Lesson Objectives: continuation of acquaintance with Gogol's "Petersburg Tales" and the story "The Overcoat"; work on the concepts of “cross-cutting theme in Russian literature”, “little man”; strengthening the skills of retelling-analysis, the ability to debate.
Equipment: portrait of N.V. Gogol, Savva Brodsky's illustrations for the story "The Overcoat".
“The whole world is against me: how great I am!”. M.Yu. Lermontov. Poem "The Spaniards"
“Those who need protection owe a lot to Gogol; he has become at the head of those who deny the evil and the vulgar.” N.G. Chernyshevsky
“We all came out of Gogol's Overcoat. Melchior de Vogüet
“I give you a new commandment, that you love one another.”
"Love your neighbor as yourself." Bible
Word of the teacher and pre-trained students.
In 1829-1831, Gogol was in the public service: he served in the Department of State Economy and Public Buildings, and then as a scribe in the Department of appanages.
In 1842, the story “The Overcoat” was published, which completed the cycle “Petersburg Tales”.
The story is based on an anecdote about a poor official, a passionate bird hunter, who saved up 200 rubles by overwork and saving 200 rubles to buy a good gun. He sailed in a boat for the first time, and the gun was tied with reeds. The official caught a fever, and only the comrades who bought him a gun was brought back to life. The grain of the anecdote has been preserved, but the changes help us understand creative task story. No one stood up for Akaky Akakievich: neither colleagues in the department, nor law enforcement officers - policemen, nor a "significant person." The story concludes by bringing the “little man” face to face with a cruel bureaucratic machine. And this machine ruthlessly crushes and destroys it.
Gogol changed the material so that the humane idea came to the fore. He took a hero who occupied one of the most last places in the hierarchical system of Russia, the quietest and most harmless creature who never caused any harm to anyone, dutifully endured all hardships and ridicule, did not reveal any claims, except perhaps the claim to the most necessary thing - to the “overcoat”, and then only when without it already can't get by.
And life mercilessly punishes and destroys this man, like some kind of villain and criminal!
Working with the text of the story.
What is the main tone of the story?
The story is mostly told in a playful tone of "talk". The hero is pathetic, unhappy, and the narrator, as if not noticing this, laughs at him. He says that officials, mockingly, took away “the noble name of the overcoat and called it a bonnet.”
How does the tone of the story change?
The tone becomes solemn, sublime, the speech is organized when Gogol speaks of a young man who was shocked by the bullying of officials over Akaky Akakievich. He saw in a persecuted and despised creature - a man, he heard: "I am your brother." We already look at the funny in it with different eyes. And we feel uneasy that we could laugh at Akaky Akakievich. Gogol's goal was to instill remorse.
What made Bashmachkin get a new overcoat?
“There is a strong enemy in St. Petersburg of everyone who receives four hundred rubles a year of salary or so ... This enemy is none other than our northern frost ...” ”, is subordinated to cutting out the money necessary for a new overcoat from meager incomes.
How does Akaki Akakievich change internally?
The overcoat becomes a friend of life. His existence became fuller, as if he were married.
The dream of an overcoat awakens a person in Akaki Akakievich. It is this image that allows Gogol to carry out a humanistic thought about a living soul, hidden even in the most insignificant person.
What was the loss of the overcoat for Bashmachkin?
The loss of the overcoat was a disaster for Bashmachkin. “Akaky Akakiyevich wandered sadly into his room, and how he spent the night there is left to be judged by those who can somehow imagine the situation of another.”
Tell us about the attempts of Akaky Akakievich to return the lost overcoat.
"Significant person" - a satirical image, the personification of the power of money, the soullessness of the system, a non-specific character. He, like many other heroes of Gogol, is not bad in itself, the “electricity of the rank” makes him the embodiment of evil fate Akaky Akakievich.
Akaky Akakievich was destined to "live noisily for several days after his death." Live? Make them talk about themselves, “as if as a reward for a life not noticed by anyone.” A "significant person" feels remorse after the news of the death of a poor official. He became more attentive to people.
The image of a poor official, a “little man”, became after the “Overcoat” one of the central ones in the literature of the 40s. Dostoevsky, Grigorovich, Nekrasov continued and developed this cross-cutting theme in Russian literature of the 19th century.
