The role and meaning of the epigraph in the story “The Captain's Daughter. What is an epigraph and how should it be formatted

Luzyanina Antonina Grigorievna,

Russian Language and Literature Teacher, Secondary School No. 2088

Working with an epigraph

an effective way of teaching the analysis of a work of art.

(From work experience, grade 8, A. S. Pushkin's story "The Captain's Daughter")

Epigraph (from the Greek επιγραφή - “inscription”) - a quote placed at the head of an essay or its parts in order to indicate its spirit, its meaning, the author’s attitude towards it, etc.

Epigraphs, most often small, short, take on a huge burden. Directly or allegorically, causing some associations, they are representatives of the main idea.
Along with the title, the correct reading of the epigraph is a “starting” moment on the way to the main idea. Sometimes in a work with a complex structure there are epigraphs not only after the title of the entire book, but also before each chapter. This helps the reader build a hierarchy of main thoughts and main events.

I work with the epigraph in stages.

• Stage 1 - preparing students for the perception of the new, intensifying mental activity and awakening interest in the work and the epigraph as one of its components. Students recall the definition of an epigraph and theoretical information about this type of literary quotation.
• Stage 2 is the concentration of attention on finding an answer to the question: - Is an epigraph really necessary in a work?
• Stage 3 - the formation of cognitive interest.

Each philologist wants his pupil to develop the habit of serious thoughtful reading, the ability to see the events and heroes of the work through the eyes of the author - the bearer of moral and aesthetic assessment. Introduction to the author's position activates the mental activity, creative abilities of children, enriches their reading culture.

• Stage 4 - observation of the text, which gives students the opportunity to make sure that the epigraph is only an outwardly independent, autonomous quote, in fact it is closely related to other compositional components: the title, beginning, end, plot and images of the work.
• Stage 5 - identifying the level of reader's perception. It includes a conclusion about the functions of the epigraph.
• Stage 6 - consolidation and generalization of the acquired knowledge and skills to analyze this literary quotation. At this stage, the skill is transferred to other activities: the study of textbook articles containing epigraphs, the selection of epigraphs for essays, and understanding their role in organizing a literature lesson.
• Stage 7 - understanding the author's position based on understanding the role of the epigraph.

A fertile material for the formation of epigraph analysis skills is the story "The Captain's Daughter". Before reading the story, the teacher introduces the students to the note of the “publisher”: “We decided, with the permission of relatives, to publish it separately, having found a decent epigraph for each chapter ...” Then the words of V. B. Shklovsky are quoted, who called the epigraphs of The Captain’s Daughter “semantic the key of the work, giving an idea of ​​the author's attitude to the topic, which he wants to convey to readers.

The students are given the task of tracing how the epigraphs are connected with the text of the story itself and what role they play.

The discussion of chapter 1 begins with a historical commentary. The teacher explains that the word "undergrowth" used to have a different meaning than it does now. This was the name of the young nobles of the 18th century, who had not reached the age of majority and had not yet entered the public service, but were enrolled in the army from birth. While the minor reached adulthood, he was automatically promoted and by the age of seventeen, without making any effort, he could “reach the rank” to the captain.

Students are asked to answer the following questions:

What is the epigraph about?

How many parts does it consist of?

How is it related to the title, beginning and end of the chapter?

What events in Petrusha's life does he pay attention to?

Why is the second part of the epigraph needed: “Who is his father?”

How does the epigraph help us understand Pushkin's attitude to the characters and events depicted?

The technique of observing the text will allow the children to determine the structural connections within the text. "Sergeant of the Guard" with the help of the lexical repetition "Captain of the Guard" is connected with the epigraph and emphasizes Pushkin's ironic attitude to the rosy dreams of the underage Petrusha about the Guards service.

The phrase: “Who is his father?” - echoes the beginning of the chapter, which, as it were, gives an answer to the question: “My father came out as prime minister in 17 .. year ..” The meaning of the epigraph is connected with the events of the plot: the father’s decision to send not to the guards at court, but to the army in the field. Thus, the author emphasizes the importance of the event that changed the usual course of life of the underage and explains the reason for such severity of Grinev, the eldest, who seeks to instill high moral qualities in his son.

The father wants his heir to continue the best noble traditions, so he does not protect him from difficulties, does not look for a warm place for him: “Petrusha will not go to St. Petersburg. What will he learn by serving in St. Petersburg? To wind and hang out? No, let him serve in the army, let him pull the strap, let him sniff the gunpowder, let him be a soldier, not a shamaton.

Speaking about the functions of the epigraph, it is necessary to point out to students that it predicts or predicts the future events of the chapter, the development of the images of Petrusha Grinev and his father, reveals Pushkin's ironic attitude to Petrusha's unfulfilled dreams, helps to understand the features of the moral code of the nobility.

In the lesson on the topic: “Life Universities of Petrusha Grinev”, dedicated to the story of his service in the Belogorsk fortress, an analysis of 3-5 chapters can be carried out on the following issues:

Did Petrusha's ideas about fortress and service correspond to reality?

How does the epigraph help answer this question?

How did Masha's love affect Petrusha?

How does he react to evil?

The epigraph to chapter 3 characterizes the way of life established in the fortress. Students have no difficulty in determining its semantics - this is a soldier's song, daring, perky, raising morale, it creates in the imagination images of brave, courageous warriors who do not care about anything, they threaten enemies:

Let's give the guests a feast,

Let's load the cannon.

