Literature lesson in 11th grade.
Goals and objectives: 1) through reading and analyzing poems from chapter 17 of the novel "Doctor Zhivago" to open knowledge of the entire text:
a) work with text; determine the place and significance of "Poems by Yuri Zhivago" in the composition and concept of the novel;
b) cultural aspect - to analyze the symbols of the novel in the poem "Winter Night" and in the book of the first part of the third in chapters nine, ten "Christmas tree at the Sventitskys" - the image of a candle; in the poem "The Miracle" and in the book of the third part of the eleventh, in the fourth chapter "Forest Host" - the image of a tree, a barren fig tree;
c) the relationship of characters (etymology);
2) to develop elements of logical thinking through heuristic conversation;
3) actualization of modern life, examples from the works of B. Pasternak's contemporaries (A.A. Furmanov "Rout" - the image of the Sword) and in the works of the 19th century (F.M. Dostoevsky "Crime and Punishment");
4) moral and ethical aspect, moral traditions - Christian motives in the novel, attitude towards God;
5) the meaning of the novel "Doctor Zhivago"; the significance of B.L. Pasternak.
Epigraph to the lesson: “Pasternak is the presence of God in our lives. Presence, given not postulately, but objectively, through the sensual sensation of Life - the best, inexplicable creation of the Universe.
Andrei Voznesensky.
Methods and techniques: lecture with elements of conversation, analysis of poems.
Materials and equipment: Portrait of B.L. Pasternak, Roman "Doctor Zhivago", multi video film, mp-3 song by A.B. Pugacheva "The Candle Was Burning", a candlestick with a burning candle, a video film by David Lynn "Doctor Zhivago" in two parts.
Plan and course of the lesson.
Org. moment.
Introduction by the teacher.
***
In everything I want to reach
To the very core
At work, in search of a way,
In heartbreak.
To the essence of past days,
Until their reason
Down to the roots, down to the roots
To the core.
The thread grabs all the time
destinies, events,
Make discoveries
In this excerpt from a 1956 poem, Boris Leonidovich Pasternak talks about the essence and meaning of his work, about the desire not to remain on the surface of phenomena, but to penetrate into their essence.
III. - Today in the lesson we will work on the top work of prose by B.L. Pasternak's novel "Doctor Zhivago". About the characterization of the concept of the book, given in a letter to O. Freudenberg in the autumn of 1946, B. Pasternak reports: “I began to write a novel in prose“ Boys and Girls ”, which in ten chapters should cover the fortieth anniversary of 1902-1946, and with great enthusiasm wrote a quarter of everything conceived or a fifth of it I am already old, soon, perhaps, I will die, and it is impossible to postpone indefinitely the free expression of my real thoughts. And a little later, in a letter to O. Freudenberg, he wrote: “I want to give in it a historical image of Russia over the past forty-five years, and at the same time, all aspects of my plot, heavy, sad and elaborated in detail - this thing will be an expression of my views on art, on the gospel, on the life of man in history, and much more.”
By the end of 1947, 10 poems for the future novel had already been written.
The novel was originally called "Boys and Girls", then "Rynva" (a navigable river mentioned in the second part of the novel), "The candle burned" and only much later the novel began to be called "Doctor Zhivago".
In February 1956, Pasternak offered the manuscript of his novel to two magazines at once - Znamya and Novy Mir. Only in September did an official refusal come, signed by A. Agapov, B. Lavrenev, K. Fedin, K. Simonov and A. Krivitsky: “The spirit of your novel is the spirit of rejection of the socialist revolution. The pathos of your novel is the pathos of the assertion that the October Revolution, the Civil War and the subsequent changes connected with them brought nothing but suffering to the people, and the Russian intelligentsia was destroyed either physically or morally. Your novel is deeply unfair. Historically biased and alien to any understanding of the interests of the people "Although at that time Europe and America were reading the novel "Doctor Zhivago" - in 1957 the novel was published in Milan, and in 1958 - in England, USA, Germany and Sweden.
On October 23, 1958, the secretary of the Nobel Foundation, Anders Estrling, informed Pasternak by telegram that he had been awarded the prize and invited him to come to Stockholm on December 10 for the official award ceremony. Pasternak responded by sending a telegram of gratitude: "Infinitely grateful, touched, proud, surprised, embarrassed." Soon, at a meeting of the board of the Writers' Union, the question “On the actions of a member of the USSR Writers' Union B.L. Pasternak, incompatible with the title of a Soviet writer.
The newspapers began to openly defame the author of Doctor Zhivago. And under the pressure of everything that was happening, Pasternak was forced to publicly refuse the Nobel Prize. But the scandal did not subside. Pasternak wrote about this in his poem "The Nobel Prize":
I disappeared like an animal in a pen.
Somewhere people, will, light,
And behind me the noise of the chase.
I have no way out.
In the spring of 1960, a fatal illness bedridden Pasternak - a heart attack, and further examination confirmed another diagnosis - lung cancer. May 30, 1960 Boris Leonidovich died.
- Today in the lesson we will try to understand why the novel was so received by the Soviet public, although it can be said with certainty that many of Pasternak's contemporaries participating in his persecution did not even read the novel, and many were not familiar with Pasternak's work at all.
Poetry and prose in B.L. Pasternak's "Doctor Zhivago" form a living, indecomposable unity, which is, in fact, a new genre form. Therefore, in the lesson, you and I will be interested in the poetic and functional significance that has in the general context of Pasternak's novel "Yuryev's Notebook" - a poetic cycle, which is the seventeenth, final part of it, consisting of 25 poems.
The Zhivagovsky cycle includes poems written in the period from 1946 to 1953, extremely diverse in genre and lyrical themes. Poem-
The works of Yuri Zhivago must be considered only from the point of view of the unity of the prose text and the poetic parts of the novel, from the point of view of the unity of the cycle itself and its correlation with the prose text.
And in this context, the poems of the cycle perform two main functions. The essence of the first is determined by the fact that many “through” images find their aesthetic completion and symbolic rethinking in one or another poem of the cycle, that is, being an element of the compositional structure of the text. The second function is to reveal value judgments, conceptual ideas, deep meaningful layers hidden in a prose text.
The novel about Yuri Zhivago's earthly journey begins with the death of his mother and ends with his death and funeral. Yuri Andreevich Zhivago, a doctor, thinking, with a search for a creative and artistic fold, dies in 1929, after him there are notes and, among other papers, written in his younger years, finished poems, some of which make up the last, final part of the novel.
Yuri Zhivago is a doctor, but we do not see his direct medical activity in the novel. The hero of Pasternak is a spiritual doctor, like the gospel Jesus, he heals the souls of people; his poems are both good news, and healing, and insight, and liberation, and repentance, and faith in the resurrection. The whole novel is permeated with Christian ideas. The very name of the hero is associated with the image of Christ (“You are the son of the living god”: “living” is the form of the genitive and accusative cases in the Old Russian language). The name Yuri is also symbolic - a variant of the name George (George the Victorious).
In fact, the main action of the novel begins with a burning candle, the plot dynamics of which, according to the critic A. Lavrov, "is based on plot knots formed by chance meetings and coincidences."
Let's read the poem "Winter Night".
Winter night(15)
Melo, melo all over the earth
To all limits.
