Preparing to write
according to the story “ Garnet bracelet»
Lesson objectives:
- analyze the stages of preparation for writing an essay: choosing an epigraph, formulating the main idea of \u200b\u200ba future essay, drawing up a plan, using quotes to prove your thoughts;
- develop oral and written speech of students;
- to cultivate a love for the artistic word.
During the classes
I... Introducing Lesson Objectives
Essay topics:
1. My thoughts on the story read by AI Kuprin "Garnet Bracelet".
2. "... what was it: love or madness?" (Based on the story "Garnet Bracelet")
The notebooks contain records of statements about love. In addition, for the first lesson dedicated to the story of AI Kuprin "Garnet Bracelet", students independently selected poems, legends, phrases about love.
II. Stages of work on an essay
1. Students in the process of discussion name eight stages of preparation for an essay:
1) thinking about the topic of the essay;
2) determination of the main idea of \u200b\u200bthe composition;
3) determination of the genre of the composition;
4) selection of material (quotes, statements, etc.);
5) drawing up an essay plan;
b) thinking about the introduction to the main part;
7) drawing up a detailed plan of the main part;
(“I chose the first topic. The main word in it, on which I must rely in my work on the composition, is“ thoughts ”: my thoughts about the characters and their feelings. I will write my composition in the genre of writing, the addressee of which is the author of the work - AI Kuprin, because I think that when addressing a specific person, it is easier to express your thoughts. "
“I chose the second topic:“ ... what was it: love or madness ”? It is more specific than the first topic. This is an essay-reasoning, therefore, it must contain a thesis, that is, a thought that must be proved, therefore, evidence and a conclusion are needed. The main word in it is either "love" or "madness" depending on what I will prove. ")
3. Formulation of the idea of \u200b\u200bthe composition.
("The feelings of the poor telegraph operator Georgy Zheltkov for Vera Sheina are love, not madness."
"I tested myself - this is not a disease, not a manic idea - this is love that God wanted to reward me for something."
"The rarest gift of high love has become the only content of Zheltkov's life."
"I believe that Zheltkov is not a madman, not a maniac, that his feelings for Vera are not madness, they are love, and I will try to prove my opinion."
“Your story, dear Alexander Ivanovich, will help readers to distinguish true love from falling in love.”)
4. Pupils' discussion of the selected material to substantiate the main idea of \u200b\u200bthe composition.
Several students read out epigraphs written from the text of the work of quotation, which they will use to prove the idea of \u200b\u200bthe composition, and try to justify their choice.
“I decided to take the words of Shakespeare as an epigraph to the composition:
The harmony of the strings in the quartet tells us
That a lonely path is like death
Why did I choose this particular epigraph? I believe that these words echo the tragic fate of Zheltkov described in the story ”.
(Epigraph - lines from a poem by Tyutchev:
Love, love, - the legend says,
Union of the soul with the soul of one's own.
Their unity, combination
And their fatal fusion,
And the fatal fight.
And than one of them is more tender
The more inevitable and surer
Loving, suffering, passionately melting,
It will wear out at last. "
"It seemed to me," said the prince, "that I was witnessing tremendous suffering from which people were dying, and I even realized that there was a dead man in front of me."
A. I. Kuprin
“I liked the words of Omar Khayyam:
Like the sun burns without burning, love.
Like a bird of heavenly paradise - love.
But not yet love - nightingale moans,
Do not moan, dying of love - love!
It is these lines, in my opinion, that best convey the meaning of Kuprin's story "The Garnet Bracelet". They very accurately define the image of the telegraph operator Zheltkov and his feelings for Princess Vera, which is why I take them as an epigraph to my composition. ")
5. Drawing up an essay plan.
The plan is the frame of the essay. Without it, it is impossible to express your thoughts consistently and logically. Students read the prepared essay plans and comment on them.
1. Introduction. In it, I will address the writer with words of greeting, since I am writing my essay in the epistolary genre.
2. The main part. I called it like this: (My reasoning about love, described in the story "Garnet Bracelet":
a) General Anosov about love;
b) acquired feelings;
c) love and letters from Zheltkov;
d) soulless people;
e) the last letter;
f) sonata number two.
