

A few minutes later, an explanation takes place between Lisa and Erast, they love each other, and her feeling immediately changes. "What a wonderful morning! How fun everything is in the field! Never have larks sang so well, never have the sun shone so brightly, never have flowers smelled so pleasant!”

Her experiences dissolve in the surrounding landscape, they are just as beautiful and pure.

A wonderful romance begins between Erast and Lisa, their attitude is chaste, their embrace is “pure and immaculate”. The surrounding landscape is just as clean and immaculate. “After this, Erast and Liza, afraid not to keep their word, saw each other every evening ... most often under the shade of hundred-year-old oaks ... - oaks that overshadow a deep, clean pond, dug in ancient times. There, the often quiet moon, through the green branches, silvered Liza's blond hair with its rays, with which marshmallows and the hand of a dear friend played.

The time of an innocent relationship passes, Lisa and Erast become close, she feels like a sinner, a criminal, and the same changes take place in nature as in Liza’s soul: “... not a single star shone in the sky ... Meanwhile, lightning flashed and thunder struck ... ” This picture reveals not only Lisa's state of mind, but also foreshadows the tragic ending of this story.

The heroes of the work part, but Lisa does not yet know that this is forever, she is unhappy, her heart is breaking, but a faint hope still glimmers in it. The morning dawn, which, like a “scarlet sea”, spills “over the eastern sky”, conveys the pain, anxiety and confusion of the heroine and also testifies to an unkind ending.

Lisa, having learned about Erast's betrayal, ended her miserable life, she threw herself into the very pond, near which she was once so happy, she was buried under the “gloomy oak”, which is a witness to the happiest moments of her life.

The examples given are quite enough to show how important the description of pictures of nature in a work of art is, how deeply they help to penetrate into the soul of the characters and their experiences. It is simply unacceptable to consider the story “Poor Lisa” and not take into account the landscape sketches, because they help the reader to understand the depth of the author’s thought, his ideological intent.

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12. Action 1 Scene 1 Morning, living room. Lisa wakes up in a chair. Sophia did not let her sleep the day before, because she was waiting for Molchalin, and Lisa had to watch ...
13. N. M. Karamzin in the story “Poor Lisa” tells a story, the plot of which at all times has provided food for the fantasies of writers - the love story of an ingenuous girl from ...
14. In any book, the preface is the first and at the same time the last thing; it either serves as an explanation of the purpose of the essay, or as a justification and answer to criticism. But...
15. Karamzin is one of the most prominent representatives of Russian sentimentalism. All his works are imbued with deep humanity and humanism. The subject of the image in them is the emotional experiences of the characters, ...

NIKOLAY MIKHAILOVICH KARAMZIN
(1766 - 1826)
writer, historian.
Born on December 1 (December 12 according to the new
style.) in the village of Mikhailovka Simbirskaya
province in the family of a landowner. Received
good home education.
In 1789 in the magazine "Children's Reading ..."
first original story
Karamzin "Eugene and Julia".
By the mid-1790s, Karamzin became the recognized head of the Russian
sentimentalism, which opened a new page in Russian
literature. He was an indisputable authority for Zhukovsky,
Batyushkov, young Pushkin.

MAIN FEATURES OF THE LITERATURE
SENTIMENTALISM
SENTIMENTALISM - a genre in European literature of the second half
18th century, formed within the framework of the late Enlightenment and reflecting
the growth of democratic sentiment in society. Originated in the lyrics and the novel;
later, penetrating into theatrical art, gave impetus to the emergence of genres
"tearful comedy" and philistine drama.
Sentimentalism declared feeling, and not
mind, which distinguished it from classicism.
Sentimentalism remained true to the ideal of the normative personality, but
the condition for its implementation was not a "reasonable" reorganization of the world, but
release and improvement of "natural" feelings.
The hero of enlightenment literature in sentimentalism is more
individualized, his inner world is enriched by the ability
empathize, sensitively respond to what is happening around.
The landscape for sentimentalists is not a dispassionate background for the development of events, but
recreation of living nature, deeply perceived and felt.

