Methodological development in literature (8th grade) on the topic: Extracurricular reading lesson “Writers smile, or the little things in life.” How I became a writer
Class: 8a, 8b
Topic: “I.S. Shmelev. A word about the writer. The story “How I became a writer” - a memory of the path to creativity"
Goals: Briefly introduce students to the personal and creative biography writer; arouse interest in creative work; develop text analysis skills, expressive reading and retelling.
Lesson progress
I Organizational moment
Hello! Check your readiness for the lesson: on the edge of your desk is a diary, notebook, textbook and pencil case.
Record the number and topic (Slide 1).
“Shmelev is now the last and only Russian writer from whom one can still learn the wealth, power and freedom of the Russian language. Shmelev is the most Russian among all Russians...” (Slide 2)
(Alexander Ivanovich Kuprin)
II Checking homework
Where was Ivan Sergeevich Shmelev born and what did he remember later?
III Work on the topic of the lesson
Shmelev Ivan Sergeevich(Slide 3) - famous Russian writer. In his work, he reflected the life of various strata of society, but he especially sympathetically depicted the life of the “little man.”
Ivan Sergeevich was born on September 21, 1873. He was from a family of Zamoskvoretsk merchants. However, his father's trade was of little interest to him. Father, Sergei Ivanovich, maintained numerous baths and an artel of carpenters. Shmelev's family was an Old Believers, their way of life was unique and democratic. The Old Believers, both owners and ordinary workers, lived in a friendly community. They adhered to rules, spiritual and moral principles common to all. Ivan Shmelev grew up in an atmosphere of universal harmony and friendliness. He absorbed all the best in relationships between people. Years later, these childhood impressions were reflected in his works.
Ivan Sergeevich’s home education was mainly done by his mother. It was she who taught her son to read a lot. Therefore, from childhood, Ivan was familiar with the works of such writers as Pushkin, Gogol, Tolstoy, Turgenev and others. Their study continued throughout his life. His biography is marked with an indentation literary knowledge. Ivan Sergeevich enjoyed reading the books of Leskov, Korolenko and others. In a sense, they became his literary idols. Of course, the influence of the works of Alexander Sergeevich Pushkin on the formation of the future writer did not cease. This is evidenced by later works Shmeleva: “The Eternal Ideal”, “The Treasured Meeting”, “The Mystery of Pushkin”.Then he studies at the sixth Moscow gymnasium(Slide 4) . After graduation, he entered the Faculty of Law of Moscow University in 1894. And then, 4 years later, having graduated from it, he passes military service for 1 year and further he serves as an official in remote places of the Moscow and Vladimir provinces.
Ivan Shmelev made his debut as an author in 1895. His story “At the Mill” was published in the magazine “Russian Review”. This work talks about the formation of personality, about a person’s path to creativity through overcoming life difficulties, comprehension of the destinies and characters of ordinary people.
After marriage he went with his young wife(Slide 5) to the island of Valaam(Slide 6) , where ancient monasteries and monasteries are located, Shmelev Ivan Sergeevich.
Book of essays “On the Rocks of Valaam” (1897), describing Valaam Monastery from the point of view of a secular tourist, it was, according to Shmelev, naive, immature and was not successful with the reader. Shmelev leaves for 10 years writing work. Having graduated from the Faculty of Law of Moscow University in 1898, he served as an official in the central provinces of Russia. “I knew the capital, the small craft people, the way of life of the merchants. Now I recognized the village, the provincial bureaucracy, the small nobility,” Shmelev would later say.
Shmelev's pre-revolutionary works were inspired by faith in the earthly happiness of people in a joyful future, hopes for social progress and enlightenment of the people, expectations of changes in social order Russia. Questions of faith religious consciousness At this time, the writer was of little interest: having been carried away in his youth by the ideas of Darwinism, Tolstoyism, socialism, Shmelev for many years departs from the Church and becomes, by his own admission, “nobody by faith.” However, already during this period, the themes of suffering and compassion for man, which were very important for Shmelev, were clearly heard in his works, which would become decisive in all subsequent work.
Shmelev initially accepted the February Revolution with enthusiasm and enthusiasm, like many of his contemporaries. He travels to Siberia to meet political prisoners, speaks at meetings and rallies, and talks about the “wonderful idea of socialism.” But soon Shmelev has to become disillusioned with the revolution, he discovers its dark side, sees in all this violence against the fate of Russia. He did not immediately accept the October revolution, and its subsequent events entailed a worldview change in the writer’s soul.
During the revolution, Shmelev left with his family for Alushta, where he bought a house with a plot of land. In the fall of 1920, Crimea was occupied by red units. The fate of Sergei was tragic(Slide 7) - only son Shmeleva. A twenty-five-year-old officer of the Russian army, while in the hospital, was arrested. Despite all his father's efforts to free Sergei, he was sentenced to death.