The teacher draws the attention of the children to the stylistic heterogeneity of the epigraph: words from the book vocabulary (“fortecia”) and colloquial (“we will set a feast”, “they will come to the pies”) collide in it. This technique emphasizes the discrepancy between Petrusha's expectations and real life. (“Belogorsk fortress was forty miles from Orenburg ...”)

The epigraph is connected with the title of the chapter "Fortress" and its beginning through the synonymous repetition of "fortress". With the help of a teacher, students also find textual links between the epigraph and the narrative:

We live in a fort. I looked in all directions, expecting to see formidable bastions, towers and ramparts; but saw nothing but a village surrounded by a log fence.

The teacher helps the students to understand that these parallels clearly indicate the author's ironic attitude to the garrison service, where there were no exercises, reviews, guards.

The second epigraph from D. I. Fonvizin's comedy "Undergrowth" will help to more fully reveal the images of "old people". Students are already familiar with this work and the manners of Mrs. Prostakova, who subjugated her mute husband and runs the whole house.

After that, students can easily determine that the content of the epigraph is projected onto relations in the Mironov family, onto the image of Vasilisa Yegorovna, who commands not only her husband, but the entire garrison. With Prostakova, she is related by imperiousness and arrogance, but the image of the commandant is not unambiguous: the author endows her with kindness, cordiality, hospitality, and devotion to her husband. It is simplicity, sincerity and kindness that attract Petrusha in the family of Captain Mironov.

The epigraphs of chapter 5 are connected with the image of Masha Mironova, emphasizing her nobility and spiritual beauty. She releases Grinev from the promise to marry her, because she does not want to go against the will of his parents, she wishes well-being and happiness to her beloved:

If you find me better, you will forget

If you find me worse, you will remember.

Students determine the structural connections of the epigraph with the content of the chapter: "... At least be happy ... if you find yourself narrowed, if you love another, God bless you ... and I am for both of you ..."

The second epigraph is also a quote from a folk song. He points to those ethical laws that have been worked out for centuries by the people and which Masha follows. Determining within the textual structural connections of the epigraph and the chapter, eighth graders note repetitions:

Do not go, the girl is young, married;

You ask, girl, father, mother ...

(In the text) “…I will not marry you without the blessing of your parents. Without their blessing, you will not be happy.”

The epigraph to Chapter 4 helps readers understand Pushkin's attitude towards Petrusha Grinev.

Schoolchildren determine that the structural connection of a literary quotation with the title “Duel” and the end of the chapter (“At that very time I was stabbed severely in the chest below my right shoulder ...” - we compare “I will pierce the figure”) is carried out using synonymous repetition. In terms of meaning, the epigraph fully predicts upcoming events, as well as the outcome of the duel, and acts as a tuning fork, setting the reader up for an ironic perception of events. The very combination of a serious, almost tragic theme of the duel and a quote from a comedy shows Pushkin's ambiguous attitude both to the noble code of honor and to Petrusha Grinev: on the one hand, he respects the readiness of his hero to stand up for the honor of a girl, to fight for justice, even exposing his life danger, but, on the other hand, comically depicts the very means of this struggle.

In the lesson on the topic “Two meetings of Grinev with Pugachev - the leader in the steppe and the leader of the uprising”, work with epigraphs of chapters 2-8 also occupies a significant place. Quotations from an old recruit song (chapter "Counselor"), which tells about a good fellow, who was led in an unfamiliar direction by "quickness, gallant courage", emphasizes the folk "peasant" appearance of Pugachev, his epic strength.

Pushkin chose lines that directly echo the conversation between Petrusha and the counselor:

Unfamiliar side! Why didn't I come to you myself,

Is it not a good horse that brought me.

(From the text) ... - Listen, man, - I told him, - do you know this side?

The side is familiar to me, - answered the roadman, - thank God, it is well-trodden and traveled along and across. …. But they differ in the content of the chapter.

What caused it?

How did they reflect Pugachev's biography?

At the first lesson, devoted to the history of the creation of the story, the teacher informs the children that Yemelyan Pugachev is a Don Cossack by origin. For three years he was in the royal service, participated in the battles of the Seven Years' War and was taken by one of the colonels as orderlies for "excellent agility." Upon his return from the army, he was called twice more to pacify the schismatics and to fight against the Turks. The royal service was tired, but Pugachev did not receive a resignation and fled. For two years he wandered around the Don, Ukraine, hiding from arrest, then went to the Urals. During his wanderings, he participated in peasant unrest: he was a walker to the queen from the inhabitants of the Terek (caught and punished), then he led the departure of the Yaik Cossacks from the oppressors from the Southern Urals to the Kuban, to the Turkish side - he was arrested, and now he was threatened with Siberian penal servitude. Here, in custody, Pugachev's resourcefulness, his ability to convince and influence people, showed up - he fled with the guards.

Answering the questions posed, students make a conclusion about the functions of the epigraph of Chapter 2. He points out the reasons for the appearance of the Don Cossack outside the familiar side, in the Urals, helps to express the author’s attitude towards this hero, whom he calls a fine fellow and emphasizes his daring, strength, courage, kinship with epic heroes (for him, even a snowstorm in the steppe is not terrible). Structurally, the epigraph of the chapter is connected with the words of Pugachev “the side is familiar to me ...” and indicates that both in the Ural steppe and among the Yaik Cossacks, the leader of the popular uprising is his own person.

A comparison of the two epigraphs preceding chapters 2 and 8 helps to move on to the analysis of the chapter "The Uninvited Guest". If the first - characterizes Pugachev as a good fellow, then the second - gives him an unfriendly assessment: "An uninvited guest is worse than a Tatar."