THE STORY "POOR LIZA" - AS AN EXAMPLE
LITERATURES OF SENTIMENTALISM
In "Poor Liza" the author frankly declares that he
"loves those objects that touch the heart and
forced to shed tears of grievous sorrow."
In "Poor Lisa" there are no characters, but a lot of feeling,
and most importantly, with all the tone of the story, she touched the soul and
put readers in the mood in which they
the author appeared.
It is from "Poor Lisa" that Russian literature
takes a philanthropic direction.
Imitators brought Karamzin's tearful tone
to an extreme, which he did not sympathize with at all

THE ROLE OF LANDSCAPE IN THE STORY "POOR LISA"
Drawing the landscape of Moscow from afar, the author shows how she
majestic, how the golden domes of churches glisten and ascend
up countless crosses.
But Moscow in the view of the narrator -
"greedy", "terrible bulk of houses and churches"

Karamzin describes the countryside with great pleasure,
calm and free. "Flowering meadows", "bright river", "vast,
fields covered with bread "- from this landscape breathes peace, tranquility and
beauty. The narrator says that he meets spring in those places
and there comes “in the gloomy days of autumn to grieve with
nature."

Nature - "nature" - plays
important role in sentimental
the stories of N.M. Karamzin. She
helps convey
emotional state of the character
author, narrator, enhances
his feelings. At the beginning of the story
"Poor Liza" nature helps
the author to reveal the inner world
narrator, good man,
sensitive, attentive
to other people's feelings.

SIMONOV MONASTERY
"The winds howl terribly in
empty walls
monastery, between the coffins,
overgrown with tall grass, and
dark passages of the cells.
They bring special excitement
teller of the wall of the Simonov Monastery.
From the "deaf groan of times" "shudders and
trembles" heart, forcing to remember
glorious historical past of the Fatherland.

VIEW OF THE SIMONOV MONASTERY
Simonov Monastery. Lithograph L.P. Bishbois. 1840s (depicted
Bell tower).

HISTORY OF SIMONOV
MONASTERY
At the Church of the Nativity
Mother of God Simonov
monastery in the XVIII century were
graves discovered
heroes of the Battle of Kulikovo -
Alexandra Peresvet and
Andrey (Rodion) Oslyaba,
preserved to this day.
Simonov (Assumption) monastery - a monastery,
founded in 1370 downstream of the Moskva River from Moscow
disciple and nephew of St. Sergius of Radonezh
- Reverend Fedor, a native of the city of Radonezh on the lands,
donated by the boyar Stepan Vasilyevich Khovrin (monastic
name - monk Simon - from which the name of the monastery comes).

LANDSCAPE AS A SETTING
The beginning of the novel by Lisa and Erast -
spring, meadows covered with flowering
lilies of the valley with which Lisa
comes to Moscow. Lisa dreams of
love, admiring nature and regretting
that Erast was not born simple
a peasant and cannot, like
to a young shepherdess, to drive the flock along
green meadow.

The picture of rural nature here emphasizes purity and naivety.
peasant girl. The dates of the heroes take place in the oak forest in the light
"silent moon" Landscape depicting a "deep clean pond" "under the shade
hundred-year-old oaks" and silvery moonbeams, also emphasizes
the romantic sublimity of their love.

And when the relationship between Lisa and Erast lose
former innocence, "lightning flashed and
thunder roared”, “the storm roared menacingly, rain
poured from black clouds "- and Lisa
feels like a criminal.
Sad and mournful memories
inspired by the narrator landscape.
The collapsed hut makes him
remember Lisa, her sad
fate.
The author uses the landscape to express
the emotional state of their characters,
narrator, to create a certain
emotional mood, which should
feel readers.

And finally, when the deceived girl throws herself into that same pond, her
buried like a suicide under the same oak tree, but now it seems
to the narrator "gloomy", and in the deserted hut "the wind howls".
Lizin Pond at the Simonov Monastery
became famous after
1792 N.M. Karamzin wrote
story "Poor Lisa".
This pond was called Holy,
or Sergiev, because, according to
monastic tradition,
dug by Sergius himself
Radonezh

Answer the questions:
How do we see the main character in
parent family?
What did her father and mother teach her?
What does the reader learn about Erast before
meeting Lisa?
How to understand the words of the hero "Natura
calls me into his arms"?
What words of the author sound evaluation
hero's action?
Does he condemn Erast?
How to understand the final phrase
lead?