A candle burned on the table.
The candle was burning.
Like a swarm of midges in summer
Flying into the flame
Flakes flew from the yard
to the window frame.
Snowstorm sculpted on glass
Circles and arrows.
The candle burned on the table
The candle was burning.
On the illuminated ceiling
The shadows lay
Crossing arms, crossing legs.
Crossing of fate.
And two shoes fell
With a knock on the floor.
And wax with tears from the night light
Drip on the dress.
And everything was lost in the snowy mist.
Gray and white.
The candle burned on the table
The candle was burning.
The candle blew from the corner,
And the heat of temptation
Raised like an angel two wings
Crosswise.
Melo all month in February,
And every now and then
The candle burned on the table
The candle was burning.
What does the candle symbolize? (The image of a candle has a special meaning in Christian symbolism. Addressing his disciples in the Sermon on the Mount, Christ says: “You are the light of the world. A city standing on a mountain top cannot hide. And, having lit a candle, they do not put it under a vessel, but on a candlestick and shine on all in the house. So let your light shine before men, that they may see your good works and glorify your Father in heaven").
- When does the image of a candle appear in the novel? (The image of a candle appears twice in the novel. The first time - in a snowstorm, on a frosty Christmas night, on the eve of which the dying Anna Ivanovna blesses Yura and Tonya, the night before the Christmas tree at the Sventitskys. Yura sees from the street a circle thawed from a candle - in a frosty window. Lara, intent on irrevocably determining her fate, resolving a whole bundle of problems related to her deep dependence on Komarovsky, the debt of her brother Rodion and the uncertainty of relations with Pasha Antipov, comes to Pasha in a room with a proposal to get married as soon as possible.Pasha, at the request of Lara, put a candle on the windowsill, this candle is seen by Yuri Zhivago, driving with Tonya on a sledge along Kamergersky. From the close flame of a candle, a circle forms, resembling a conscious, directed outward look. The image of a candle gives rise to the first poem in his mind - "The candle was burning on the table.")
-This moment of the novel is deeply symbolic, it is impossible to give an unambiguous interpretation to it. One thing is clear: this episode is one of the semantic centers of the work, linking together not only the prose and verse parts of the novel, but also a number of aspects of its problems. The poem "Winter Night" is the first poem by Yuri Zhivago, which means that the image of a candle contributes to the birth of the poet.
- The light of a candle connects Yura with Tonya and Lara with Pasha at a turning point in their lives: two new families are born, and a ray of light shows that this connection is not accidental.
The next intersection of the fates of Yuri and Lara is marked by the first coming of inspiration to him. From now on, Lara will become, secretly or openly for Zhivago, his Muse, Zhivago's path as a poet will begin with this candle.
- Let's remember in which episode of the novel F.M. Dostoevsky's "Crime and Punishment" also mentions the image of a candle as the image of God. (In part 4 in chapter 4 of the novel Crime and Punishment, the image of a candle is also mentioned. When Raskolnikov comes to Sonya Marmeladova to tell about the crime, he goes up to the Capernaum house where Sonya lives. And he fumbles in the dark for a long time before he finds the right door And the first thing he sees in Sonya's room is a lit candle on a sagging chair, which means that in this darkness, only Sonya has light, only God lives in her apartment).
Let's turn to another poem by Yuri Zhivago - "Hamlet".
Poem "Hamlet" (1)
The hum is quiet. I went out to the stage.
Leaning against the door frame
I catch in a distant echo
What will happen in my lifetime.
The twilight of the night is directed at me
A thousand binoculars on an axis.
If possible, Abba Father,
Pass this cup.
I love your stubborn intention
And I agree to play this role.
But now there's another drama going on
And this time, fire me.
But the schedule of actions is thought out,
And the end of the road is inevitable.
I am alone, everything is drowning in hypocrisy.
To live life is not a field to cross.
- Guys, before we work with this poem, let's find out what the word Pharisees means or who are the Pharisees?
Pharisees (other - Heb.) 1. Members of a religious and political sect, representing the interests of the wealthy sections of the urban population, distinguished by fanaticism and hypocritical execution of pious rules.
2. Currently - a common noun for hypocrites and hypocrites. (Encyclopedia of the Russian language. Dictionary of foreign words. - Moscow. - Mir knigi. - 2003. - p. 381-382.)
This poem can be considered the key to the entire book; it is not without reason that the seventeenth, poetic chapter of the novel opens with it. Key in the sense that understanding how the poem is structured provides the key to understanding the entire novel. The poem can be read as follows:
- the very title of the poem, as well as the situation of the inevitability of the path destined for the hero and the attempt to comprehend this inevitability, indicate that this is the internal monologue of Hamlet - the Danish prince from the tragedy of the same name by W. Shakespeare;
- a mention of hypocrisy and the loneliness of the hero: thus, the theme of life as a redeeming sacrifice and the theme of the beginning of a new era with the birth of Christ - the beginning of modern history, our era are introduced;
- this poem is included in the ideological structure of "Doctor Zhivago", allows you to comprehend the life path of the hero in relation to the paths of Hamlet, the artist-actor, who, according to his position, must complete his role in the drama of life, and, finally, Christ, who said a new word to the world about life and his own life, who confirmed his correctness (the possibility of such a reading is supported by the surname of the hero - the seal of the Living God (Rev. 7.2); by the way, Yuri's mother's name was Maria).
- but if we remember that in reality the poem was written by B. Pasternak, then the features of the biographism of the novel will become clear: how, in the almost complete absence of external coincidences, the life paths of the author of the hero of the novel and his protagonist are related. The words spoken about this work by D.S. Likhachev: "Doctor Zhivago" - "Pasternak's spiritual autobiography". The point here is not in the commonality of biography facts, but in the commonality of the spiritual path chosen once by Christ and at all times since then has been chosen by the best representatives of humanity - the sacrificial path.
The originality of both the poem and the novel is that Pasternak does not directly transfer the circumstances of two thousand years ago to the present: these circumstances seem to shine through the veil of time, do not replace each other, but merge into an indissoluble whole, “like an image enters an image, / And how the object cuts the object ”(“ I want to go home, in hugeness ”). This overcomes time itself: what happened centuries ago is happening here and now, and will never pass, will be forever.
-Now we will consider another poem from the Zhivagov cycle - the poem "Miracle". We will consider the problem raised in this work - the problem of the revolution and the intelligentsia.
Poem "Miracle" (20)
He went from Bethany to Jerusalem,
We languish in advance with sadness of forebodings.
The thorny bush on the steep was burned out,
Smoke did not move over the neighbor's hut,
The air was hot, and the reeds were motionless,
And the Dead Sea peace is immovable.
And in bitterness, arguing with the bitterness of the sea,
He walked with a small crowd of clouds
On a dusty road to someone's yard,
Went to the city at a gathering of disciples.
And so He deepened into His thoughts,
That the field in despondency smelled of wormwood.
Everything is quiet. He alone stood in the middle,
And the area lay in a layer in oblivion.
Everything is mixed up: warm and desert,
And lizards, and keys, and streams.
The fig tree rose in the distance,
No fruits at all, only branches and leaves.
And He said to her: “For what profit are you?
What joy do I have in your tetanus?