It should be reported that initially Chapter 8 was preceded by other lines: “And the villains came to us at mass - and they put three barrels of beer at the national hut, drank - but they didn’t give us anything.” (Testimony of headman Ivan Paramonov in March 1774)

Why did Pushkin refuse this option, because this text is a broader description of the actions of the “intruder?

The rejection of this quote can be explained by several reasons: firstly, the testimony of the headman has a reduced everyday coloring, tells about a particular case - the capture of a village by the rebels, and secondly, in The Captain's Daughter the author avoids referring to documents and does not want to violate unity of artistic narrative.

Having found out the meaning of the epigraph, we direct the search to determine its connection with the text. The question is posed:

Do the events of Chapter 8 confirm Pugachev's assessment given in the epigraph?

This question focuses the attention of students on the portrait of Pugachev created by Pushkin, the hero's reaction to Petrusha's words that he would fight against him, fulfilling his duty.

At the stage of generalization, students come to the conclusion that Pushkin contrasts the content of Chapter 8 with the epigraph, showing the leader of the uprising capable of nobility, generosity and kindness, even in relation to representatives of the hostile camp.

The lesson "Trials of the nobleman Grinev" (chapters 9-12) is devoted to the disclosure of Petrusha Grinev's complex attitude towards Pugachev and the rebels, we compare his opinion with Pushkin's position.

The epigraph of chapter 10 does not quite correspond to the content of the chapter and is not predictive.

For what purpose does Pushkin introduce him into the story? He sets up readers to understand the importance of the events of the peasant war, which the author compares in significance for Russian history with the Kazan campaign, and Pugachev with Ivan the Terrible. It should be noted that in parallel with the hidden comparison of the hero with the Russian Tsar, there is also a direct comparison of him with an eagle, which strives for a free life. The image of an eagle reappears in a fairy tale told by Pugachev to Petrusha. The epigraph to chapter 11 also elevates the protagonist by comparing him to a lion. Students should be told that this epigraph belongs to Pushkin himself, although the author refers to A.P. Sumarokov.

Dictionary work: the word "nativity scene" has two meanings:

1. cave - underground entrance, hard-to-reach ravines; 2) the dwelling of people of questionable behavior, criminals.

In what sense do you think this word is used in the quote? So, the lion, by nature usually ferocious, kindly receives the guest in his cave only because at that time he is full. The content of the epigraph is projected onto the events of the chapter: Pugachev shows favor to Petrusha, despite the fact that his associates accuse the young nobleman of espionage and demand his execution. The question is asked: - What traits of Pugachev's character does the author emphasize with an epigraph - ferocity or affection? The teacher then introduces the students to the opinion of A.P. Sumarokov, who wrote about Pugachev like this: This murderer, having struck, the tyrant of the noble, Koliko killed fathers and mothers! In marriage, he gives worthless Honorary daughters for warriors. This statement about the arbitrariness and tyranny of the leader of the peasant uprising contradicts the events described by Pushkin: Pugachev is ready to help Grinev save his beloved and even arrange their wedding. Making a conclusion about the functions of the epigraph of chapters 10-11, students note that by putting next to the name of the leader of the rebels the names of "royal" animals and birds - a lion and an eagle - Pushkin wants to emphasize his opinion of him as a strong, powerful personality. The teacher draws the attention of students to the fact that all the epigraphs related to Pugachev are taken from any literary works where the words “Russian Tsar” are mentioned, he does not at all want to convince readers of the royal origin of the impostor, but sets himself the goal of showing the extraordinary person who is able to lead thousands of people. The lesson "The mercy of the impostor and the mercy of the autocrat" should reveal the moral integrity of Pugachev and show the depth of the personality of Masha Mironova ((chapters 13-14).

The source of the epigraph to chapter 13 is an excerpt from Ya.B Knyaznin's comedy "Bouncer", but some literary critics argued that this literary quotation was composed by Pushkin himself, and the last two lines only resemble a replica of the comedy hero. The students understand the meaning of the epigraph without much explanation: this is a dialogue between two people, one of whom, “in his duty,” must arrest the other, a friend, and send him to prison. The friend expresses a desire to explain himself first and hopes that he will be presented with such an opportunity. The analysis reveals within the text structural links of this quote with the title of the chapter and its end through lexical repetitions.

The meaning of the epigraph predicts the events of the plot. Zurin is friendly to Grinev, believes in his innocence, but is obliged to follow the order and arrest him. Petrusha is not fully aware of the danger hanging over him, because he believes in the triumph of justice: “My conscience was clear, I was not afraid of the court ...” Pushkin destroys the hopes of his hero: members of the commission of inquiry treat him with prejudice during interrogation. The author bitterly shows how Shvabrin's slanders take precedence over justice and an innocent person is convicted.

Chapter 14 is called "The Court", but only a few lines are devoted to this important event in Grinev's life: everything is clear and without long descriptions. The epigraph to this chapter is the proverb “Worldly rumor is a wave of the sea”. Resorting to folk wisdom, the writer wanted to show the illegality of the court verdict, based not on an objective analysis of the case, but on "people's rumors", i.e. Shvabrin's slander.

Students can easily determine the connection of the epigraph with the words of Petrusha's mother, who spoke about "infidelity of the rumor, about the precariousness of people's opinions" and could not allow the thought of her son's betrayal. A conversation is being held on the topic “Who can be called the savior of Grinev? Questions: - Why did justice prevail? - What fate awaited Petrusha if Masha had not asked the Empress for him? - What is the difference between the mercy of Catherine2 and the mercy of Pugachev? The epigraph of Chapter 9 is projected onto the events of the plot: the separation of the lovers after their release from the Shvabrinsky captivity.