Analytical work with the text of the story "Overcoat".
For work, a table is drawn up, the left side of which is filled in together, and the right side is filled in independently (with additions after discussion).
| Questions for analysis |
Answered by: Guest
Women's roles big roles
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Tolstoy described in his story " Prisoner of the Caucasus"about how Zhilin and Kostylin - two officers from the garrison - were captured by the Tatars during the war in the Caucasus. They rode together along dangerous road, and when the highlanders attacked Zhilin, Kostylin rushed to save his life, without even thinking to his comrade. however, in captivity, Zhilin did not lose heart, he was constantly thinking about a plan to escape from captivity. at the same time, as a man of action, he was always doing something: to the inhabitants of the village, he sculpted dolls from clay, repaired some things. Zhilin was even able to make friends with Tatar girl which later saved his life. he had to rely only on his strength and ingenuity, because pitying his elderly mother and realizing that she would not be able to collect the required amount, he indicated the wrong address on the ransom letter. Kostylin, being by nature a cowardly and indecisive person, remained in the barn, waiting to be bought out. he hoped for a stranger. his slowness and weakness caused their first escape to fail. for the second time, run away to Zhilin Dina - a girl with whom he managed to make friends. Kostylin refused to run. as a result, Zhilin escaped from captivity alone and reached the garrison, and Kostylin was bought out only a month later for five thousand, his health was in a deplorable state. these heroes are complete opposites: Zhilin is a strong and courageous person, he was able to change his fate and get out of trouble, and Kostylin dropped his hands and surrendered to the mercy of fate, waiting for someone else. I think that Kostylin was seriously lucky, because he might not have been redeemed, but with his human qualities, he would not have lived in the village for a long time. reading the story, I concluded for myself that it does not happen hopeless situations and always fight to the end. Tolstoy tried to convey through his work that a person is the master of his own destiny, and I agree with this.
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The introduction of a regional component in studying proccess AT this section within the framework of the regional component, an excerpt from The Tale of Bygone Years should be included. "The Tale of Bygone Years" - all-Russian chronicle, compiled in Kyiv in the 2nd decade of the XI century. Nestor, the earliest Russian source, which speaks of the Mordovians and their settlement (“... and along the Otser River, where you flow into the Volga, Muroma has its own language, and Cheremisi has its own language, Mordovians have their own language”). For the national Moksha and Erzya schools of the republic prepared and published study guides according to Mordovian folklore. For Erzya schools - "Pingede pinges kandoz val" (author-compiler L.V. Sedova). The same manual has been prepared in Russian - “Springs folk wisdom", (author - compiler L.V. Sedova). This edition incorporates all genres of Mordovian folklore. Foreword a brief description of each genre, most bright patterns works, questions and assignments for topics, as well as the interpretation of obsolete and obscure words and expressions will help the teacher to more fully imagine the richness of folk poetry. Nikolai Vasilievich Gogol (7 hours). A word about a writer. "Overcoat". Image " little man" in literature. Loss of face by Akaky Akakievich Bashmachkin (loneliness, tongue-tiedness). overcoat like last hope keep warm in the cold world. The futility of this dream. Petersburg as a symbol of eternal hellish cold. The gentleness of a petty official who has spiritual strength and opposes the soullessness of society. The role of fantasy in fiction. " Dead Souls" - History of creation. The meaning of the title of the poem. Image system. Dead and living souls. Chichikov - "scoundrel-acquirer" - new hero era. Theory of Literature. Development of concepts about literary type, about satire. Image-symbol (initial representations). From Mordovian literature. Vasily Maksimovich Kolomasov - the life and work of the writer. The history of the creation of the novel "Lavginov" - the first satirical and humorous work in Mordovian literature. Artistic solution of the social and moral problems of the Mordovian village in the 30-40s of the XX century. The role of the genre of satire in the disclosure of images 21 Introduction of the regional