This event, as well as the terrible famine his family experienced in the occupied city, and the horrors of the massacre carried out by the Bolsheviks in Crimea in 1920-1921, led Shmelev to severe mental depression.
Shmelev could not accept when all life around was dying, there was widespread red terror, evil, hunger, and brutalization of people. In connection with these experiences, the writer writes the epic “Sun of the Dead” (1924), where he reveals his personal impressions of the revolution and Civil War. Shmelev depicts the triumph of evil, hunger, banditry, and the gradual loss of humanity by people. The style of the narration reflects the extreme despair, the confused consciousness of the narrator, who is unable to understand how such a rampant of unpunished evil could happen, why “ Stone Age"with his animal laws. Shmelev's epic, with enormous artistic power which captured the tragedy of the Russian people, was translated into many languages and brought the author European fame.
The writer had a hard time experiencing the tragic events associated with the revolution and military events, and upon arriving in Moscow, he seriously thought about emigrating. I.A. actively participated in making this decision. Bunin, who invited Shmelev abroad, promising to help his family in every possible way. In January 1923, Shmelev finally left Russia for Paris, where he lived for 27 years.
The years spent in exile are distinguished by active, fruitful creative activity. Shmelev is published in many emigrant publications: “ Latest news", "Renaissance", "Illustrated Russia", "Today", "Modern Notes", "Russian Thought", etc.
And all these years, Ivan Sergeevich experienced separation from his homeland. He returned to Russia in his work.
The most famous book Shmeleva - “The Summer of the Lord.” Turning to his childhood years, Shmelev captured the worldview of a believing child who trustingly accepted God into his heart. Peasant and merchant environment appears in the book as not wild" dark kingdom", but a holistic and organic world, complete moral health, internal culture, love and humanity. Shmelev is far from romantic stylization or sentimentality. He depicts the true way of Russian life of not so long ago, without glossing over the rough and cruel sides of this life, its “sorrows.” However, for a pure child’s soul, existence reveals itself primarily with its bright, joyful side. The existence of heroes is inextricably linked with church life and worship. For the first time in Russian fiction the church-religious layer was so deeply and completely recreated folk life. In the psychological experiences and prayerful states of the characters, among whom are both sinners and saints, the spiritual life of an Orthodox Christian is revealed.
Meaning and beauty Orthodox holidays, customs that remain unchanged from century to century are revealed so brightly and talentedly that the book has become a true encyclopedia of Russian Orthodoxy. Amazing language Shmeleva is organically connected with all the richness and diversity of living folk speech; the very soul of Russia is reflected in it. I. A. Ilyin noted that what is depicted in Shmelev’s book is not what “was and passed,” but what “is and will remain... This is the very spiritual fabric of believing Russia. This is the spirit of our people." Shmelev created " work of art national and metaphysical significance,” capturing the sources of our national spiritual strength.”
A living contact with the world of holiness also occurs in the book “Pilgrimage” (1931), adjacent to “The Summer of the Lord,” where all classes of believers in Russia appear in pictures of pilgrimages to the Trinity-Sergius Lavra. The ascetic ministry of the “elder comforter” Barnabas of Gethsemane was recreated by Shmelev with grateful love.
Shmelev suffered from a serious illness, exacerbations of which more than once brought him to the brink of death. Financial situation Shmelev sometimes reached the point of begging. The war of 1939-45, which he experienced in occupied Paris, and the slander in the press, with which enemies tried to smear the name of the writer, aggravated his mental and physical suffering.
The elderly writer was accused of almost collaborating with the Nazis (he published in publications that later began to be considered collaborationist, but it is unlikely that the elderly writer could understand such things). But Shmelev was always a kind, compassionate person. According to the memoirs of contemporaries, Shmelev was a man of exceptional spiritual purity, incapable of any bad deed. He was characterized by a deep nobility of nature, kindness and cordiality. The appearance of Shmelev spoke about the suffering he had experienced - a thin man with an ascetic face, furrowed with deep wrinkles, with large gray eyes full of affection and sadness.
In 1933, the writer's wife passed away. Shmelev had a hard time with the departure of his beloved Olga. Ivan Sergeevich Shmelev died in 1950 as a result of heart attack. The death of the writer, who so loved monastic life, became deeply symbolic: on June 24, 1950, on the name day of Elder Barnabas, who had previously blessed him “on his path,” Shmelev came to the Russian monastery of the Intercession Mother of God in Bussy-en-Haute and dies on the same day.
They say that the writer sat quietly in the refectory of the monastery, quietly fell asleep... and never woke up again. They say that the Lord sends such death to the righteous who suffered a lot during their lives...