The task of the lesson "Pushkin's depiction of the popular uprising and its leader" is to systematize the students' ideas and impressions about the author's attitude towards Pugachev and the peasant revolt. The teacher draws attention to the epigraphs of chapters 6 and 7, the first of which is knocked out of the general system of quotations, because it emphasizes the temporal distance between the events described in the story and Pushkin's contemporary era. These are lines from a folk song, the meaning of which is teaching, drawing the attention of the younger generation to the importance of what is being reported. The teacher introduces students to the context of the quote:

You young guys listen
What are we old people going to say?

About the Terrible Tsar Ivan, about Vasilyevich,

How he, our Sovereign Tsar, went near Kazan - the city.

These lines once again emphasize Pushkin's opinion about the historical significance of the peasant war under the leadership of Pugachev. The author calls on his contemporaries to learn a lesson: he feels the proximity of a new Pugachevism. The popular uprisings of the 1930s, the uprising in Poland again kindled hatred, were ready to grow into a new Russian revolt, "senseless and merciless", because it does not lead to an improvement in the life of the people, but brings misfortune and grief. Pushkin is frightened by the spontaneity of the uprising, its uncontrollability.

In the lesson “Affirmation of humanism, honor and duty in the story,” the teacher draws the attention of students to the commonality of moral principles by which Grinev and Pugachev live. It is they who contribute to the rapprochement of the young nobleman and the leader of the people's revolt. Both of them are open, sincere, generous, they know how to repay good with kindness, they hate Duplicity, cowardice and meanness. The basis of Grinev's morality was laid by his parents, especially his father. But where do these principles come from Pugachev? Their source is the ideals of goodness and justice, which have been developed by the people over the course of centuries of history. Not without reason Pushkin in his epigraphs reflects two layers of culture - noble and folk.

The literary epigraphs of the story are taken from the works of poets of the Catherine's era: Ya.B. Knyazhnina, M.M. Kheraskov... These poets in their works glorified the high service to the fatherland, fidelity to duty and noble honor. Folklore epigraphs reflect the historical, social and moral experience of the people, their way of life, interests, views and ideals, their wisdom, and emphasize the high moral foundations of people's life.

It is no coincidence that Pushkin uses the proverb “Take care of honor from an early age” for his life credo. It is placed at the beginning of the work and is very important for understanding the meaning of The Captain's Daughter. The writer omits its “everyday” first part “Take care of your clothes again…”, which makes the remaining phrase even more universal, elevating it to an absolute moral principle of life for people, regardless of their class affiliation. “Take care of honor from a young age” means to remain a man in any conditions, no matter what fate puts you in.

So, the system of work described by me with epigraphs to the story of A.S. Pushkin "The Captain's Daughter", convinced me that this is one of the effective ways of teaching students the analysis of a work of art, it also forms a cognitive interest in the subject being studied and a literary work, educates a thoughtful, literate reader who can see the events and characters of the work through the eyes of the author. I hope that this work will be useful and will help my colleagues.

The very word "epigraph" known since ancient times. The ancient Greeks have an epigraph ( epigraphe) were originally called inscriptions on tombstones or on the walls of buildings. The first literary epigraphs appeared in the works of Renaissance writers. At that time, they were still a rare occurrence and came into wide use only from the end of the 18th century.

Since the 19th century, it has become fashionable in Russia to place an epigraph not only at the beginning of a work, but also before each part of it. The ability to successfully select an epigraph and use it correctly in his books served as proof of the author's education and erudition. At one time, A.S. Pushkin, N.V. Gogol, I.S. Turgenev, L.N. Tolstoy and other famous Russian writers.

The placement of the epigraph before the main text of the book is a sign of good manners and respect for readers. In the epigraph, the work is described from the point of view of an authoritative person, whose opinion is very important for the writer. It can be an opinion, a quote, a motto, a catchphrase or any other saying.


The epigraph is used by the authors for the following purposes

— To briefly highlight the main storyline of the book.

- Emphasize the main mood and spirit of the work as a whole.

— Preliminarily acquaint the reader with the characters.

- Show your personal attitude to the described events or heroes of the work.

In Russian literature, the epigraph is used in different genres:

- in lyrical works;

- in fiction;

- in novels in verse;

in articles, letters, essays.

A well thought out epigraph often helps the reader understand what the author was trying to say between the lines. The clearest example of the use of an epigraph in literature is the phenomenal novel by A. S. Pushkin "Eugene Onegin". Each chapter begins with an epigraph.

These are the smartest sayings of such immortal poets as Petrarch, Horace, Byron, Griboyedov, Zhukovskaya and well-known sayings of other great people.


In the world-famous epigraph to his novel Anna Karenina, Leo Tolstoy uses a quotation from the Bible that reads as follows:

“Vengeance is mine, and Az will repay.”

In Bulgakov's novel The Master and Margarita, the epigraph clearly expresses the spirit of the work and the author's intention. This is a quote borrowed from the tragedy "Faust" (Goethe):

“I am part of that force that always wants evil and always does good.”

Writing an epigraph to an essay is not a prerequisite, but a work designed in this way indicates that the student is serious about completing the task.

A well-formed epigraph adorns the work and is of great importance for obtaining the final grade.

Basic rules for writing epigraphs

- The epigraph is placed below the line with the title of the work, on the right side of the page.

- If the epigraph consists of several lines, then all of them should be equal in length.

— The epigraph is highlighted in a smaller font size than the text following it.

— The translation of a foreign epigraph is separated from the original by a gap.