3. Conclusion. M. Gorky about love. The meaning of the story "Garnet Bracelet".
“I will write my essay according to the following plan:
1. Introduction. "The theme of love in the works of writers and poets."
2. Main part: What was it: love or madness? " The main idea lies in the following words: "I believe that Zheltkov is not a madman, not a maniac, that his feelings for Vera are not madness, but love." As proof, I quote Zheltkov's letters to Vera.
The main part consists of items.
a) the depth of Zheltkov's feelings;
b) the last letter from Zheltkov;
c) the attitude of Vera's husband to the feelings and letters of Zheltkov.
3. Conclusion. The meaning of the story "Garnet Bracelet".
6. Choice of introduction.
The introduction is the first point of the composition plan. The text begins with it. Its beginning should be bright, effective, arousing the interest of readers to the entire composition.
The teacher and students list and characterize the types of introductions.
1. Historical introduction (characterizes the era in which the work was created, or describes the history of its creation).
2. Analytical introduction (analyzed, explained the meaning of the word from the title of the work or from the work).
3. Biographical (important information from the biography of the writer).
4. Comparative introduction (the approach of different writers to the disclosure of the same topic is compared).
5. Lyrical introduction (for life or for literary material).
(1. “Leafing through the tear-off calendar, I drew attention to a small parable by Felix Krivin. In it he tells how one day“ The epic story fell in love with the Sun ... Of course, it was difficult for her to count on reciprocity: the Sun has so much on Earth, what where would he notice a small, ugly Bylinka! Yes, and a couple would be good - Bylinka and the Sun! But Bylinka thought that the couple would be good, and reached for the Sun with all her might. Acacia.
“Beautiful Acacia, Wonderful Acacia, who will recognize in her the old Bylinka! That's what love sometimes does, even unrequited love. "
What a beautiful fairy tale ... - I thought. - But she reminds me of some kind of work. And suddenly names appeared in my memory: telegraph operator Zheltkov and princess Vera ... Bylinka - Zheltkov and the Sun - Vera. "
I think this is a lyrical introduction.
2. “Dear Alexander Ivanovich! An admirer of your work is writing to you. I am writing to you with words of gratitude and respect for your wonderful creations. Your story "Garnet Bracelet" aroused particular interest in me. This work made a huge impression on me: I am rereading it for the third time. "
This introduction is lyrical.
3. “Love is a favorite theme of writers. In any work you can find pages dedicated to this feeling. Shakespeare subtly describes love in the tragedy "Romeo and Juliet", Bulgakov - in the novel "The Master and Margarita". Tyutchev has wonderful lines about love:
Love, love, - the legend says, -
Union of the soul with the soul of one's own.
Their unity, combination
And their fatal fusion,
And the fatal fight.
And than one of them is more tender
In the unequal struggle of two hearts,
The more inevitable and surer
Loving, suffering, passionately melting,
It will wear out at last.
Kuprin devotes his story "Garnet bracelet" to love.
This introduction is comparative.)
During the discussion, students identify the merits and demerits of the intro readings. For example, in the last introduction, in their opinion, it should be determined what kind of love is described in each of the named works.
7. Consideration of options for the conclusion.
Students answer the question of what to write about at the end of the essay, and read their versions of the conclusions.
1. "In conclusion, you can write about the meaning of Kuprin's work, give statements about the writer and his work, express your opinion about the story read."
2. "Years will pass, but the ideal of love as a manifestation of the highest spiritual power of man will continue to live in Kuprin's mind and be embodied in his new works."
3. "This story is designed for a sophisticated reader who can deeply understand the soul of Kuprin's heroes."
III. Completion of the composition
After discussing the stages of work on the essay, students should be given time to finalize the essay plan, more carefully select the material for the essay, etc.
IV... Reading and discussing a sample essay
If time remains, then it is advisable to discuss the essay you heard: determine the genre of the essay; highlight the introduction, main part, conclusion; formulate the main idea of \u200b\u200bthe essay; understand how fully and logically it is justified in the composition; analyze how successful the selection of material (quotes, statements, etc.) is.