component into the educational process Lavginov, Nastya, Prokopych, Yegor Kirillovich, Lisa, Fedya and others. Artistic value novel. Grade 10 Nikolai Alekseevich Nekrasov (4 hours). Life and creation. (Review.) Nekrasov is a journalist. The opposite of the literary and artistic views of Nekrasov and Fet. The break with the romantics and the transition to the position of realism. Prosaic lyrics, strengthening the role of the plot. The social tragedy of the people in the city and in the countryside. The present and future of the people as a subject of lyrical experiences of the suffering poet. The intonation of crying, sobbing, moaning as a way of confessional expression of lyrical experiences. Satire Nekrasov. Heroic and sacrificial in the image of a raznochinets-lover of the people. Psychologism and everyday concretization love lyrics. Nekrasov's poems, their content, poetic language. The idea of the poem "To whom it is good to live in Russia". Pre-reform and post-reform Russia in the poem, breadth of subject matter and stylistic diversity. Images of peasants and people's defenders". The theme of social and spiritual slavery, the theme of popular revolt. Folklore beginning in the poem. Features of poetic language. Poems: “Knight for an hour”, “On the road”, “Heart breaks from flour ...”, “Stuffy! Without happiness and will…”, “Poet and citizen”, “Elegy”, “I will die soon…”, “Muse”. Poems: “Grandfather”, “Who in Russia should live well”. Theory of Literature. The concept of the people. Folklorism of fiction. Style as an expression of the writer's artistic thought. From Mordovian literature. The contribution of Dmitry Ivanovich Malyshev (Morskoy) to the origin and development of Mordovian literature. Ideological and aesthetic searches of the poet at the beginning creative way. Personal acquaintance and influence on D. Malyshev of the ideals of S. Yesenin, B. Pasternak, V. Mayakovsky, V. Bryusov and others. The history of the pseudonym D.I. Malyshev. Searching for a creative credo. D. Morskoy's commitment to imagism. Poetic dedications to S.A. Yesenin. The poem "Nuvazi" is an attempt to create an author's poetic epic. National traits and international pathos in the depiction of the main characters of the work. The poem "Ulyana Sosnovskaya" is about the hard lot of a rural woman in a Mordovian family of the 19th century. Appropriate use in the work of special genres of folklore - laments, lamentations. Folk traditions in the poetry of N.A. Nekrasov and D. Morskoy Anton Pavlovich Chekhov (10 hours). Life and creation. Collaboration in humorous magazines. The main genres are sketch, humoresque, anecdote, parody. Dispute with the tradition of portraying the “little man” (“Death of an official”, “Thick and thin”). The conflict between a complex and colorful life and narrow ideas about it as the basis of the comic of early stories (“Surgery”, “Intruder”, “Unter Prishibeyev”, etc.). the diversity of philosophical and psychological issues in the stories of the mature Chekhov (“A Boring Story”, etc.). Artistic objectivism of Chekhov (“Enemies”, “Name Day”, “Gusev”, etc.). Topics real truth, social and philosophical madness ("Duel", "Ward No. 6"), the conflict between the ordinary and the ideal, the fate of hopes and illusions in the world of tragic reality, "case" existence, images of the future are the subjects of Chekhov's stories. Choice stories: "The Jumper", "The Man in the Case", "Gooseberries", "About Love", "Ionych", "The Teacher of Literature", etc. Dramaturgy (one play of choice: "The Seagull", "Three Sisters ”,“ Uncle Vanya ”or“ The Cherry Orchard"). "The Cherry Orchard". The image of the cherry orchard, old and new owners as the past, present and future of Russia. Lyrical and tragic beginnings in the play, the role of farcical episodes and comic characters. Psychologization of remarks. Symbolic figurativeness, color symbolism, "eventlessness", "undercurrent". Meaning artistic heritage Chekhov for Russian and world literature. Theory of Literature. Deepening the concept of the story. Chekhov's storytelling style: " open finals”, “musicality”, “poetry”, psychological and symbolic detail. Deepening the concept of dramaturgy. Composition and style of plays. The role of remarks, pauses, sound and noise effects. Combination of lyricism and comedy. From Mordovian literature. Grigory Yakovlevich Merkushkin is a famous Mordovian playwright. The ideological and artistic content of the play “Senem Valda” (“At Dawn”), the moral, ethical and moral problems of the work. Main character- Veteran of the Great Patriotic War, Professor Mikhail Tumov. Historical and biographical play "Poet tyashtets" ("Poet's Star"), dedicated to the life and work of the