— The epigraph is not enclosed in quotation marks.

- An appropriate punctuation mark is placed at the end of the epigraph. If the phrase is not finished, then an ellipsis is used.

Appropriately selected epigraphs complement any text favorably. The law of the Russian Federation allows the use of excerpts from the works of other authors in epigraphs.


It does not require the consent of the person who composed the original text. But it is mandatory to indicate the source of borrowing the quote and the name of the author of the original source.

Thinking about the title

Taking any text in hand, the reader should set himself the task of highlighting the main thing, that is, to understand why this text was written.

The heading is the "front door" of the text. Mental processing of the title is the first step towards understanding the author's idea. The title sets up a subsequent dialogue with the text, during which the content and its main idea are comprehended.

If the title does not linger in memory, then the conversation with the text “does not stick”, self-control and generalization of the information received is difficult. The better the title is processed, the more complete the further reading will be.

Predicting content from a headline has varying degrees of difficulty, depending on what the child is reading. If he is reading fiction, the title may tell you exactly what the story is about, and lead to assumptions that are completely different from what the work will actually talk about.

Work with headings can be carried out at different stages: both before and after reading the text.

Why do you need an epigraph

Epigraphs, most often small, short, take on a huge burden. Directly or allegorically, causing some associations, they are representatives of the main idea.

Along with the title, the correct reading of the epigraph is a “starting” moment on the way to the main idea. Sometimes in a work with a complex structure there are epigraphs not only after the title of the entire book, but also before each chapter. This helps the reader build a hierarchy of main thoughts and main events.

Work with epigraphs, as well as work with headings, can be carried out in two stages. The first is an attempt to explain the meaning of the epigraph before reading the text and, on this basis, make some assumption about the content of what is to be read. The second is a return to the epigraph after reading and understanding the relationship between the text and the epigraph.

Highlighting the main idea

The ability to conduct a dialogue with the text does not always lead to the main result of understanding - highlighting the main idea. This needs to be taught purposefully.

Many schoolchildren, even after a detailed conversation with the text, give up when they are asked to highlight the main idea. This indicates a misunderstanding of the text: after all, the correct selection of the main idea is one of the most important indicators of understanding. Expressing an idea in words is an independent and very difficult task. The expression of thought in words does not always correspond to the thought itself: it can be incomplete, inaccurate, and distorted. Hence the famous Tyutchev: "A thought uttered is a lie."

To single out the main idea means to realize it in the general flow of the text, to abstract from the specific embodiment, which is the form of its being, and to assess the degree of its significance.

To learn and learn to highlight the main idea, the following conditions must be observed.

The first is for students to know that this goal is always in front of them, with every interaction with the text.

Ideally, the desire to find out: “What is the main thing here?” or “What matters most here?” - becomes a habit, and the student simply does not know another reading

The second = is the scooping out of all meanings from each word, phrase, sentence and larger semantic units, as well as from their montage.

The third is the constant work on predicting the text at all levels - from a word or phrase to a whole text.

This work will not give a big increase in the ability of schoolchildren to learn if it is episodic.

Epigraph

Epigraph

(Greek epigraph? - inscription), 1) in ancient Greece, the inscription on the monument.
2) In European literature, a brief statement placed after the title of a work and prefaced by the text or its structurally distinguished part (chapter, volume), the meaning of which reveals to readers the content of the story that follows it. The epigraph indicates the theme of the work (A. A. Block, “Solveig”: “Solveig comes skiing”), emphasizes his main idea (A. S. Pushkin, "The Captain's Daughter": "Take care of your honor from a young age"), highlights the important circumstances of the plot action (M. Yu. Lermontov, "Mtsyri": "Eating, tasting little honey, and now I'm dying"). Most often, the epigraph turns out to be an accurately or inaccurately quoted someone else's saying (a fragment of the work of the author-predecessor, a catchphrase), but it can also be the author's own statement (such is the poetic miniature prefaced by A. S. Pushkin to the text of The Queen of Spades). The epigraphs are aphoristic, conciseness.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .

Epigraph

EPIGRAPH- a phrase in the title of a literary work or before its individual sections. Proverbs, sayings, words from well-known literary works, from scripture, etc. are often taken as an epigraph. So, for example, Gogol took the proverb as an epigraph to The Inspector General: Anna Karenina" is: "Vengeance is upon me and I will repay", etc. The epigraph represents, as it were, a mask behind which the author hides when, not wanting to speak directly, he indirectly determines his attitude to the events depicted by him in the work. The epigraph can be lyrical, to a greater or lesser extent, depending on whether the author expressed his attitude simply in the condensed formula of the main events of the given work as a whole, a separate chapter, etc. (in these cases, the very nature of the condensation of events betrays the attitude of the author) , - or this relation is expressed by him in an exclamation, a direct assessment of the event, etc., as in the examples given. In this latter case, the epigraph has the character of a disguised lyrical digression, as it were. Such "evaluative" epigraphs can sometimes have a comedic character - this happens when the author's "evaluation" of a well-known phenomenon does not correspond to the significance that this phenomenon has for the persons acting in the work themselves. So, for example, the epigraph from the Little Russian comedy: “Tzur tobi, pek tobi, satanin’s suggestion,” taken by Gogol for the tenth chapter of the Sorochinskaya Fair, is undoubtedly humorous in nature: it betrays the author’s obviously mocking attitude to what is described in this chapter, between the way the "Scary Devil Scroll", which it tells about, truly frightened the hero of the chapter - Cherevik.