I thirst and hunger, and you are an empty flower,
And meeting with you is more dreary than granite.
Oh, how insulting and untalented you are!
Stay like this until the end of your life."
A shiver of condemnation passed through the tree,
Like a lightning spark through a lightning rod.
The fig tree was burned to ashes.
Find at this time a moment of freedom
At the leaves, the branches, and the roots, and the trunk,
If only the laws of nature could intervene.
But a miracle is a miracle, and a miracle is God.
When we are in confusion, then in the midst of confusion
It overtakes instantly, unawares.
During one of the clashes between the partisan detachment and the White Guards, the doctor, contrary to the international convention forbidding doctors to participate in hostilities, took the rifle of the killed telephone operator and, in order not to shoot at the advancing, mostly very young guys, began to aim at a dead charred tree.
-What did he do it for? And what happened next?
(This tree was a real salvation for the attackers, but they all did not allow themselves to hide behind its trunk and moved on. But as the doctor was not careful, he still wounded two White Guards, and another shot cost his life).
- This episode contains a number of essential problems of the novel. Good-
the free participation in the battle of Doctor Zhivago, forcibly captured by the partisans, sets the theme of the intelligentsia and the revolution. The author shows that in an era of revolutionary upheavals it is impossible to remain in a position “above the fight”: even a servile position in a hostile camp, “passive” cooperation with one of the belligerents is already participation in the struggle. Zhivago, who is aware of this, for all his “non-belligerence”, is aware of the illusory nature and even the falsity of the posture of “non-intervention”: he submits to the logic of the fight, which does not allow anyone to remain on the sidelines.
- Guys, let's remember in which work, from the recently studied by you, the issue of the intelligentsia and the revolution is very sharply raised?
(Alexander Fadeev's novel "The Rout". In this novel, as well as in B. Pasternak's novel, the problem of the intelligentsia and the revolution is raised).
- On the example of these two novels, one can identify the author's position of each writer by comparing the description of Mechik and Zhivago (chapters 11-12).
- How did Mechik get into the partisan detachment?
(Mechik got into the partisan detachment on a ticket from the maximalist party).
- And how did Zhivago get into the partisan detachment?
(Yuri Zhivago was captured by a partisan detachment as a "useful" person).
- What is the self-perception of Pavel Mechik and Yuri Zhivago in the atmosphere of a partisan detachment?
(Both heroes "did not take root" in the detachment. If Mechik gradually falls into despair as he moves away from detachment life and from the standard he created in his imagination, then Zhivago is not compatible with this life, since from the very beginning he does not accept the laws of the folk drama that has played out.)
- Both writers convince us that the wavering part of the intelligentsia in the 1920s could only "fluctuate" in the direction of rejection of the "era of revolutionary battles." Both heroes run away from the squad. The sword runs away, throwing off the unbearable burden of a revolutionary fighter. His thoughts are thoughts, this is the beginning of the end that leads to crime, betrayal. From this follows the author's verdict on the "clean" intellectuals who are afraid of blood and only prevent others from fulfilling their revolutionary duty.
For the Sword to leave the detachment means to betray the banner under which he became. For Zhivago, this means surrendering to the elements of beauty and spirituality, without which life is inconceivable for him. Fadeev issues the following sentence to Mechik: "Everything that is not capable of a real revolutionary struggle, accidentally falling into the camp of the revolution, is eliminated." A completely different trend emerges in Pasternak's position: this is the view of the writer of another pole, other dimensions, putting the artist "above the fight" in recreating the image of historical Time.
Let's turn to the text of the poem "Miracle". The poem mentions the barren fig tree burnt to ashes by Christ.
Reading the parable "The withered fig tree".
Returning early in the morning to the city, Jesus felt very hungry. Along the way, He saw a fig tree. He approached her, but, except for the leaves, he did not find anything on the tree. Then Jesus said to the tree:
May you never bear fruit again!
The tree withered immediately. When the students saw this, they were surprised:
How could this tree wither so quickly?
Jesus replied:
“I tell you the truth: if you believe without a doubt, you can do not only what was done with the tree, you can even say to this mountain: “Go and throw yourself into the sea,” and it will obey you. If you believe, whatever you ask for in prayer, you will receive. (Word of Life / New Testament in modern translation. - M. "Protestant". - 1992. - p. 30.)
In the novel, Zhivago shoots at a tree that “was charred by lightning or fire, or split and scorched by previous battles,” has a symbolic meaning and, in general, the novel has something in common with the poem “Miracle”. This tree is a temptation for the advancing Whites as an opportunity to protect themselves from bullets and escape death. However, they understand the futility of such behavior and prefer the path of the victim - the path of authenticity. Their only mistake is excessive theatricality, flaunting their prowess, which would be excusable in youth if it did not lead to senseless sacrifices.
IV. Summary of the lesson.
We limited ourselves to the analysis of three poems, but even this serves as a vivid example and proof of how closely poetry and prose interact in Pasternak's novel.
"Doctor Zhivago" is a unique work in all respects: philosophical, poetic-genre, in terms of continuity and in terms of innovation. The poetic word of the hero in the novel is not an object of representation, but a full-fledged, living depicting word that complements and deepens the prosaic, authorial word. The organic unity of the prose and poetic parts of the novel is ultimately perceived not just as an original compositional device, but, first of all, as a symbol of true art - art that can exist only in merger with the life that gives birth to it and is transformed by it.
And at the end of the lesson, we will once again turn to the epigraph, to the words of Andrei Voznesensky about Boris Pasternak: “Pasternak is the presence of God in our lives. Presence, given not postulately, but objectively, through the sensual sensation of Life - the best, inexplicable creation of the Universe.
In my opinion, these words characterize the personality and work of B.L. Pasternak. Each century gives birth to its own genius: in the 19th century it was A.S. Pushkin, and in the 20th century it is, of course, B.L. Parsnip. And I would like to finish the lesson with a poem
***
In everything I want to reach
To the very core
At work, in search of a way,
In heartbreak.
To the essence of past days,
Until their reason
Down to the roots, down to the roots
To the core.
The thread grabs all the time
destinies, events,
Live, think, feel, love,
Complete opening.
Oh if only I could
Although in part
I would write eight lines
About the properties of passion.
About lawlessness. About the sins
Run, chase.
Accidents in a hurry,
Elbows, palms,
I would deduce her law.
Its beginning
And repeated her names
Initials.
I would break poetry like a garden.
With all the trembling of the veins
Limes would bloom in them in a row.
Guskom, in the back of the head.
In verses I would bring the breath of roses,
mint breath,
Meadows, sedge, haymaking,
Thunderstorms.
So once Chopin invested
living miracle
Farms, parks, groves, graves
In your studies.
Achieved triumph
Game and flour -
Strung string
Hard bow.
Board layout:
Theme of the lesson: "Poems by Yuri Zhivago". The meaning of the poetic cycle in the general context of the novel by B.L. Pasternak.
“Pasternak is the presence of God in our lives. Presence, given not postulately, but objectively, through the sensual sensation of Life - the best, inexplicable creation of the Universe.
Andrei Voznesensky.