founder of Mordovian literature, Zakhar Fedorovich Dorofeev. The system of images of the work is famous Mordovian personalities M. Evseviev, L. Kiryukov. G.Ya. Merkushkin in the development of Mordovian culture and literature. Alexander Ivanovich Pudin. The life and work of the writer. Drama "Horde" Reveals serious problems attitudes of young people to the current situation in modern society. Grade 11 New peasant poets (review) (2 hours). Nikolay Klyuev. Poems at the choice of the teacher and students. Poems: "Pogorelshchina", "Song of the Great Mother". Sergey Klychkov. Poems. Peter Oreshin. Poems. Spiritual and poetic origins of the new peasant poetry. Activation of interest in artistic wealth Slavic folklore, the legacy of ancient Russian literature. Group "Beauty". N. Klyuev and A. Blok. Controversy of new peasant poets with proletarian poetry, artistic, social, ideological and moral aspects of this controversy. Theory of Literature. The prophetic function of poetry. Folklorism of poetry (consolidation of the concept). Sergei Alexandrovich Yesenin (5 hours). Poems: "Rus", "Song of the Dog", "I left native home”, “Letter to mother”, “Kachalov’s dog”, “Persian motives”. Poems "Anna Snegina", "Black Man". From Mordovian literature. The originality of the poetry of Alexander Makarovich Doronin. Poetry collection “Odks pingon valda” (“Light of youth”). 24 Introduction of the regional component into the educational process love for the small Motherland, bright memories associated with native places, dear to the heart of every person. Traditions S.A. Yesenin in the early poetry of Viktor Alexandrovich Gadaev. The search for new types of form and content in the first collections of poems (“The Eternal Mill” (1969), “The Light of the Father’s Home” (1972), “Holidays of the Heart” (1975). A collection of poems about the most bright artists earth (the three books Illuminated Thirst (1986), Insight (1989), Pearls of Search (1993)). The joy of being, the lofty ideal of love and ways of conveying the author’s position (on the example of the collection of poems “Love is a high star” (1983). Literature of the 50s - 90s (review). Valentin Grigorievich Rasputin “ Deadline”, “Farewell to Matyora”, “Live and remember” (optional) The moral greatness of a Russian woman, her dedication. Connection of the main themes of the novel “Live and Remember” with the traditions of Russian classics. From Mordovian literature. The life and work of Grigory Ilyich Pinyasov. Collection "Hot summer". Betrayal of the Motherland, desertion and repentance are the questions that the writer suggests thinking about. Conducting a lesson on the stories of V. Rasputin and G. Pinyasov can be carried out in different form: reader's conference, debate, etc. A creative meeting with the writer G. Pinyasov is possible. Paying tribute to the traditions of classical education, it is possible to conduct integrated lessons on the study of the work of V. Rasputin and G. Pinyasov. Lesson topic: “Themes and problems of the works of V. Rasputin “Live and Remember” and G. Pinyasov “Hot Summer” Lesson objectives: 1. Disclosure of the originality of creativity Mordovian writers in the process of comparison with the works of Russian literature. Acquaintance of students with the work of V. Rasputin and G. Pinyasov. 2. Development of skills in the analysis of the episode on the example of the work of Russian and national writers. 3. Raising a sense of duty, responsibility to society for one's actions. Lesson plan: - teacher's word (brief biographical information about the writers V. Rasputin and G. Pinyasov, commonality and differences in their work); - comparative analysis works "Live and Remember" and "Hot Summer" (analysis of episodes); - commented reading of excerpts of works. During the classes. opening speech teachers: 1. The theme of the Great Patriotic War relevant in both Russian and national literature. In the works of famous writers, the psychology of heroism and betrayal is deeply analyzed, the main characters are presented to the reader in a situation of searching, trial and error. These are the stories of V. Rasputin “Live and Remember” and G. Pinyasov “Hot Summer”. Betrayal of the Motherland, desertion and repentance are the questions that the writers suggest thinking about. On the examples of the works of Russian and national literature, which are united by a common theme, we will reflect. 