Ya. Zundelovich. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

See what "epigraph" is in other dictionaries:

- (Greek; this. see the previous word). 1) the text of some writer, exhibited at the beginning of a book, section, chapter. 2) an inscription on a book, monument, building, etc. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. EPIGRAPH ... ... Dictionary of foreign words of the Russian language

Epigraph- EPIGRAPH - a phrase in the title of a literary work or before its individual sections. Proverbs, sayings, words from well-known literary works, from scripture, etc. are often taken as an epigraph. For example, ... ... Dictionary of literary terms

epigraph- a, m. epigraphe f. German Epigraph gr. epigraph inscription. 1. The ancient Greeks have an inscription on the monument. BAS 1. We recently began to persecute his Alexandrian verse .. It is suitable, they say, for an epigraph. Yes, sometimes they can decorate the Tombs or ... ... Historical Dictionary of Gallicisms of the Russian Language

- (the epigraph is obsolete), epigraph, husband. (Greek epigraphe inscription). 1. The ancient Greeks have an inscription on a tombstone. 2. A short text (usually a quote from somewhere, a proverb, a saying, etc.), placed by the author in front of his work or his ... ... Explanatory Dictionary of Ushakov

epigraph- and an outdated epigraph. In the literary language of the 18th and early 19th centuries, the epigraph variant was common. For example, A. Pushkin: “He knew enough Latin, To parse epigraphs” (Eugene Onegin) ... Dictionary of pronunciation and stress difficulties in modern Russian

Modern Encyclopedia

- (from Greek epigraphe inscription) ..1) in antiquity an inscription on a monument, building2)] Quote, saying, proverb, placed by the author before the text of the entire artistic (journalistic, scientific) work or part of it. The epigraph explains... Big Encyclopedic Dictionary

Saying, quote, inscription, motto Dictionary of Russian synonyms. epigraph n., number of synonyms: 4 saying (26) ... Synonym dictionary

- (Greek epigraphe - inscription) 1) in antiquity, an inscription on a monument, building; 2) a quotation, saying, proverb placed by the author before the text of the entire artistic (journalistic) work or part of it. The epigraph explains the main idea ... ... Encyclopedia of cultural studies

Epigraph- (from the Greek epigraphe inscription), 1) in antiquity, an inscription on a monument, building. 2) Quote, saying, proverb, placed by the author before the text of the entire artistic (journalistic, scientific) work or its parts. The epigraph explains... Illustrated Encyclopedic Dictionary

EPIGRAPH, a, m. A saying (or quotation) prefaced by a work (or part of it, a chapter) and focusing thought on its idea. E. to the novel. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov

Books

• Astrological lots or Arabic parts and points, parses, lots, V.V.G. sections) of the horoscope, in which ...

In the main provisions of the national educational initiative "Our New School" it is noted that "... the main tasks of the modern school are the disclosure of the abilities of each student, the education of a decent and patriotic person, a person ready for life in a high-tech, competitive world." It is also emphasized that "it is necessary to develop a creative environment to identify especially gifted children in every secondary school."

It is my deep conviction that the most important task of a language teacher is to help the student learn to read for real, consciously penetrating the meaning of each word. After all, reading is not only a preparation for the final certification, but also a way to enrich the soul and moral improvement of the individual. It is also an amazing process of touching the secret of the writer's work. With each new word, we are closer to unraveling his thoughts, feelings, views of the world. And if the work is preceded by an epigraph, then this way of comprehending the author's intention becomes even more interesting, because the epigraph is not only a saying that concentrates the main idea in itself, but also the key without which it is often impossible to understand the writer. By the way, we must always remember that in a literary work nothing happens “just like that” - every statement, word has its place and its own special, precise meaning.

It is necessary to work with the epigraph twice: before and after studying the work. Only then will his “action” throughout the entire narrative be understood. You also need to remember that often the epigraph contains much more than the saying itself outside of this work. For example, the main idea of ​​the epigraph to the 1st chapter of the novel in verse "Eugene Onegin" by A.S. Pushkin ("both in a hurry to live and feel in a hurry"), taken from P. Vyazemsky's poem "The First Snow", at first glance, is completely in tune with reflections the author of this poem about youth, its thirst for life and, at the same time, about the transience of vivid feelings. But Pushkin, using a quote from Vyazemsky, sought, I think, to reveal not only the world of his hero much deeper, but also to show the situation that surrounds him. With this short phrase, he points to the causes of Eugene Onegin's blues, and to the signs of the life of St. Petersburg, and to the aspirations of the noble youth, and to his own attitude towards the hero - everything that the first chapter of the novel tells about.

Much food for thought is provided by the aphorisms used in MA Bulgakov's prose. His novel "The White Guard" from epigraphs to the last word is filled with special symbolism, emphasizing the tragedy of the whole story. Bulgakov perceives the revolution unambiguously: for him it is a hostile element, sweeping away everything in its path, not subject to any laws. Therefore, the first epigraph of the novel is a description of the snowstorm from Pushkin's story "The Captain's Daughter". Involuntarily, another Pushkin's statement comes to mind: "The Russian rebellion is terrible, senseless and merciless ...". The black-and-white graphics of the first epigraph complement the created impression with their involvement in the thoughts of A.A. Blok's poem "The Twelve", although these works cannot be called completely consonant. It should be noted that a special place among the most diverse epigraphs is occupied by quotations from the Bible (in Bulgakov's works too). That's really where the scope for reflection, happy discoveries and painstaking research! Therefore, having delved into the meaning of the second epigraph to the novel “The White Guard” (“and the dead were judged according to what was written in the books according to their deeds ...”), we gradually understand why the members of the Turbin family withstood the ordeal, why Elena’s prayer to the Most Holy Theotokos saved Alexei from death, why the blind elements of the revolution did not destroy their house. Yes, because the heroes of Bulgakov have long understood this wise saying in their hearts: to live in the name of an idea is meaningless, one must live according to eternal laws. The epigraph to the novel The Master and Margarita is also interesting with its deep meaning: “... so who are you, finally? “I am part of that force that always wants evil and always does good…”. It contains a vivid oxymoron, which in itself sets the reader up for paradoxical thinking. Consequently, without understanding this quote from the philosophical poem by W. Goethe, it will be impossible to understand the idea of ​​this ambiguous novel.