Yuri Andreevich Zhivago candle Lara Guichard
Zhivago = Jesus Christ Guichard = prison window
Yuri = George the Victorious Larisa = seagull Tonya Gromeko - Shura's son Pavel Antipov - a trip to daughter Katya Ural, to teach, daughter
Kate
war
hospital - February Revolution
daughter of Tanya Bezocheredov
The death of Yuri Zhivago, the fate of Lara Guichard is unknown
Death of Yuri Zhivago's mother
Boris Pasternak, novel "Doctor Zhivago"
The novel, in the center of which the revolutionary era should be, Pasternak began to write in the winter of 1917-1918 and did not part with this idea for several decades. The fate of "Doctor Zhivago" is dramatic: the novel was completed in 1955 and sent to the journal "New World", but was rejected, because. they saw in it a distorted image of the revolution and the place of the intelligentsia in relation to it.
However, the novel was published in 1957 in Italy, then translated into many languages of the world, and in 1958 the author was awarded the Nobel Prize in Literature "for outstanding achievements in modern lyric poetry and in the traditional field of great Russian prose."
At home, Pasternak began to be actively persecuted: he was expelled from the members of the Writers' Union, organized in newspapers, magazines, on the radio a whole stream of insults and accusations, forced him to refuse the Nobel Prize, persistent demands were made to leave his native land. “I am connected with Russia by birth, life, work. I do not think of my fate separately and outside of it, ”Pasternak declared decisively.
Nobel prize. All the same. What did I do for the dirty trick, Am I a murderer and a villain? I made the whole world cry Over the beauty of my land. 1959
This whole story crippled the writer. May 30, 1960 Pasternak died. "Doctor Zhivago" was published in the homeland only in 1988, 33 years after it was written.
Why did Doctor Zhivago cause such a reaction from the authorities?
Outwardly, the narration is quite traditional: it tells about the fate of a person in the era of revolution. But the events of the novel are given through the perception of the protagonist, this subjective perception constitutes the plot. The novel did not fit into the schemes of socialist realism, which implies an "active life position." The fate of a person, according to Pasternak, is not directly related to the historical era in which one has fallen to live. The protagonist of the novel, Yuri Zhivago, does not try to fight the circumstances, but does not adapt to them either, remaining himself under any conditions, maintaining his point of view.
How are historical events refracted in the perception of Yuri Zhivago?
Initially, the hero enthusiastically accepts the events of October 1917. Yuri Zhivago says to Larisa in an enthusiastic boyish way: “Just think what time it is now! And we live in these days! After all, only once in eternity does such an incredible thing happen. Just think: the roof was torn off from all over Russia, and we, with all the people, found ourselves under the open sky. And there is no one to watch over us. Freedom!". Soon the hero realizes that instead of the emancipation of a person, promised by the first revolutionary actions, the new government put a person in a rigid framework, while imposing their own understanding of freedom and happiness. But it is impossible to make people happy by force, there is no single recipe.
What happens to Zhivago during the Civil War?
During the Civil War, Zhivago was assigned to a partisan detachment. The tragedy of Pasternak is transmitted not through the description of fierce battles, but through the perception of events by the main character. Human slaughter is ridiculous. The only battle in which the doctor captured by the partisans takes part is proof of this absurdity. He has to kill those whom he considered his own. After the war, Zhivago returns to Moscow and finds himself not at the court of the new government. He is not able to adapt, to change himself. Pasternak sees the highest value in a person, his personality, his private life. The only important "salt of the earth" is the immortal soul of man.
What attracts the hero of the novel Yuri Zhivago?
The hero of Pasternak, Yuri Zhivago, attracts with openness, the ability to love and appreciate life, insecurity, which is not a sign of lack of will, but the ability to think, doubt. The hero is an expression of the author's moral ideal: he is talented, smart, kind, he retains the freedom of spirit, he sees the world in his own way and does not adapt to anyone, he is a person.
The novel "Doctor Zhivago" consists of 2 parts: prose and poetry. 16 parts of the novel tell about people, events, great history, the tragic fate of Zhivago, Tony, Lara and other heroes. It also shows the multifaceted image of Russia in the pre-revolutionary and post-revolutionary years. In the last, 17th part, all this extensive material seems to be repeated anew, but this time in poetry. Poetry and prose in B. Pasternak's novel form a unity, they are, in fact, a new genre form.
Hamlet Leaning against the doorframe, I catch in the distant echo What will happen in my lifetime. The twilight of the night is pointed at me With a thousand binoculars on the axis. If only it is possible, Abba Father, Carry this cup past. this role. But now there is another drama, And this time fire me. But the schedule of actions is thought out, And the end of the path is inevitable. I am alone, everything is drowning in hypocrisy. 1946
With the hero of Shakespeare's tragedy, the lyrical hero of the poem of the same name by B. Pasternak is brought together by the same desire to make his life choice "in a deadly battle with a whole world of troubles." He, like Hamlet, feels the rupture of the “connecting thread” of times and his responsibility for its connection. The choice of the path was made in favor of Christian ethics: I go towards suffering and death, but in no case - lies, untruth, lawlessness and unbelief.
Snowy, snowy all over the earth, To all limits. A candle burned on the table. .Crossing of arms, crossing of legs, Fates of crossing.
And two shoes fell With a clatter on the floor. And the wax from the night lamp dripped with tears. On the dress dripped. And everything was lost in the snowy haze, Gray and white. The candle burned on the table, The candle burned. Two wings Cross-shaped. It was snowy all month in February, And every now and then, The candle burned on the table, The candle burned.
Winter night
It seems to Yuri Andreevich that the very idea of remaking life is wild, since life is not a material, but an active principle, in its activity far exceeding the capabilities of a person. The result of his actions only to the extent of attention and submission to her corresponds to his good intentions. Fanaticism is destructive.
In one of the draft versions of the novel, Pasternak gave the following explanation of Zhivago’s attitude towards Strelnikov: “How he always loved these people of conviction and deed, fanatics of revolution and religion! How he worshiped them... how unmanly he always seemed to himself in front of them. And more than ever, never set out to become like them and follow them. His work on himself went in a completely different direction. He did not like the bare rightness, the bare truth of the bare holiness of the sky. And the voices of the evangelists and prophets would not have conquered him with their all-repressing depth, if he had not recognized in them the voices of the earth, the voices of the street, the voices of modernity, which in all ages was expressed by the heirs of teachers - artists. That's before whom, in conscience, he revered, and not before the heroes, and honored the perfection of creation, which came out of imperfect hands, above the fruitless self-improvement of man.
While working on the novel, Pasternak understood that he was writing about the past. In order for his text to transform half-forgotten events into a word necessary for contemporaries and calculated for participation in the spiritual life of subsequent generations, it was necessary to think about the language, to free it from obsolete particulars, the sharpness and expressiveness of which, from experience and foresight, were not durable. He said that he deliberately simplifies the style, trying “in a modern translation in the current language, more ordinary, ordinary and calm”, to convey at least some part of that undivided world, even the most expensive from afar, marked by the gospel theme “thermal, light, organic perception of life.
At the beginning of 1956, Pasternak gave the completed manuscript of the novel to the editors of the journal Novy Mir, Znamya, negotiations were underway with the publishing house Khudozhestvennaya Literatura. In the summer, Sergio D'Angelo, an employee of the Italian radio broadcasting in Moscow, came to the dacha in Peredelkino, accompanied by a representative of the foreign commission.