Ivan Sergeevich Shmelev was buried in the Parisian cemetery of Sainte-Genevieve-des-Bois. In 2000, Shmelev’s cherished wish was fulfilled: the ashes of him and his wife were transported to their homeland and buried next to the graves of their relatives in the Moscow Donskoy Monastery.
Now let’s move on directly to working on the story “How I Became a Writer.”
Comment on the beginning of the story(The first phrase immediately answers the question of the title; the entire story reveals this phrase. The laconic beginning immediately introduces the reader to the writer’s creative laboratory and invites him to creativity).
What role did childhood impressions play in the writer’s fate?
How were the boy’s first writing experiences perceived in the gymnasium?
How are the teachers of the gymnasium – inspector Batalin and literature specialist Tsvetaev – depicted? What role did they play in Shmelev’s fate?(Batalin is depicted ironically, satirically. This is a person who should not be allowed close to children. He is characterized by expressive epithets, comparisons, and evaluative vocabulary: “dry,” “thin, bony finger with a sharply sharpened nail,” “speaks through his teeth - well, he straight out mutters!” – in a terrible, whistling voice”; “began to saw with a whistle”, “teeth appeared”, “cold eyes”, “cold contempt”, “this is how a fox smiles, gnawing at the neck of a cockerel.” This “teacher” could forever discourage creativity. child.
Shmelev was lucky with another teacher. He calls him in full, by his first name and patronymic: “Fedor Vladimirovich Tsvetaev.” The main thing that Tsvetaev did was to provide freedom of creativity. His characterization contrasts with Batalin’s: “unforgettable,” “chuckling with just an eye,” “compassionate,” “read melodiously.” He was the first to notice and appreciate the boy's talent as a writer. Shmelev cried when the teacher was buried).
How is the author's character revealed in the story? What feelings does he have?(The author’s character is manifested in his thoughts and actions. He is endowed with extraordinary imagination, independent, passionate about literature and creativity. He is a grateful person - he remembers his teacher, who forever remained “in his heart.” In the description of the events associated with the creation of the first story “U mills", there is uncertainty about own strength, timidity, and then an intoxicating feeling of happiness. Young writer felt reverence for art, understood that he had to “do a lot, learn a lot, read, peer and think ...” in order to become a writer).
IV Consolidation of what has been learned
The story is called “How I became a writer.” What do you think it is closer to: memories, diary entries, an ordinary story?
What did you open? main character in people? What did he like about them? How did he see the surrounding objects as a child?
How did it come to I.S. Shmelev's ability to write? How does the story end? Why did the main character feel that he was “different”?
What time historical time is a writer becoming a writer? By what signs can we guess about this?
V Summing up
Remember what feelings you experienced when you wrote your first essays?
It turned out so simply and unceremoniously that I didn’t even notice. You could say it was unintentional.
Now that this has actually come out, it sometimes seems to me that I did not become a writer, but as if I had always been one, only a writer “without a press.”
I remember the nanny used to say: “Why are you such a babble?” Mumbles and mumbles God knows what... as soon as your tongue doesn’t get tired, balabolka!..
Pictures of childhood, fragments, moments are still alive in me. I suddenly remember a toy, a cube with a torn picture, a folding alphabet book with a letter that looks like a hatchet or a beetle, a ray of sunshine on the wall, trembling like a bunny... A branch of a living birch tree that suddenly grew in the crib near the icon, so green and wonderful. Paint on a tin pipe painted with bright roses, its smell and taste mixed with the taste of blood from a sponge scratched with a sharp edge, black cockroaches on the floor, trying to crawl into me, the smell of a saucepan with porridge... God in the corner with a lamp, the babble of an incomprehensible a prayer in which “rejoice” shines...
I spoke with toys - alive, with logs and shavings that smelled of “forest” - something wonderfully scary, in which there were “wolves”.
But both “wolves” and “forest” are wonderful. They are mine.
I spoke with white, ringing boards - there were mountains of them in the yard, with saws with teeth like terrible “beasts”, with axes shining in the crackling sound that gnawed at the logs. There were carpenters and boards in the yard. Living, big carpenters, with shaggy heads, and also living boards. Everything seemed alive, mine. The broom was alive - it ran around the yard chasing dust, froze in the snow and even cried. And the floorbrush was alive, looking like a cat on a stick. She stood in the corner - “punished.” I consoled her and stroked her hair.
Everything seemed alive, everything told me fairy tales - oh, how wonderful!
Probably because of my constant chatter, in the first grade of the gymnasium they nicknamed me “the Roman orator,” and this nickname lasted for a long time. The mark sheets kept saying: “Retained for half an hour for constant talking in class.”
This was, so to speak, the “preliterate” century in the history of my writing. The “written one” soon came for him.