A slightly different approach will be to understanding another epigraph from the Eternal Book - a saying from the Apocalypse, prefaced by V.D. Dudintsev's novel "White Clothes": "These, clothed in white clothes - they come from great sorrow ...". The solution to this statement appears not so much after painstaking work with the text of the novel, but as a result of spiritual perception of the essence of its content. Having felt the author's thought that good is affirmed through great suffering, the reader will be able to understand the symbolism, aphorisms and philosophical reflections of the work and, consequently, the ambiguity and depth of the biblical quotation itself. Gradually penetrating into the multi-layered structure of the novel, the reader makes a discovery for himself: white clothes are both the purity of the thoughts of the characters, and their high sacrifice in the name of truth, and, in the end, the white coat of a research scientist. Shining clothes and true recognition are worthy of only those few who have passed all the tests. Thus, the proclamation of the moral force of good is indicated by VD Dudintsev already in the epigraph.

There are many such examples. After all, each epigraph is a new reason for searching, fascinating research, comprehending the unknown. But on one work - the story of A.I. Kuprin "Garnet Bracelet" - I still want to dwell especially. The epigraph to it is unusual. This is a musical program of one of the parts of the second sonata for piano by L. Beethoven: “L. Van Beethoven. 2. Son. (op. 2. No. 2). Largo Appassionato. In one of the publications of the newspaper "Literature - P / S" I read: "But this is not an epigraph ...". And in another article of the same newspaper there were somewhat different arguments: “... after all, some phrases are usually taken out in the epigraph, words, and here we have the name of a musical work, or rather one of its parts ... ". Yes, both authors ultimately connect the content of Kuprin's story with the indicated work of Beethoven, but only because they are able to personally feel the complex world of classical music harmonies. But what about those to whom the word of the teacher is addressed - with modern young maximalists, who often simply reject everything that is complex and, in their opinion, out of date? In order to bring the children to a conscious understanding of not only music, but also the essence of the epigraph, you need to remind them in what era the story was written and what preceded it. Indeed, for the intelligentsia of the early twentieth century, classical music was an integral part of spiritual life. Many felt the need for it, often personally performing their favorite pieces of music. This means that A.I. Kuprin, choosing the epigraph to this non-fictional story, knew exactly both the meaning of the musical term of the Beethoven sonata and the history of its creation. This sonata was written by a young composer at a time of crisis for him: on the one hand, his work was recognized by the official circles of many European countries, he even became a “fashionable composer”, and on the other hand, the 25-year-old Beethoven was made clear that his place was among lackeys and plebeians. But after all, official recognition is not enough for true talent, it needs understanding and spiritual support. Love is needed, without which the talent itself is fruitless, and creativity is doomed to extinction ... Having fallen in love with a girl of a higher class, the composer could not realize the hope for personal happiness, remaining forever lonely and suffering. Only a strong will and rebellious character helped Beethoven survive and endure new trials. Isn't the story "Garnet Bracelet" about such a tragedy? No wonder Kuprin informed Batyushkov from Odessa in October 1910: “Do you remember this? - the sad story of a small telegraph official P.P. Zholtikov, who was so hopelessly, touchingly and selflessly in love with Lyubimov's wife (D.N. is now the governor in Vilna). So far I have just come up with an epigraph... (highlighted by me - A.Yu.K.)”. Having told the students all this, you can turn to the translation of the Italian term “largo appassionato” (to help students follow “following the author” there will be pre-prepared questions on the text - see below). Annex 1 .

"Restrained, slow" (largo), but at the same time "excited and passionate" (appassionato) - such is the contrast in the musical program of Beethoven's sonata. But this is how it is: life is complex and contradictory, and literature is nothing but a reflection of this life. And in the story "Garnet Bracelet", having felt the author's word, one can trace the embodiment of the essence of the content, which is indicated in the epigraph, through the very fabric of the narrative. “Yes, this is the usual antithesis,” you say. But, starting from the program of Beethoven's sonata, Kuprin was able, with special psychologism, to convey to the reader all the unusual nuances of the birth and flowering in the souls of the heroes of a high, free from vulgarity, feeling of love.

Talking about "one eternal love", Kuprin touches the best strings of the soul of every reader. Love for him is a complex and multifaceted feeling, which is both happiness and tragedy, and "the greatest mystery in the world." If so, the writer is far from contemplating serenity and even calmness, which is neither in the hearts of the heroes, nor in the environment that surrounds them ...