He asked for the manuscript for review and received it in this official setting. The manuscript was not returned to the author. Angelo handed it over to the Italian communist publisher G. Feltrinelli, who, due to the fact that the international copyright convention was not recognized by the USSR at that time, could publish the novel without the permission of the author. Nevertheless, he informed Pasternak that he wanted to publish the novel in Italian on June 30, 1956. Pasternak answered him that he would be glad if the novel appeared in translation, but warned: “If its publication here, promised by many magazines, will be delayed and you get ahead of her, the situation for me will be tragically difficult.
The publication of the novel in the Soviet Union became impossible due to the position taken by the leadership of the Union of Writers. It was reflected in a collective letter from members of the editorial board of Novy Mir, signed by K. Simonov, K. Fedin, B. Lavrenev, A. Agapov and A. Krivitsky, and determined the domestic fate of the book for 32 years ahead. In Italy, meanwhile, the translation was successfully completed, and, despite the fact that A. Surkov made a special trip to Milan to pick up the manuscript for revision on behalf of Pasternak, Feltrinelli released the book on November 15, 1957. By the end of 1958, the novel was published in all European languages.
Since 1946, the Nobel Committee has considered Pasternak's candidacy for the prize six times. For the seventh time, in the autumn of 1958, it was awarded to him "for the outstanding achievements of modern lyric poetry and the continuation of the traditions of great Russian prose." In the political commentary, the awarding of the prize was arbitrarily and unequivocally connected with the release of the novel Doctor Zhivago, which was not published in the USSR and was allegedly anti-Soviet. A monstrous scandal broke out, which received the name "Pasternak's case" in the press.
The fact that the awarded honorary award was turned into shame and dishonor became a deep grief for Pasternak. He, who at first joyfully thanked the Nobel Committee and the Swedish Academy for awarding the prize, was now forced to refuse it "due to the meaning given to it in the society to which he belongs."
February 10, 1960 Pasternak turned 70 years old. From all over the world there was a stream of congratulatory letters and telegrams. At the festive dinner there were acquaintances from the artistic circle. During the winter, Pasternak was troubled by periodic back pain. He tried to ignore them, but by the end of April they had become so intense that, after copying the prologue and the first act of the play, he allowed himself to go to bed. He was getting worse. X-ray showed lung cancer. The day before the end, Pasternak called us to tell us how he was tormented by the ambiguity of his confession, which turned into complete obscurity in his homeland. “All life was only a single combat with the reigning and triumphant vulgarity for a free and playing human talent. It took my whole life,” he said.
Lesson 39 (100). Christian motives
in Doctor Zhivago
The purpose of the lesson: try to understand the meaning of Christian motives in the creative plan of Pasternak.
Methodical methods: discussion of homework questions, commented reading of episodes.
During the classes
I. teacher's word
The hero of Pasternak, Yuri Zhivago, attracts with openness, the ability to love and appreciate life, insecurity, which is not a sign of lack of will, but the ability to think, doubt. The hero is an expression of the author's moral ideal: he is talented, smart, kind, he retains the freedom of spirit, he sees the world in his own way and does not adapt to anyone, he is a person. The idea of the novel is the Christian idea of a free individual.
II. Discussion of homework questions.
The whole novel is permeated with Christian ideas both directly (through speech) and indirectly (through symbols). The very name of the hero is associated with the image of Christ (“You are the son of the living God”: “living” is the form of the genitive and accusative cases in the Old Russian language). The name Yuri is also symbolic - a variant of the name George (George the Victorious). Yuri Zhivago almost does not take a direct part in the events, but his understanding of life, everything that happens is based on Christian values. The plot is based on the gospel drama of spiritual choice and sacrifice on the cross. The triad "life - death - resurrection" is constantly at the center of the hero's thoughts, and creativity is understood as "God's Word about life".
The novel begins and ends with a funeral scene. “They walked and walked and sang “Eternal Memory ...” to Yura’s mother at the beginning of the novel. At the end of it, Lara, saying goodbye to Yuri, speaks to him as if he were alive: “Your departure, my end. Again, something big, irreplaceable. The mystery of life, the mystery of death, the beauty of genius, the beauty of exposure, please, we understood that. And petty global squabbles like redrawing the globe, sorry, thank you, this is not our part. All events of "global significance" are "squabbles", nothing compared to the life of a person, realized every minute, now, in everyday life, in small and seemingly insignificant matters. But the last lines of the novel are poetic lines: the novel ends with the poem "The Garden of Gethsemane", the resurrection of the Son of God, immortality, life in other people.
III. Work on assignments
Exercise 1. We read and comment on the “sermon” by N. N. Vedenyapin (part 1, chapter 5).
(Nikolai Nikolaevich Vedenyapin, who renounced the priesthood, defines history as “the establishment of centuries-old works on the consistent solution of death and its future overcoming.” Vedenyapin remains true to his preaching confession. He believes that one can be an atheist, one can not know whether there is a God and why he, and at the same time to know that a person does not live in nature, but in history, and that in the current understanding it was founded by Christ, that the Gospel is its justification. " In this "sermon" Vedenyapin is very important for Pasternak's understanding of the meaning and value life. The basis for creativity in any area of human activity is spiritual equipment ":" love for one's neighbor, ... the idea of a free person and the idea of life as a sacrifice ". The mention of Jesus Christ in the sermon of Father Nikolai is not accidental. According to N. L. Leiderman , in the system of value orientations of the novel, the Son of God and the Son of Man are both a symbol of the personal principle in man, his moral essence, and the one who was the first in the history of mankind to realize the idea of immortality. This understanding of God is somewhat different from the traditional one, so the orthodox church gives ambiguous assessments of the novel Doctor Zhivago, as well as other works that use biblical motifs (for example, Bulgakov’s The Master and Margarita, Aitmatov’s Block). In the artistic world of Pasternak, the spiritual and the earthly are closely connected, merged, and the author correlates his heroes with the ideal of the Personality, with Christ.)
Task 2. Let us pay attention to the features of the chronology of the events of the novel.
(The action of the novel is tied to the Orthodox calendar: Yura's mother died on the eve of the Intercession; in the summer of 1903, Yura and his uncle go to Voskoboinikov - It was Kazan, the height of the harvest during the civil war - “Winter was running out, Passionate, the end of Lent.” Pasternak as as if building a plot on the scale of eternity, so the meaning of even minor events deepens, expands.)
Task 3. We will find elements of the Church Slavonic vocabulary, references to the Holy Scriptures, to the gospel texts, and determine their role.
(There are a lot of such elements and references in the novel. Here are just a few of them: the scene of Anna Ivanovna's funeral (part three, chapters 15-17); Zhivago's conversation with Gordon (part four, chapter 12); the mention of biblical images in the rally scene (part fifth, chapter 7); the scene of the return to Moscow, when Doctor Zhivago first sees the Cathedral of Christ the Savior, and then the domes, roofs, houses of the whole city (part five, chapter 16); the scene of Zhivago’s typhoid delirium, ending with the words “We must wake up and get up. It is necessary to rise again "(part six, chapter 15); Lara and Yuri's conversation and Lara's comparison with Adam and Eve (part thirteen, chapter 13); Lara and Sima's conversation - interpretation of the gospel texts (part thirteen, chapter 17).)