Write an essay on one of the proposed topics.
Lesson equipment. Portrait of A.I. Kuprin. Recording of Beethoven's Second Sonata.
During the classes
1. Communication of the topic and objectives of the lesson.
2. introduction teachers.
3. Determination of the topic of the story.
The theme of the story should be reflected in the epigraph. What is called an epigraph?
The definition of an epigraph in the dictionary of literary terms: “An epigraph is words pre-sent to a work of art, placed immediately before the text and designed to reveal the author's artistic intention, to give the author's assessment of the events described. The epigraph is closely related to the text.
Reading home-selected epigraphs.
The epigraph in the story is musical.
Briefly convey the plot of the story.
Now we are going to listen to a Beethoven sonata. (To tune the guys to listen to classical music, tell about the composer)
The task. While the melody is playing, once again recall the story and think about which episodes can correspond to the sonata.
So, what episodes do you have in your mind? (Love, landscape, bracelet, farewell of Princess Vera to Zheltkov, news of death, etc.)
Look, the whole story is reflected in the music. Indeed, the musical epigraph is closely related to the text.
Let's think about how the musical intonation changed? (Calm - love, landscape, forgiveness; light - the game of a friend, landscape, love; tense - a gift from Zheltkov, a conversation with Zheltkov, news of death)
Let us compare musical intonations with the life of the heroes. The composition of the story matches the music. The whole story is based on the epigraph.
What two beginnings collide in music? (Tension and calm)
The same thing happens in the life of the heroine. Tell me how her family life is going, what does the author say about this? (Love fades away and becomes a habit)
What is love? How do you understand?
Let's define the meaning of the word love in the dictionary. (Love is a feeling that is difficult to formally define. It is characterized by the highest emotional and spiritual tension and is based on the discovery of the maximum value of a particular person)
Let's turn to the text. When, who talks about love in a work? (Author - Ch. 2, Ch. 12, Ch. 13; Vasily Lvovich - Ch. 5, Ch. 6, Ch. 10, Ch. 11; Zheltkov - Ch. 5, Ch. 10, Ch. 11, Ch. 13 .).
In what vein are these stories presented? (Vasily Lvovich - in a satirical and grotesque key; Anosov - in realistic tones)
What two points of view on love do they express? (1 - love is the meaning of life; 2 - something unnecessary and common)
Who is of the opinion that love is the meaning of life? (Zheltkov, Anosov)
What happened in the lives of these heroes? (They went through this)
So, the one who loves, who has endured suffering, has the right to speak about love.
Let's dwell on the image of Vera Nikolaevna. Is she talking about love? (No, she reflects, hints, asks. This topic is very interesting to her)
How do you imagine it? Write down her features in a notebook. (An earthly creature, balanced, no fantasy, no romanticism, no striving for the sublime or at least for something unusual, there is no risky in her)
Who agrees with this characteristic? Why?
Does this life suit her? Is she looking for something unusual in life?
A person who is interested in love and asks questions - a down to earth person?
To understand this issue, let's turn to the text. Open the first pages and find the description of Princess Vera's name day. Where does the description begin?
What do we know about a relationship with a husband? Read it.
How did Vera Nikolaevna react to the prayer book that her sister gave her? Read it.
How does this characterize Vera Nikolaevna? (Romantic nature)
What punctuation mark did Kuprin use in this paragraph? (Ellipsis - pause - when we think about something, we think ...)
Conclusion. It turns out that Vera Nikolaevna is a delicate and sensitive nature. not indifferent to nature (text), rejoices in lovely days (text).
Who realizes that Vera Nikolaevna is not a statue, but a woman with a warm soul? (Yolkov)
Let's read the last letter from Zheltkov (prepared student).