2. Biographical information about V. Rasputin and G. Pinyasov. Rasputin Valentin Grigoryevich (March 15, 1937, Ust-Uda settlement, Ust-Udinsky district, Irkutsk region) - prose writer. “I was born three hundred kilometers from Irkutsk,” says the writer, “in Ust-Uda, on the Angara. So I am a native Siberian, or, as we say, local. My father was a peasant, worked in a timber industry enterprise, served and fought… In a word, he was like everyone else. Mother worked, was a housewife, barely managed her affairs and family - as far as I remember, she always had enough worries” (Questions of Literature. - 1976. - No. 9). Rasputin's childhood passed in the lower reaches of the Angara, in the small village of Atlanka, which was later moved to the shores of the Bratsk Sea. From 1944 to 1948 studied at Atlanta primary school, from 1948 to 1954. studies at the Faculty of History and Philology of the Irkutsk University. In 1955 he met A. Vampilov, 26 Introduction of the regional component into the educational process by the future playwright, with whom he was connected by close friendly creative relationship. March 30, 1957 in the gas. "Soviet Youth" published the first publication of Rasputin - "There is no time to be bored." In 1974 Rasputin's story "Live and Remember" was published in the magazine "Our Contemporary" (No. 10, 11) - one of the best works Russian post-war prose. Conceived by the writer as a story about a woman "in her natural and moral chastity", it was perceived by critics as a work about the war, about a deserter who fled home to "look" at his relatives and wife. Critics even compared it with Y. Goncharov's stories The Deserter (1962) and Ch. Aitmatov's Face to Face (1958). But Rasputin did not get tired of repeating: “For the sake of Nastena, this thing was conceived and written. And in order for her character to manifest itself to the fullest extent, I had to look for some special circumstances, which I considered the story with her husband. And what also required in relation to him a certain judicial trial before the verdict. I didn’t want to “smear it with black paint alone…” (15 meetings in Ostankino, p. 217). The character of Nastya Guskova is as close to ideal as possible. She "from the very beginning dreamed of giving more than receiving, - that's why she is a woman, to soften and smooth life together, that's why this one was given to her amazing power, which is the more amazing, tender and richer, the more often it is used, ”wrote Rasputin. A selfless, wonderful and surprisingly bright woman is put by life in a situation of a tragic choice, her soul cannot reconcile opposite decisions: how to live according to conscience, together with the whole village world, united in the sorrows of military life, and how to remain faithful and devotion to her husband who has violated the law of brotherhood and comradeship and to the one who fled from the battlefield. Andrey Guskov's crime alienates Nastena from people, deprives her of confidence in the present, which diverges into “separate, equal, alien pieces”, and even the long-awaited child promises her only shame in the future. Unable to live without unity with common destiny 27 Introduction of the regional component into the educational process of the Angara. Rasputin's story is distinguished by psychologism, harmony of composition, intonational richness, tonality, subtle metaphor, a variety of folklore and Christian associations. When studying the work of V. Rasputin “Live and Remember”, we recommend for analysis the episode of the murder of a calf by Andrey Guskov (XV chapter, pp. 339–343). (Method of analyzing the episode: careful reading of the episode, thinking through and motivating its connections with the previous and subsequent content of the entire work, conditional title, drawing up a plan for the episode.) Conditional title of the episode The murder of a calf by Andrey Guskov. Previous episodes and scenes (part 8, p. 239) Andrey killing a roe deer; meeting with a wolf; Andrey’s “likening” to a beast: “Suffering that he could not scare the beast with anything, Guskov opened the door ajar and, in anger, mimicking, answered him with his howl. He answered and was amazed: so closely did his voice converge with the wolf's. Well, well, here is another truth, fulfilled for its intended purpose: to live with wolves is to howl like wolves. "Come in handy good people frighten,” Guskov thought with malicious, vengeful pride. He listened to the wolf and with some kind of joy, anger and impatience entered himself. The beast, where necessary, then corrected him. Gradually, night after night, Guskov, having guessed to put pressure on his throat and throw back his head, removed the excess hoarseness from his voice and learned to lead it high and clear, lifting it into the sky with a screwed spiral. In the end, the wolf could not stand it and retreated from the winter hut. But Andrei could now do without him. When it became completely sick, he opened the door and, as if fooling around, having fun, let out a plaintive and demanding bestial howl over the taiga. And he listened to how everything freezes and freezes far away from him” (p. 242). Subsequent episodes and scenes (part 18, pp. 367, 369). 