What is the role of poetry in the composition of a novel?
What are the main themes and ideas of these verses?
Analyze the figurative structure of the poems.
Lesson 40 (101). Poems by Yuri Zhivago
The purpose of the lesson: to determine the places and significance of "Poems by Yuri Zhivago" in the composition and intent of the novel.
Methodological techniques: lecture with elements of conversation, analysis of poems.
During the classes
I. Teacher's word
The novel about life on earth by Yuri Andreevich Zhivago begins with the death of his mother, and ends with his death. Larisa, on the other hand, simply disappears from the face of the earth (“once ... she left home and never returned”), “disappeared somewhere, forgotten under some nameless number from the subsequently lost lists, in one of the innumerable general or women's concentration camps in the north.” We learn about the terrible fate of their daughter, who received the “barbaric, ugly nickname” Tanka Bezcheredeva, from the conversation between Gordon and Dudorov in the epilogue of the novel. Blok's line, which friends remember ("We are the children of the terrible years of Russia"), acquires a new symbolic meaning: "When Blok said this, it had to be understood in a figurative sense, figuratively. And the children were not children, sons, brainchildren, intellectuals, and fears were not terrible, but providential, apocalyptic, and these are different things. And now everything figurative has become literal, and children are children, and fears are scary, that's the difference.
The novel ends with a feeling of freedom that runs through the work like a red thread. The aged Gordon and Dudorov are leafing through the notebook of Zhivago's writings, which have become his eternal incarnation, his resurrection: "Death can be overcome // By the effort of Sunday" - these are the last lines of the poem "On Passion". The poems of Yuri Zhivago are the immortality of the hero, his otherness, the eternal life of his soul and the soul of the author himself, who understood his creation as a fulfilled mission: “I finished the novel,” Pasternak wrote to Varlam Shalamov, “I fulfilled the duty bequeathed by God.”
II. Analysis of poems
Exercise. Let's read the poem that opens the cycle, with the Shakespearean name "Hamlet" and try to understand its figurative structure.
The theme of Hamlet is consonant with the theme of the novel. The tragedy of Hamlet, according to Pasternak, is not a drama of duty and self-denial, and this brings this image closer to the image of Christ. “If possible, Anna Father, // Carry this cup past,” these are the words of Christ. The poem "Hamlet" is about Shakespeare's hero, and about Christ, and about the hero of the novel Yuri Zhivago, and about the author of the novel, who tragically feels his existence, and in general about a person in the position of Hamlet. Man's duty is to pay with pain for the miracle of life. Gospel images, high biblical syllable are combined with a folk proverb containing a simple but very deep thought: "To live life is not to cross a field." Life is symbolic because it is significant in all its manifestations. And the subject of poetry is life itself. No wonder the next poem in the cycle is "March", the month of the awakening of the life of nature.
By what means is life affirmed in the poem "March"?
(The poem “March”, like Hamlet, is written in pentameter trochee and contains four stanzas. But the tragic sound of “Hamlet” in the last line (“To live life is not to cross a field”) is replaced by the optimistic mood of “March”. Each natural phenomenon is spiritualized, personified, filled with the highest meaning: “The sun heats up to the seventh sweat, // And the ravine rages, having gone silly”; “life smokes in the cowshed”; “the teeth of the pitchfork radiate with health”. before the next miracle of life:
These nights, these days and nights!
A fraction of drops by the middle of the day,
Roofing icicles thin,
Brooks of sleepless chatter!)
Only in Pasternak do we find a comparison of spring with a “hefty cowgirl”, in whom “things ... are in full swing in their hands.” The beautiful is life. Therefore, “manure smells of fresh air”, it is “only a life-giving and culprit”. There is no low and no high, there is work, there is an eternal thirst for life and its endless renewal.
How are the poems "Hamlet", "March" and "On Passion" related?
(The poem "March" fastens the first and third poems of the cycle with its imaginary simplicity, routine, affirmation of simple life values. "... March scatters snow / On the porch of a crowd of cripples." Nature itself participates in the events of Holy Week: "Water drills the banks // And whirlpools blow"; "The trees stare naked // At the church lattices... // Gardens emerge from the fences, // The way of the earth trembles: // They bury God." The renewal of life, the spring of nature causes the Resurrection of Christ:
But at midnight the creature and flesh will be silent,
Hearing the rumor of spring,
What is just the weather,
Death can be overcome
By the effort of Sunday.)
What other connections do you see in the poems of the cycle?
(The cycle "Poems of Yuri Zhivago" also includes a yearly natural cycle: spring, summer, autumn, winter. "March", "White Night" and "Spring Thaw" are associated with the awakening of nature, the awakening of human life, in which "shares of // Madness, pain, happiness, torment". Summer - "Explanation" - the return of life, its new round:
Life returned just as without a reason,
As once strange interrupted.
I'm on the same old street
As then, on that summer day and hour.)
What is the role of the words “the same”, “the same”, “again”, repeated images?
(These words and recurring images and phrases reinforce the impression of harmony, cyclicity, constant renewal.) lesson Explanatory note
... lesson development. - M.: Enlightenment. 3. Zolotareva I.V., Mikhailova T.I. lesson development By Russian literature XIX century. 10 Class. 1st semester. - M.: Vako, 2003. 4. Zolotareva I.V., Mikhailova T.I. lesson development By Russian literature ...
THE PURPOSE OF THE LESSON: Reveal the images of Yuri and Larisa. Analysis of the work.
DURING THE CLASSES.
1. ORGANIZATION OF THE CLASS.
2. EXPLANATION OF THE NEW MATERIAL.
The core of the novel, its soul is love - the reverent love of Yuri Andreevich and Lara.
Yuri Andreevich Zhivago belonged to a very rich family, but his father went bankrupt, in revelry and debauchery, letting millions go to the wind. After the death of his parents, Yuri Andreevich grew up in the family of Professor Gromeko, together with his daughter Tonya. He graduated from the medical faculty of Moscow University and became a doctor. Along with this, from his gymnasium years, he dreamed of writing prose that was large in volume and significance. Pasternak makes an important autobiographical confession: “But he was still too young for such a book, and so he got off with writing poetry instead, as a painter would write sketches for a large conceived picture all his life.”
Doctor and writer - a combination known in Russian literature. This combination is rare, predetermining an extraordinary personality, especially if we take into account that Yuri Andreevich is shown in the novel as a poet of genius. Yuri Andreevich also has a third field of activity, he is a religious philosopher. The image turns out to be heavily overloaded: the author gave his hero the spiritual experience of a lifetime and, moreover, endangered the artistic unity of his personality. He remains true to himself in his marriage to Tonya Gromeko, in the war, then in an attempt to save his family during the years of the revolution and civil war in Moscow and the Urals, and finally in a love affair with Lara and in a relationship with Marina.
And next to it, the life of the “girl from another circle” Lara Guichard unfolds. The daughter of a Belgian engineer and a Russified Frenchwoman, the mistress of the lawyer Komarovsky, who was left without a father early, she sees the world from the inside and is tormented by it. Against her will, she becomes a schoolgirl, like her mother, Komarovsky's mistress, tries to shoot him - and obeys him. A girl with a pure soul dreams of an orderly life and marries Pasha Antipov, first a gymnasium teacher of mathematics, then a cruel, straightforward revolutionary who took the pseudonym Strelnikov and was nicknamed Rastrelnikov.