Why didn't Princess Vera respond to love? (Dislikes; soul does not lie; she is a married woman; different social status)
What environment did she live in? (Life can be called idyllic: they do not quarrel, do not betray each other, there is complete mutual understanding between the spouses)
When does Vera Nikolaevna discover something important? (When listening to a Beethoven sonata)
What's going on with her? (She calms down, realizes that it was love, that a person needs to love, he must live to the fullest, as his heart tells him - this is the idea of \u200b\u200bthe piece)
4. Generalization of the teacher.
The epigraph to the story suggests the main problem and helps to reveal the character of the main character. The music of the sonata revealed the beauty of Zheltkov's love and helped Vera Nikolaevna understand everything and feel forgiven.
5. Lesson summary.
1. Grading.
2. Homework.
Prepare for your essay.
Like many of Kuprin's works, "Garnet Bracelet" has a very real basis. The wife of the Russian governor Lyubimov, Lyudmila Ivanovna, became the object of passion of a telegraph official named Zheltikov, who once sent her a gift - a gilded chain with a pendant. And although in reality the case seemed more like an anecdote, the writer's talent turned it into a story about true love.
"Garnet bracelet" to read online is not only interesting, but also instructive. There is a lot of tragedy in history, but there is also a lot of true feeling. In addition, the story is filled with symbols, in the role of which are precious stones. On the one hand, there are pomegranates from an unknown lover, a healing and soothing stone, and pearls from a husband are not only a symbol of pure feelings, but also a bad omen.
And it really does come true: Kuprin's “Pomegranate Bracelet” is a symbol of dramatic, but at the same time surprisingly pure love, which lifts the petty official Zheltkov above all the heroes of the work, at the same time not humiliating anyone. His feeling is like his gift - a rare beautiful stone in a cheap setting. And when a secret passion is exposed, it does not make the hero ridiculous, just as suicide does not make him weak. Downloading and reading the story will be enough to understand that taking his own life was the only way out for a person who could not lose his love, and at the same time, in this way, he seems to be approaching the one he so desperately worshiped - she will now remember him before the end of his days, tenderly and tenderly.
This book is a real hymn to love, which makes the most insignificant person beautiful and always gives more than it takes, even if the selected is life itself. Because only love is as strong as death.
"The lost text (about the epigraph to the story of A. I. Kuprin" Garnet bracelet ") The article considers the epigraph to ..."
Elena Titova
Lost text
(about the epigraph to the story
A. I. Kuprina
"Garnet bracelet")
The article examines the epigraph to Kuprin's story, presented in the form of a musical text from the 2nd part of the Second Sonata
Beethoven in the first edition of the story (in the sixth edition of the almanac "Earth" in 1911) and lost in subsequent editions of "Garnet Bracelet".
Keywords: A. I. Kuprin, "Garnet Bracelet", epigraph, Second piano sonata Beethoven, almanac "Earth", score.
In the study of the epigraphs of literary texts, there are a number of research positions that have become so firmly and confidently in scientific use that their presentation can be started with the word "traditionally" 1.
Traditionally, an epigraph is a quotation placed by the author in front of the entire work or in front of its individual parts.
Traditionally, the epigraph is defined as the strong position of the text, along with such components of the heading complex as the title and dedication.
Traditionally, the epigraph is viewed as a text that guides and shapes the process of perception. artwork.
The textual position of the epigraph establishes the obligatory nature of its interaction with the main text, and only in the dialogue between the epigraph and the main part of the text is the final meaning of the work of art born.
1 See more about this: N. Kuzmina. Intertext and its role in the evolution of poetic language. Ed. 3rd, rev. and add. M., 2006; Lukin V.A.Fiction text:
Foundations of linguistic theory. Analytical minimum. Ed. 2nd, rev. and add.
M., 2005; Fateeva N.A. Intertext in the World of Texts: Counterpoint of Intertextuality.
Ed. 2nd, rev. M., 2006.
Elena Titova. Lost Text An epigraph is a thesis that is proven or refuted; acts as a tuning fork that sets the tone of the story; serves as an exposition that determines the main plot disposition, or, on the contrary, becomes a sign that anticipates the final denouement.
Traditionally, the sources of epigraphs can be proverbs, sayings, aphorisms, that is, texts that are commonly called catchphrases. Marked as non-textual material in relation to the main text, the epigraph has the status of “text in text” 2; it is an integral part of the author's text corpus, and, at the same time, it is separated from the author's text itself as an openly “alien”, “different” element in its structure. At the same time, as a true quote, he corresponds with his text source, representing his style and linguistic structure.