28 Introduction of the regional component into the educational process Description of Andrey's appearance after a long stay in solitude. Drawing up the plan of the episode 1. Andrey Guskov's realization of the purpose of his appearance at the village. 2. Guskov's initial attitude towards a cow and a calf. 3. Feelings that gripped Andrei at the thought of a holiday in the village. 4. Andrei Guskov's revenge on the world, of which he was forced to become a part, for his hopeless situation. Questions on the theme of the episode 1. What role does the episode of killing a calf play in revealing the theme and idea of the work? 2. Did Andrei Guskov initially want to kill a calf? 3. What prompted Guskov to this idea? 4. What is Guskov's attitude to what he saw in the village? 5. Read out the moment proving Guskov's doubt about the correctness of the act committed. (“In the middle of the night he woke up from an intermittent rumble coming from the Angara: the ice was breaking. Guskov was not surprised and was not delighted: what was in the bag seemed to hurt and let go of all his feelings. Even now he did not know, only whether the heifer decided for the sake of meat, or for the sake of something else, which has settled in it since then firmly and powerfully” (p. 343). Key words: cow, bull, heifer, calf, hike, unknown to him. Keywords: “Bending her head, she (the cow) looked at him (Andrey) with the same intent immobility, and in her eyes he saw a threat - some kind of extraneous, not a cow, one that could happen. "... what was in the bag seemed to hurt and let go of all his (Andrey's) feelings." Grigory Ilyich Pinyasov was born on September 11, 1944 in the village of Mordovskaya Polyana in the Zubovo-Polyansky District of the Mordovian Autonomous Soviet Socialist Republic into a peasant family. After graduating from school, he entered the Zubovo-Polyansk Pedagogical College, graduated from it in 1969 29 Introduction of the regional component into the educational process and was invited to the republican newspaper Mokshen Pravda. For 16 years of work in the newspaper, he went from a student of a literary employee to an executive secretary. For three years - from 1963 to 1966 - he served in the ranks of the Soviet Army, after demobilization he returned to the newspaper. In 1975 he graduated from the correspondence department of the Faculty of Philology of Moscow State University. N.P. Ogaryov. In 1982 he was approved as the editor-in-chief of the Moksha magazine. In 1998, he headed the children's illustrated magazine Yakster Tyashtenya (Red Star). The first poem “Waimama shinya” (“On the day of rest”) was published in 1959. In 1977 separate edition the story “Vetetses” (“The Fifth”) is published, a deeply humanistic work of high moral intensity. The young writer said his sincere word about his mother, her high moral character generosity, human simplicity, selflessness. Grigory Pinyasov is one of the first Mordovian writers who turned to a new topic - seascapes. As a result of numerous trips to the sailors of the Black Sea Fleet, participation in major naval exercises, the story "To the Warmest Shore" appeared. Per last years showed himself as a talented publicist. Concern for the revival of the Mordovian people, the preservation of the integrity of Mordovia, the struggle for the salvation of morality - these are the problems that drive his pen. Separate works were published in Moscow, Bulgaria, in the Finno-Ugric republics. He translated the play of the Finnish writer Inkeri Kilpinen “White Roses on the Table”, the play of the Hungarian playwright Arpad Gönts “Stone on the Stone”, as well as works of Russian, Udmurt, Chuvash, and Mari writers into Moksha. G. Pinyasov, member of the Board of the Union of Writers of Mordovia, member of the Board of the Ministry of Culture of the Republic of Moldova, represented the republic in the World Consultative Committee of the Finno-Ugric Peoples. Member of the Union of Journalists of the USSR (1967), member of the Union of Writers of the USSR (1982), Honored Writer of the Republic of Moldova (1994), laureate of the State Prize of the Republic of Moldova (2000). When studying the work of G. Pinyasov "Hot Summer" re-30
Name of educational institution: MKOU "Radyukinskaya basic comprehensive school"
Subject: literature
Lesson form: lesson using a reference diagram
Theme of the lesson: "Overcoat". The image of the "little man". Overcoat as the last hope to keep warm in the cold world.