Already in the first chapter, Kuprin confronts contrasting natural forces: “disgusting weather”, “wildly howling” wind in the pipes, a hurricane and a storm at sea, chaos and desolation in the abandoned houses of summer residents (appassionato) are suddenly replaced by “quiet cloudless days”, conducive to “ solitude and silence" (largo). It is during the moments of this blessed silence that the main character of the story, Vera Nikolaevna Sheina, appears. Peace in nature emphasizes the coldness, independence and "royal calmness" of the princess. It would seem that nothing can disturb the harmony and serenity of the world of Vera Nikolaevna. However, later, with the appearance of her sister Anna Nikolaevna Friesse, one feels an invasion into the isolated world of the heroine of a stormy, passionate, slightly frightening reality. After all, Anna inherited her father's hot Mongolian blood, and therefore consisted of "merry carelessness and ... strange contradictions", she was "wasteful, loved gambling, strong impressions and sharp spectacles." Perhaps only sincere piety and kindness brought her closer to her sister.

Confusion in the soul of Vera Nikolaevna is also brought by a mysterious garnet bracelet sent by a man who has long and hopelessly loved her. This talisman, designed to protect and protect Vera Nikolaevna's calmness, evokes in her not serene, but, on the contrary, anxious feelings (again, the struggle between largo and appassionato!). The excitement of the heroine intensifies after a conversation with General Anosov. Reflecting on the essence of the great mystery of love, he says that love can be different: love-humiliation, love-pity, and love-struggle ... But only “selfless, selfless, not waiting for a reward” truly fills life with the highest meaning feeling. Vera does not immediately understand that it is this kind of love that lives in the soul of the poor official Zheltkov. Not accepting the vulgarity, depravity and cruelty of the real world, Georgy Stepanovich Zheltkov finds in Vera Nikolaevna that ideal that can protect against dirt and injustice, that delightful image that makes everyday existence meaningful and bright.

However, life dictates its own conditions. Social inequality and the inaccessibility of Vera make Zheltkov constantly suppress the desire to see her, communicate with her, just love. The storm of feelings in his soul found a way out in the fact that the presence of his beloved was replaced by music for Zheltkov, who managed to express everything without words and translations. Rapture and fear, hopelessness and delight, humility and intransigence - everything is combined in the hero of the story in almost the same way as in Beethoven's sonata. This music is the point of contact that helped Princess Vera to understand that her path was crossed by “the kind of love that women dream about and that men are no longer capable of” (appassionato). She also understood that her whole life before meeting Zheltkov was a monotonous habitual existence (largo), that now that “feeling of true friendship” that had long replaced her former passionate love for her husband was not enough for her. But Zheltkov's hot feelings frighten Vera Nikolaevna, she is afraid of losing her composure. And as a result, her indecision and doubts turn into a tragedy for the hero of the story.

Deeply lonely and broken, acutely feeling his discord with a world alien to him, having lost the only meaning of life - such is Zheltkov after a conversation with Vera's husband Vasily Lvovich and her brother Nikolai. The meaning of his life was love for Vera Nikolaevna, but if he is forbidden to feel (appassionato), it means that he is forbidden to simply live. Before our eyes, this man with a “tender girlish face” and a “reverent” look in blue eyes turns into a “living dead man” (largo), whose eyes were full of “unshed tears”.

It is impossible to forcibly invade the soul of a loving person, deprive him of the right to feel “hopeless and polite love”, and even threaten him with gendarmes! Such interference will inevitably lead to disaster. The hero dies. But even dead he is not defeated! No wonder his name is George. Now Zheltkov's face was "blissful and serene", and the soul in the last letter now freely speaks not only to Vera Nikolaevna, but to the whole world: "... for me, all life lies in you." How much purity, nobility and tenderness are in these words!

With the death of the hero, the attitude of Princess Vera changes. Trying to understand herself, Vera Nikolaevna turns to the music that Zheltkov “bequeathed” to her. Listening to the play of Jenny Reiter, she penetrates the mystery of the harmony of sounds. In her mind, words were formed that coincided in thoughts with music and ended with an almost prayerful phrase: "Hallowed be thy name." This prayer is filled with great feeling and almost mystically brings the characters closer at the end of the story. The reader now understands the last phrase of Vera: “... he has forgiven me now. Everything is fine.". Why only forgive Now? Vera considers herself entitled to say so precisely after the music has explained everything to her. And to understand means in this situation to regret, and to love, and to think about many things.

How much these two short words - largo and appassionato - contained in themselves! They contain joy and sorrow, hatred and delight, storm and serenity. They contain the harmony of the world, the harmony of music... The music of life, love and death... (see. Annex 2 )

Thanks to the ability of A.I. Kuprin to penetrate into the world of the human soul, we become unwitting participants in the exciting events described in the story. But the story told by the writer is not divorced from life. As in his other works, literary characters rejoice and suffer, make mistakes and win.

These are just a few points in the ways of studying the epigraph to a literary work. Such a study can be an occasion for serious design work. And here the field of activity is huge! It should not be forgotten that some writers deliberately removed the epigraph in order to preserve the intrigue, not to reveal their intention ahead of time. And others were forced to address the epigraph to their work after its publication, in order to prevent misinterpretation of the essence of what was written. However, this is a topic for a new conversation. And now, I think, it can be argued that it is simply impossible to overestimate the importance of working with an epigraph.

Literature:

1. A.S. Pushkin"Eugene Onegin", a novel in verse - Poln. coll. op. In 10 vols. Ed. B.V. Tomashevsky. 4th ed. L., 1974-1979.
2. M.A. Bulgakov"White Guard", novel - Collected works in 5 volumes - M., 1989-1990
3. M.A. Bulgakov"Master and Margarita" novel - Collected works in 5 volumes - M., 1989-1990
4. V.D. Dudintsev"White clothes", novel - M., 1988
5. "Literature at school" (supplement to the newspaper "First of September") - No. 8, 2002.
6. Kuprin A.I."Garnet Bracelet" - Collected Works, vols. 1-9. M., 1970-1973