The study of the epigraphs of specific literary texts makes its own adjustments to the traditional ideas of researchers; the life of epigraphs, their history 3 in the text of a work of art, sometimes offers the most unexpected turns, up to the most bizarre and paradoxical, which gives the whole text new semantic landmarks.
Poetry and prose give many examples of the most complex (almost confusing!) Text situations that arise around epigraphs - when something that seemed unchanged is subject to change, or something that seemed unshakable is transformed.
Epigraphs can appear after the creation of the main text, and much later. Thus, the famous epigraph to "The Inspector General" by N.V.
Gogol:
“There is no reason to blame the mirror if the face is crooked,” appeared six years after it was written.
The epigraph can disappear. This happened in the poetic texts of AA Akhmatova, which is described by researchers 4. The epigraph can be inaccurate, distort the original text (the "laws of citation" in the epigraphs are interpreted too freely!). An example of such a situation is the epigraph from Nikolai Klyuev in the poem by AA Akhmatova "Tails": the poetess gave Klyuev's lines inaccurately, from memory 5.
2 Lotman Yu. M. Text in the text // Lotman Yu. M. About art. SPb., 1998. S. 423–435.
3 In this context, the word "history" is understood in the sense that is defined
D. S. Likhachev in the section "Tasks of textology" of the work "Textology" (see details:
Likhachev D.S. Textology: a short sketch. 2nd ed. M., 2006).
4 Tsivyan T.V. About one Akhmatov method of introducing someone else's word: epigraph // T.V. Tsivyan. Semiotic travel. SPb., 2001. S. 184-195.
Opera musicOlOgica № 2 [20], 2014 The strong textual position of the epigraph can be emphasized by the main text, and emphasized in a special way, which is why - at a certain moment of perception of the main poetic text - the epigraph in meaning can be highlighted. Among the titles of IA Brodsky's poems there is the following: "Poems under an epigraph." The same title - "Poems under the epigraph (No, I have not changed the channel ...)" - is found in the poetic heritage of PG Antokolsky. One of the titles of V. I. Erl is indicative - "Poems under a different epigraph."
Different styles define different options creative work with epigraphs. The area of \u200b\u200bvariation in the conditions of different styles often becomes the volume of the epigraph. It can increase significantly, becoming a multi-component education, a kind of summary of the main text, reflecting the milestones of its event series... The epigraph can be a foreign language, moreover, different languages \u200b\u200bcan be found in the epigraph itself.
As, for example, the bilingual epigraph to the second chapter of Eugene Onegin:
In some cases, the epigraph can be so ambiguous that its semantic orientation becomes the subject of numerous literary interpretations and philosophical interpretations. Examples of this kind include the epigraph to Leo Tolstoy's novel Anna Karenina: "Vengeance is mine, and I will repay." VB Shklovsky spoke about him very expressively: “Tolstoy hung the epigraph like a lock on a gate; an epigraph that should be the key of a thing, a guide to a thing ”6.
The study of the "stories" of epigraphs allows us to speak of the epigraph as an important component of the text. There are unique epigraphs. These include the epigraph to the story of AI Kuprin "Garnet Bracelet".
AI Kuprin wrote "The Garnet Bracelet" in Odessa in the last three months of 1910. Testimonies about the work on the story have been preserved in letters to V.S.Klestov and F.D.Batiushkov. Thus, in a letter to F.D.
- & nbsp– & nbsp–
The epigraph was originally associated with the idea of \u200b\u200bthe story, subsequently defining its most important semantic plane.
- & nbsp– & nbsp–
There are at least three points of interest in this fragment.
First. Direct indication: "the salt of the story" - Beethoven's Largo appassionato. This music will determine the lines of force of the plot, the textual tensions of the story.