Lesson Objectives:
trace creative evolution works: from the source - to the idea of the work;
During the classes.
Class organization. Work with the story "Overcoat".
a) Communication of the objectives of the lesson: penetration into creative laboratory the author, the definition of the author's position to the depicted.
b) Student's message. (The student tells, which served as a source for writing the story "The Overcoat":
“Once, under Gogol, a clerical anecdote was told (by the word“ anecdote ”then they meant a true, somewhat curious incident) about some poor official, a passionate bird hunter.
By extraordinary savings and intensive work during hours free from service, he saved up a considerable sum of 200 rubles for those times. That's how much the Lepage gun cost. (Lepage was the most skilled gunsmith of that time), the envy of an avid hunter.
The long-awaited hour has come. The happy owner of a newly bought gun sailed on a boat to the Gulf of Finland, anticipating rich booty. What was his fright when it turned out that the gun, which he carefully placed on the nose so as not to lose sight of it, had disappeared. Obviously, he was pulled into the water by thick reeds, through which he had to wade.
How could he let his jewel out of sight even for a moment? According to him own words, having finally reached the fulfillment of his most cherished desire, he "was in some kind of self-forgetfulness."
Until late in the evening he tried to find a gun. He fumbled along the bottom in the reed beds, completely exhausted, but all searches were in vain. The gun, from which he did not have time to fire a single shot, was forever buried at the bottom of the Gulf of Finland.
The official returned home, went to bed and did not get up again: he was seized by a severe fever. Colleagues took pity on him and pooled together bought him a new gun. So, "he was brought back to life, but oh terrible event he could never remember without deathly pallor on his face.
Listeners were amused by the case of the unlucky hunter. Everyone laughed.
In all, and with the exception of Gogol.
c) Teacher's question:
So, the story was based on an anecdote heard by Gogol. What did the author change when working on the story, what did he decide to leave? (loss of things, hardships associated with accumulation for the acquisition of things, illness of heroes).
Simultaneously with the analysis of the work, a reference scheme is drawn up:
JOKE STORY
gun missing overcoat
luxury disease necessity
return to life death
THE TRAGEDY OF THE "LITTLE
HUMAN"
Questions for analysis.
Is the situation more dramatic in a joke or in a story? (a gun is a luxury, an overcoat is a necessity in a harsh winter: “There is a strong enemy in St. Petersburg for everyone who receives four hundred rubles a year of salary or so. This enemy is none other than our northern frost ...” He distributes “such strong and prickly clicks indiscriminately on all the noses that the poor officials definitely do not know where to put them ... "). Describe the main character of the story: who is he, what does he do, what is his range of interests, how do others treat him? (poverty, downtroddenness, humiliation: “The department showed no respect for him. The watchmen not only did not get up when he passed, but did not even look at him, as if a simple fly had flown through the waiting room. The bosses treated him like something coldly tyrannical ... Young officials laughed and made fun of him, as long as clerical wit was enough ... they poured papers on his head, calling it snow.”) Gogol did not immediately give the name Bashmachkin to his hero. In the drafts you can find the names of Bashmakevich, Bashmakov. Why did the author stop at the name Bashmachkin? (a derogatory surname emphasizes the insignificance, insignificance of the hero). The etymology of the name Akakiy is interesting: from the Greek "a person who does good." Was this person such a person? (He just didn’t do evil) Is there another hero in the story to whom Gogol pays great attention? (Of course, an overcoat! It is furnished with many details. The author does not skimp on the details, noticing the slightest trifle concerning the overcoat, cherishing each one. Gogol inspires the reader that immersion in this pile of trifles is not pettiness at all. We are talking about an immensely important matter, vital ) What is the cause of Bashmachkin's death, who is directly to blame for it? Why does Gogol not give a name to a significant person? Are there words in the story that directly express the position of the author, his attitude towards the hero? (“I am your brother”).
Summing up the work: it is concluded that the author showed the tragedy of the "little man", telling the reader about, it would seem, completely uninteresting, not noteworthy. “Gogol does not embellish his hero in order to elevate him to himself. But it does not rise above it. The more clumsy the hero, the sharper the bitter pity for him and his like, the more imperative the covenant of humanity.