The main idea is peace
idyllic human life
in the lap of nature.
"Sharply contrasted
village (central
natural life,
moral purity) city
(symbol of evil, unnatural
life, bustle).
The landscape is basic
the scene of the story. He
embellishes feelings and experiences
heroes, reveals the copyright
position.

The story "Poor Lisa" is the best work of N. M. Karamzin and one of the most perfect examples of Russian sentimental literature. It has many beautiful episodes that describe subtle emotional experiences.
In the work there are pictures of nature, beautiful in their picturesqueness, which harmoniously complement the narrative. At first glance, they can be considered random episodes that are just a beautiful backdrop for the main action, but in fact everything is much more complicated. Landscapes in "Poor Lisa" are one of the main means of revealing the emotional experiences of the characters.
At the very beginning of the story, the author describes Moscow and the “terrible mass of houses,” and immediately after that he begins to paint a completely different picture: “Down below ... along the yellow sands, a bright river flows, agitated by the light oars of fishing boats ... On the other side of the river an oak grove is visible, near which numerous herds graze; there young shepherds, sitting under the shade of trees, sing simple, dull songs ... "
Karamzin immediately takes the position of everything beautiful and natural. The city is unpleasant to him, he is drawn to "nature". Here the description of nature serves to express the author's position.
Further, most of the descriptions of nature are aimed at conveying the state of mind and feelings of the main character, because it is she, Lisa, who is the embodiment of everything natural and beautiful. “Even before the sun rose, Liza got up, went down to the banks of the Moskva River, sat down on the grass and, grieving, looked at the white mists ... silence reigned everywhere, but soon the rising luminary of the day awakened all creation: groves, bushes came to life, birds fluttered and sang, the flowers raised their heads to be nourished by the life-giving rays of light.
Nature at this moment is beautiful, but Lisa is sad, because a new feeling is born in her soul, which she has not experienced before.
Despite the fact that the heroine is sad, her feeling is beautiful and natural, like the landscape around.

A few minutes later, an explanation takes place between Lisa and Erast. They love each other, and her feelings immediately change: “What a beautiful morning! How fun everything is in the field! Never have larks sang so well, never have the sun shone so brightly, never have flowers smelled so pleasantly!”
Her experiences dissolve in the surrounding landscape, they are just as beautiful and pure.
A wonderful romance begins between Erast and Lisa, their attitude is chaste, their embrace is "pure and immaculate." The surrounding landscape is just as clean and immaculate. “After this, Erast and Liza, afraid not to keep their word, saw each other every evening ... most often under the shade of hundred-year-old oaks ... - oaks that overshadow a deep, clean pond, dug up in ancient times. There, the often quiet moon, through the green branches, silvered Liza's blond hair with its rays, with which the marshmallows and the hand of a dear friend played.
The time for an innocent relationship passes, Liza and Erast become close, she feels like a sinner, a criminal, and the same changes take place in nature as in Liza’s soul: “... not a single star shone in the sky ... Meanwhile, lightning flashed and thunder struck ... "This picture not only reveals Lisa's state of mind, but also portends the tragic ending of this story.
The heroes of the work part, but Lisa does not yet know that this is forever. She is unhappy, her heart is breaking, but a faint hope still glimmers in it. The morning dawn, which, like a "red sea", spills "over the eastern sky", conveys the pain, anxiety and confusion of the heroine and testifies to an unkind ending.
Lisa, having learned about Erast's betrayal, ended her miserable life. She threw herself into the very pond, near which she had once been so happy, she was buried under the “gloomy oak”, which is a witness to the happiest moments of her life.
The examples given are quite enough to show how important the description of pictures of nature in a work of art is, how deeply they help to penetrate into the soul of the characters and their experiences. It is simply unacceptable to consider the story "Poor Lisa" and not take into account the landscape sketches, because they help the reader to understand the depth of the author's thought, his ideological intent.