Second. Kuprin writes: “I had to harness several people ...” Work on the “Pomegranate Bracelet” began easily, but later began to drag on. It can be assumed that this could be related to the musical text - the text of Beethoven's Second Sonata. The writer listened attentively to Beethoven's text, trying to comprehend the very essence in it, sought and found an auditory support in it. There is evidence of this. Here are quotes from N. L. Insarova's manuscript “A. AND.
Kuprin ":
- & nbsp– & nbsp–
And here I will note as important - "Beethoven's six measures".
7 Cit. Quoted from: Kuprin A.I. Collected works in 9 volumes. Volume 5.Moscow, 1964. P. 411–412.
8 Cit. Quoted from: Berkov P. N. Alexander Ivanovich Kuprin. Critical biographical sketch.
URL: http://kuprin.gatchina3000.ru/18_berkov_kuprin09.htm (date of treatment 03/11/2013).
9 Cit. Quoted from: Kuprin A.I. Collected works in 9 volumes. Volume 5.P. 412.
Opera musicOlOgica № 2 [20], 2014 Third. Kuprin himself outlined this topic, therefore, following the words of the writer, we can say that he experienced creative excitement and tension (partly bordering on constraint!) When referring specifically to music - a musical text. These difficulties (they can hardly be attributed to the author's creative intentions!) Are reflected in some, episodically perceptible, irregularities of the lexical structure. For example, in the story, the "luxury" of vocabulary is noticeable when referring to images of nature: the presentation is characterized by the richness of definitions, the subtlety and sophistication of associative series, the richness of the metaphor plan. And something else is in the words about music.
Kuprin speaks with restraint about Beethoven's Second Sonata:
"The best work by Beethoven." In the thirteenth chapter (the final, culminating one for the whole narrative) the following lines are devoted to the sonata: “She [Vera Nikolaevna] learned from the very first chords this exceptional work, unique in depth”. And yet, the artistic whole of the text is of decisive importance, the perfection of which rests on the closest interweaving of Kuprin's verbal text with the musical text of Beethoven's sonata.
Once, when I was flipping through the pages of the fifth volume of the collected works of A. I. Kuprin, I was fortunate enough to draw attention to the note contained in it to the "Pomegranate Bracelet", which said about its publication: "for the first time - in the almanac" Earth ", 1911, book ... 6, with a dedication to VS Klestov and with the first note line from the Largo appassionato of Beethoven's second sonata reproduced in the epigraph (Op. 2) ”10.
It is clear that the most natural desire was to see the epigraph with the "first note line" from the sonata. I must say (without exaggeration) that three days of waiting for a library order were filled with the most unexpected assumptions and fantasies related to the main question: what is it - an epigraph from Beethoven?
The first question. What can be reproduced: one note line? two lines? If there is one line, which one? The upper voice or the lower voice is the bass line? The last question is related to the relationship between relief and background in this musical text. Indeed, the general textured structure of the opening measures in the second movement of Beethoven's Second Sonata cannot be called unambiguous. What is the main thing here, what is the subordinate, what is the relief, and what is the background (upper voice, chorale, bass voice)?
10 Ibid. P. 411.
Elena Titova. Lost text
Second question. How many bars of Beethoven's text are reproduced in the epigraph to the story? How big is it? Where will the epigraph end? At what time step?
Of course, there were many questions, and the answer could only be given by the text of Kuprin's story, published in the sixth issue of the almanac "Earth"
for 1911.
What I saw exceeded all my expectations. None of the assumptions came true. And here I remembered the aphorism of Arthur Schopenhauer: “Talent hits the goal, which no one gets. Genius - hits the target that no one sees. "
The examples below (Fig. 1–3) show the title page of the sixth issue of the almanac "Earth" in 1911 and the first pages of the story "Garnet Bracelet", containing a dedication, title and epigraphs (verbal and musical) 11.
The 5th, 6th, 7th and 8th bars of Largo appassionato were reproduced as a musical epigraph to the story! Not the initial four-stroke, but the second sentence of the first period!