With all the difference in social status, life from the very beginning, as it were, pushes Yuri Andreevich and Lara towards each other. Gymnasium student Yura accidentally witnesses a suicide attempt, undertaken by Lara's mother. Here he sees Lara for the first time. Then she notices what absolute power Komarovsky has over her. And on the same evening he learns that the lawyer Komarovsky, who has taken possession of the soul and body of Lara, is the same person who contributed to the ruin, soldered and ruined his father. Yuri and Lara were weighed down by the same fate.
A few years later he connects them again. Lara comes to her fiancé Antipov, he lights a candle - she likes to talk in the twilight, with a single candle - and puts the candlestick on the windowsill. And at this time, Yuri is already a student, driving in a sleigh past this house.
Here the author tells how one of the most poignant and famous poems by Yuri Zhivago, Pasternak's "Winter Night", is born. Thus, he emphasizes the mysterious significance of this meeting between Yuri Andreevich and Lara, hidden from them.
And after that that same evening, fate brings them together for the third time: Yuri Andreevich witnesses Lara's failed assassination attempt on Komarovsky.
During the World War, Yuri Andreevich, a doctor, ends up on the South-Eastern Front, is wounded and in the hospital Lara comes to his ward as a sister of mercy. In a letter, he informs his wife about this, and at first glance, in a fit of painful unreasonable jealousy, but in reality prophetically penetrating the future, in a response letter, “in which sobs violated the construction of periods, and traces of tears and blots served as dots, Antonina Alexandrovna urged her husband not to return to Moscow, and follow straight to the Urals for this amazing sister, walking through life, accompanied by such signs and coincidences that cannot be compared to her, Tonin's, modest life path.
Shortly before Lara and Yuri left the hospital, an inevitable explanation took place between them. Outwardly, nothing has changed. He is married, she is married. He has a son, Shurochka, and she has a daughter, Katenka. It's just that the author once again - for the umpteenth time - gently pushed them towards each other.
Immediately, Lara reappears to gradually push back, gently and powerfully, all the other characters. Once in Varykino, Yuri wakes up from a woman's voice heard in a dream - chest, quiet from heaviness, wet - and cannot remember who it belongs to. Soon he meets Larisa Fedorovna in Yuriatin's library and immediately remembers: it was her voice.
Yuri Andreevich captured by the partisans, in captivity, in mortal fear for loved ones. But he is still seized with happiness at the sight of a forest pierced by the rays and reflections of the evening dawn. And his whole being is directed towards one thing: towards Lara. She is everything to him: his life, the whole of God's earth, everything stretching before him, the sun-illumined space. He flees from the partisans to his Lara, to Yuriatin, and in the semi-consciousness of a serious illness he finds happiness.
While Yuri was a prisoner of the partisans, his wife gave birth to a daughter, Masha, the whole family returned to Moscow, and from there, along with many figures of the old liberal intelligentsia - carriers of religious consciousness, was expelled from Soviet Russia. Antipov - Strelnikov, as it always happened, fell out of favor with the revolutionary authorities and, fleeing from execution, hid somewhere. Yuri and Larisa were left alone. In the midst of universal hunger and devastation, they feel themselves on earth, the last memory of all the thousand-year activities of mankind. In memory of many thousands of years of miracles, generated by endless thousands of people and generations, Yuri Andreevich and Larisa breathe and love, and cry, and hold on to each other. That is why their love is so unique, so piercing.
In Yuryatin, Yuri and Larisa were in mortal danger: the new government was preparing to arrest them. And here, once again, the old tempter Komarovsky appears. In Primorye, the Far Eastern Republic arose, designed to serve as a buffer between Soviet Russia and the outside world. Komarovsky goes there to take the post of Minister of Justice, and calls Yuri Andreevich and Larisa Fedorovna with him. Both of them are wary of Komarovsky - hostile and reject his proposal. Instead, they decide to hide in Varykino, and here begins the last episode of the mournful path of their love.
They were afraid to leave with Komarovsky, and now they are afraid in Varykino, in an abandoned, dilapidated, snow-swept house. Larisa suffers, her thoughts rush about in search of a non-existent way out of the trap into which life has driven her, her little daughter, and her beloved.
Larisa finds the strength to ask Yuri to write down those poems that he had previously read to her as a keepsake. And on the verge of death, in the middle of the Eurasian snows, Yuri writes down old and creates new poems - "Fairy Tale", "Christmas Star", "Winter Night" and many others. He feels that at such moments he is told by something that is above him, is above him and controls him, the tradition of world poetry, the link of which he feels his poems, from which, in turn, tomorrow's poetry will come. And he feels himself only as a point of application of the forces of the historical development of poetry.
Yuri's work is in a subtle way connected with his feelings for Lara and her daughter Katenka, for nature and God. He works at night. Everything takes place on the very edge of eternal separation, under the threat of death from wolves and people, and therefore becomes inextricably painful. Komarovsky appears. Lara's husband was captured and shot, he says, Lara's arrest is a matter of days if she does not immediately leave with him for the Far East. The government train, half consisting of international steel wagons, arrived at Yuriatin from Moscow yesterday and is leaving tomorrow.
And now Yuri, in a fur coat thrown over one shoulder, not remembering himself, stands on the porch, peers into the distance and whispers: “Farewell, only beloved, forever lost!”
This farewell goes on and on, spills over the borders of the prose text of the novel and echoes in the heart-rending poem "Separation".
Strelnikov suddenly appeared in Varykino. Komarovsky once again lied, deceived Lara in order to intimidate and take her away. The two men who loved her the most in their lives talk about her and can't stop talking. And then Strelnikov, disappointed in the revolution and having lost his wife and daughter, ends his life, which has become completely meaningless, by suicide.
Yuri descends more and more, walks in windings, overgrown with many days of bristles and dirty. This is how he appears in Moscow and suddenly takes on a new face. He writes thin books of philosophical and religious content, they diverge among connoisseurs. Yuri Andreevich somehow by inertia connects his life with the janitor's daughter Marina, a kind and loving woman. They had 2 children. Yuri and Marina went to wealthy houses, sawing and chopping firewood. Once they brought firewood into the owner's office, who insultingly did not seem to notice them, immersed in reading and studying some book. Going around the desk with firewood, Yuri saw that it was his little book lying in front of the owner of the house.
Lara gave birth to another daughter, the daughter of Yuri, and under unclear circumstances, she was forever separated from this daughter. When the Far Eastern Republic collapsed, Lara finally escaped from the power of Komarovsky. A few years later she returned to Moscow.
Yuri Andreevich and Lara were destined to have another meeting on earth. In 1929, Yuri Andreevich died suddenly right on a Moscow street. And on the day of his funeral, Larisa came to Moscow from distant Siberia. Fate led her - or the author led, Pasternak loved such coincidences - to the very room in which the coffin with the body of Yuri Andreevich stood. Their passionate love deserved one more, very last, such a tragic meeting.