The unusualness of the musical fragment, which became the epigraph for Kuprin's story, immediately brings to mind the testimony of the wife of the Odessa doctor Maisels, who explained to Kuprin the first six bars from Beethoven. Now one can only speculate about Kuprin's talks about the Beethoven Sonata: no one knows about the musical talents of the Odessa doctor's wife and how she talked about Largo appassionato. But it seems indisputable that the correct analytical reference was sounded in the conversations. The indication of the sixth bar of the first period precisely defines its culmination zone. It is here that a metric, textured, intonational break occurs - the musical plot of the first exhibiting construction acquires a qualitatively new, special semantic direction.
The musical epigraph from Beethoven captures Kuprin's response to analytical comments, a reaction to what is "interpreted" in the musical text. The result is the citation of the musical text, not at first, but as if from an ellipse (the musical text is quoted, while the main text is verbal). The citation is the culmination of the first period, Largo appassionato - the second sentence, which includes an important "interpreted" sixth bar.
11 Earth. The sixth collection. M., 1911.S. 221, 223.
Opera musicOlOgica No. 2 [20], 2014 Ill. 1. The title page of the almanac "Earth". 1911, No. 6 Elena Titova. The lost text of Il. 2. Title, dedication and verbal epigraph to the story "Garnet Bracelet"
Opera musicOlOgica No. 2 [20], 2014 Ill. 3. Music epigraph to the story "Garnet Bracelet"
Elena Titova. Lost text The musical epigraph has not survived in modern editions. Naturally, the question arises as to when it was lost? The musical epigraph is not found in any of the lifetime editions of the Garnet Bracelet. Moreover, he is no longer in the Complete Works of A. I. Kuprin in 1912 12.
Thus, the sixth collection of the almanac "Earth" showed the world both a unique musical epigraph, preceding the verbal text, and a unique story, the artistic integrity of which lies in the intertwining of musical and verbal plans.
Literature
1. Berkov P. N. Alexander Ivanovich Kuprin. Critical biographical sketch. Url:
http://kuprin.gatchina3000.ru/18_berkov_kuprin09.htm (date of treatment 03/11/2013).
2. Earth. The sixth collection. M.: Moscow publishing house, 1911.S. 221, 223.
3. Kuzmina NA Intertext and its role in the evolution of poetic language.
Ed. 3rd, rev. and add. M.: KomKniga, 2006.272 p.
4. Kuprin A. I. Collected works in 9 volumes. Volume 5. M.: Pravda Publishing House,
1964.S. 411–412.
5. Lotman Yu. M. Text in the text // Lotman Yu. M. About art. St. Petersburg: "Art - St. Petersburg", 1998. S. 423–435.
6. Likhachev DS Textology: a short sketch / otv. ed. S.O.Schmidt. Archaeographic Commission of the Russian Academy of Sciences. 2nd ed. M.: Nauka, 2006.175 p.
7. Lukin V. A. Artistic text: Foundations of linguistic theory. Analytical minimum. Ed. 2nd, rev. and add. M.: Publishing house "Os-89", 2005.560 p.
8. Complete works of A. I. Kuprin. Volume 5.Saint Petersburg: Publishing of A.F.Marx's company, 1912.356 p.
9. Fateeva N. A. Intertext in the world of texts: Counterpoint of intertextuality.
Ed. 2nd, rev. M.: Komkniga, 2006.280 p.
10. Tsivyan TV About one Akhmatov method of introducing someone else's word: epigraph // TV Tsivyan. Semiotic travel. SPb. : "Ivan Limbakh Publishing House", 2001. S. 184-195.
11. Shklovsky VB Energy of delusion: A book about the plot. M.: "Soviet writer", how unique and beautiful our world is: Earth is the only known planet with oceans, an oxygen-rich atmosphere and life. Nevertheless, many were not ready for such a stunning contrast between the extremely hostile landscape of the Moon, the lifeless darkness of the cosmic abyss and the attractiveness of our blue and white planet. FROM..."
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Lesson equipment. Portrait of A.I. Kuprin. Recording of Beethoven's Second Sonata.
During the classes
1. Communication of the topic and objectives of the lesson.
2. Introduction by the teacher.
3. Determination of the topic of the story.
The theme of the story should be reflected in the epigraph. What is called an epigraph?
The definition of an epigraph in the dictionary of literary terms: “An epigraph is words pre-sent to a work of art, placed immediately before the text and designed to reveal the author's artistic intention, to give the author's assessment of the events described. The epigraph is closely related to the text.
Reading home-selected epigraphs.
The epigraph in the story is musical.
Briefly convey the plot of the story.
Now we are going to listen to a Beethoven sonata. (To tune the guys to listen to classical music, tell about the composer)
The task. While the melody is playing, once again recall the story and think about which episodes can correspond to the sonata.
So, what episodes do you have in your mind? (Love, landscape, bracelet, farewell of Princess Vera to Zheltkov, news of death, etc.)
Look, the whole story is reflected in the music. Indeed, the musical epigraph is closely related to the text.
Let's think about how the musical intonation changed? (Calm - love, landscape, forgiveness; light - the game of a friend, landscape, love; tense - a gift from Zheltkov, a conversation with Zheltkov, news of death)
Let us compare musical intonations with the life of the heroes. The composition of the story matches the music. The whole story is based on the epigraph.
What two beginnings collide in music? (Tension and calm)
The same thing happens in the life of the heroine. Tell me how her family life is going, what does the author say about this? (Love fades away and becomes a habit)
What is love? How do you understand?
Let's define the meaning of the word love in the dictionary. (Love is a feeling that is difficult to formally define. It is characterized by the highest emotional and spiritual tension and is based on the discovery of the maximum value of a particular person)
Let's turn to the text. When, who talks about love in a work? (Author - Ch. 2, Ch. 12, Ch. 13; Vasily Lvovich - Ch. 5, Ch. 6, Ch. 10, Ch. 11; Zheltkov - Ch. 5, Ch. 10, Ch. 11, Ch. 13 .).
In what vein are these stories presented? (Vasily Lvovich - in a satirical and grotesque key; Anosov - in realistic tones)
What two points of view on love do they express? (1 - love is the meaning of life; 2 - something unnecessary and common)
Who is of the opinion that love is the meaning of life? (Zheltkov, Anosov)
What happened in the lives of these heroes? (They went through this)
So, the one who loves, who has endured suffering, has the right to speak about love.
Let's dwell on the image of Vera Nikolaevna. Is she talking about love? (No, she reflects, hints, asks. This topic is very interesting to her)
How do you imagine it? Write down her features in a notebook. (An earthly creature, balanced, no fantasy, no romanticism, no striving for the sublime or at least for something unusual, there is no risky in her)
Who agrees with this characteristic? Why?
Does this life suit her? Is she looking for something unusual in life?
A person who is interested in love and asks questions - a down to earth person?
To understand this issue, let's turn to the text. Open the first pages and find the description of Princess Vera's name day. Where does the description begin?
What do we know about a relationship with a husband? Read it.
How did Vera Nikolaevna react to the prayer book that her sister gave her? Read it.
How does this characterize Vera Nikolaevna? (Romantic nature)
What punctuation mark did Kuprin use in this paragraph? (Ellipsis - pause - when we think about something, we think ...)
Conclusion. It turns out that Vera Nikolaevna is a delicate and sensitive nature. not indifferent to nature (text), rejoices in lovely days (text).
Who realizes that Vera Nikolaevna is not a statue, but a woman with a warm soul? (Yolkov)
Let's read the last letter from Zheltkov (prepared student).
Why didn't Princess Vera respond to love? (Dislikes; soul does not lie; she is a married woman; different social status)
What environment did she live in? (Life can be called idyllic: they do not quarrel, do not betray each other, there is complete mutual understanding between the spouses)
When does Vera Nikolaevna discover something important? (When listening to a Beethoven sonata)
What's going on with her? (She calms down, realizes that it was love, that a person needs to love, he must live to the fullest, as his heart tells him - this is the idea of \u200b\u200bthe piece)
4. Generalization of the teacher.
The epigraph to the story suggests the main problem and helps to reveal the character of the main character. The music of the sonata revealed the beauty of Zheltkov's love and helped Vera Nikolaevna understand everything and feel forgiven.
5. Lesson summary.
1. Grading.
2. Homework.
Prepare for your essay.