Not on this lyrical, albeit tragic, note does Lara's theme in Doctor Zhivago end. A tragedy of a different kind awaits the reader. In a detached, almost protocol-like manner, the author reports: “Once Larisa Fedorovna left home and never returned. Apparently, she was arrested in those days on the street, and she died or disappeared somewhere, forgotten under some nameless number from lists that subsequently disappeared, in one of the innumerable general or women's concentration camps in the north.
Literature lesson in 11th grade.
"You are the son of the living God"
Christian motifs in the novel Doctor Zhivago
Poems by Yuri Zhivago.
1. Draw students' attention to the genre originality of the novel, the indecomposable dialectical unity of poetry and prose.
2. Help the children understand the meaning of Christian motives in the creative plan of Pasternak.
3. Determine the role of the poetic cycle in the novel:
The poem "Hamlet"
The poem "The Garden of Gethsemane"
Poem "Winter Night"
Type of lesson: generalization of the studied material.
Type of lesson: lesson-seminar
During the classes
Organizational moment. Determination of the goals and objectives of the lesson, its place and significance in the system of lessons based on the novel by B. Pasternak.
Slide "Theme of the lesson"
I finished the novel, fulfilled my duty,
ordained by God.
(from a letter from Pasternak to V. Shalamov)
II lesson - seminar.
Slide "Portrait of B. Pasternak. Epigraph"
Discussion, explanation of the epigraph.
Questions for discussion during the lesson:
Slide "Lesson"
- Themes and problems of the novel.
Man and revolution
Man and the world
Man and history
Human and nature
Man and his relationship with life and death
- Christian motifs in the novel Doctor Zhivago
Christian Ideas
Symbols
3. Analysis of poems.
a) Hamlet
b) "Winter Night"
c) The Garden of Gethsemane
Teacher's word. The hero of Pasternak, Yuri Zhivago, attracts with openness, the ability to love and appreciate life, insecurity, which is not a sign of lack of will, but the ability to think, doubt. The hero is an expression of the author's moral ideal: he is talented, smart, kind, sees the world in his own way and does not adapt to anyone. He is a person. The idea of the novel is the Christian idea of a free individual.
Opening talk:
Was it by chance that the idea of life became central to the novel?
What is the first manifestation of the idea of life in the novel?
In what way does life manifest itself most vividly?
What is Russia for Zhivago?
So, what is the main thing for a hero in life? (the ideas of Christianity, the ideas of a free person and the idea of life as a sacrifice)
Bible theme slides
Who is the hero's name associated with? (with the image of Christ)
The symbol enclosed in the name of the protagonist? (Yuri is a variant of the name George, George is the Victorious)
Teacher. Yu. Zhivago almost does not take a direct part in the events, but his understanding of life, everything that happens is based on Christian values.
The basis of the plot is the gospel drama of spiritual choice and sacrifice on the cross.
At the center of the hero's reflections is the triad: "life-death-resurrection"
Creativity - "The Word of God about life"
Jesus Christ slides
1 group. Commentary on "Vedenyapin's sermon" (part 1, ch.5)
- In what works of the 20th century did you come across such an understanding of God?
(M. Bulgakov "The Master and Margarita")
2 group. What is the significance of the chronology of events in the novel? (plot on the scale of eternity)
Group 3. Elements of Church Slavonic vocabulary, references to the Holy Scriptures, to the gospel texts and their role.
4 group. The image of Christ and the hero of the novel. Mapping.
Teacher . Does the novel end with the death of Doctor Zhivago? (No, it ends with poetry) Why do you think?
(Poetry - that which cannot die
Poems by Yuri Zhivago.
Teacher's word. Poetry and prose in the novel form a living, indecomposable unity, a new genre form. Therefore, we can talk about the genre innovation of Pasternak. So, what is the meaning of the "notebook of Yuriev's writings" in the general context of the novel?
Student's message about Zhivagov's poetic cycle.(to be prepared in advance)
Teacher's word. So, since the ideal of the hero of the novel and its author is projected onto the “eternal image”, it is best to consider it on
"Poems by Yuri Zhivago"
What poem opens the seventeenth, poetic chapter of the work?
Hamlet slides. The student reads the poem by heart.
Analysis of the poem "Hamlet"
Why does the cycle open with this particular poem?
The nature of the poem. "Hamlet" by Pasternak and "I am Hamlet" by A. Blok
How is the poem included in the context of world culture?
What formula of Shakespeare does this poem bring to mind?
("The whole world is a theater, and the people in it are actors")
What do the fates of Hamlet and Yuri Zhivago have in common?
Implementation of homework. Comparison of Hamlet's monologue
(W. Shakespeare "Hamlet", act 1,3) with reflections of the lyrical hero of the poem. Gospel Reminiscence.
Teacher. In this appeal (May this cup pass from me!) is a paraphrase of Christ's prayer in the Garden of Gethsemane.
Slides of the Garden of Gethsemane. The student reads an excerpt from the poem.
Analysis of the poem "The Garden of Gethsemane"
What place does this poem occupy in the poetry notebook?
Give your interpretation of the poem. (For Zhivago to follow Jesus Christ means to follow the chosen path of suffering, to gain Eternity)
A hidden controversy with A. Blok's poem "The Twelve".
What works of literature of the 20th century did you visit with the author in the Garden of Gethsemane? (M. Bulgakov "The Master and Margarita", the scene of the murder of Judas)
Why exactly this poem completes the book of Yuri Zhivago's lyrics?
Teacher's word. There is an assumption that the poem "Winter Night" is the first poem by Yuri Zhivago. This assumption is interesting and in general corresponds to the spirit of the novel, its symbolism.
The student reads a poem.
And now listen to the song on the words of this poem.
Slides "Winter night".
- Determine the meaning of the image-symbol of the candle according to the novel and the Bible.
(9, 10 chapters of the first part - the eve of the feast of the Nativity of Christ. It was at this time that Yuri whispers to himself: “The candle was burning on the table. The candle was burning ...”. He hoped that the continuation would come by itself without coercion. It did not come. The symbolism of the candle goes back to the words in the Sermon on the Mount "... lighting a candle, do not put it under a vessel, but on a candlestick, and shines on everyone in the house" The image-symbol of a burning candle passes through the whole narrative, thus, as it were, fastening the corresponding parts of the novel)
What is the second main image in the poem? (blizzard)
What can a person oppose to a hostile world and a feeling of being lost in a cold space? (human feelings)
In what lines does the poet say: the blizzard is powerless? What is the strength of the final stanza of the poem?
Philosophical verses and habitual words. Being and life.
How does sound writing convey the sound of fallen shoes and the slow fall of wax drops?
What tropes does the poet use? (epithets, comparisons)
Verbal construction of the text (there are no verbs denoting the actions of the characters)
Why do critics define this poem as a fusion of philosophical and love lyrics?
Generalization. What is the significance of "The Poems of Yuri Zhivago" in the context of the novel?
Video film "B. Pasternak" (excerpt)
Summing up the lesson.
What words does the novel end with, what is your opinion about the ending?
E.Z.1. Lyrics of Pasternak in the assessment of critics, give examples of the statements of M. Tsvetaeva, R. Yakobson, L. Ozerov, A. Sinyavsky, D. S. Likhachev and others.
2. Think over the topics of essays on the work of B. Pasternak, prepare a thesis plan for one of the topics.
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