In the third grade, I think, I became interested in the novels of Jules Verne and wrote it - long and in verse! - the journey of our teachers to the moon, to hot air balloon, made from the immense trousers of our Latinist Behemoth. My "poem" had great success, even eighth-graders read it, and it finally fell into the clutches of the inspector. I remember the deserted hall, the iconostasis by the windows, in the corner to the left, my sixth gymnasium! - the Savior blessing the children - and tall, dry Batalin, with red sideburns, shakes a thin bony finger with a sharply sharpened nail over my cropped head, and speaks through his teeth - well, he just mutters! - in a terrible, whistling voice, sucking in air through his nose, - like the coldest Englishman:
- And ss-so... and ss... of such years, and ss... so disrespectful review of ess, ss... so disdainful of sstarss... about mentors, about teachers... of our fucking Mikhail Sergeevich, I allow myself to call the son of such a great historian of ours... Martysskaya!.. By decision of the pedagogical council...
I received a high fee for this “poem” - six hours “on Sunday”, for the first time.
It’s a long story to tell about my first steps. I flourished magnificently in my writings. Since the fifth grade, I have developed so much that I somehow brought in... Nadson to the description of the Cathedral of Christ the Savior! I remember that I wanted to express the feeling of spiritual elation that covers you when you stand under the deep arches, where Hosts soars, “as in the sky,” and you remember the encouraging words of our glorious poet and mourner Nadson:
My friend, my brother... tired, suffering brother,
Whoever you are, don’t lose heart:
Let untruth and evil reign supreme
Over the land washed with tears...
Batalin called me to the lectern and, shaking his notebook, began to saw with a whistle:
- What the hell is that?! It’s in vain that you’re sitting around reading books that aren’t included in the Uenise library! We have Puskin, Lermontov, Derzavin... but none of your Nadson... no! Who is this and who is... Na-dson. You are given a topic about the Cathedral of Christ the Savior, according to plan... and you bring to neither the village nor the city of some “suffering brother”... some nonsense verses! It would be a four, but I give you a three with minus. And why is there some kind of “philosopher”... with a “v” at the end - “philosophers-in-Smals”! You don’t know how to write the word “philosopher”, but you go into philosophy? secondly, it was Smys, not Smals, which means lard! And he, like your Nadson, - he said, emphasizing the first syllable, - had nothing to do with the Cathedral of Christ the Savior! Three with a minus! think about it.
I took the notebook and tried to defend my point:
- But this, Nikolai Ivanovich... here is a lyrical digression for me, like Gogol, for example.
Nikolai Ivanovich pulled sternly with his nose, causing his red mustache to rise and his teeth to appear, and his greenish and cold eyes stared at me with such an expression of a grin and even cold contempt that everything in me went cold. We all knew that this was his smile: the way a fox smiles when it gnaws the neck of a cockerel.
- Oh, wow, you look like... Gogol!., or maybe gogol-mogol? “That’s how it is...” and again he pulled his nose terribly. - Give me your notebook...
He crossed out the three-minus and dealt a crushing blow - a stake! I received a stake and - an insult. Since then I have hated both Nadson and philosophy. This stake ruined my transfer and my grade point average, and I was not allowed to take the exams: I stayed for a second year. But it was all for the better.
I ended up with another wordsmith, the unforgettable Fyodor Vladimirovich Tsvetaev. And he gave him freedom: write as you want!
And I wrote down zealously, “about nature.” Writing great essays on poetic themes, for example, “Morning in the Forest”, “Russian Winter”, “Autumn according to Pushkin”, “Fishing”, “Thunderstorm in the Forest”... - was pure bliss. This was not at all what Batalin liked to ask: not “Work and love for one’s neighbor as the basis of moral improvement”, not “What is remarkable about Lomonosov’s message to Shuvalov “On the benefits of glass”” and not “What is the difference between conjunctions and adverbs.” Dense , slow, as if half asleep, speaking slightly with an “o”, chuckling slightly with his eyes, complacently, Fyodor Vladimirovich loved the “word”: so, in passing, as if, with Russian laziness, he would take and read from Pushkin... Lord, what a Pushkin! Even Danilka, nicknamed Satan, will be imbued with feeling.
He had a wonderful gift of songs
And a voice like the sound of waters -
Tsvetaev read melodiously, and it seemed to me that it was for himself.
He gave me A's and sometimes three C's for my "stories" - they were so fat! - and somehow, poking his finger at my head, as if he was driving me into my brain, he solemnly said:
- That's it, husband-chi-na... - and some gentlemen write “mush-chi-na”, like, for example, the mature husband-chi-na Shkrobov! - you have something... some, as they say, “bump.” The parable of the talents... remember!
With him, the only one of the mentors, we exchanged farewell cards. They buried him - I cried. And to this day he is in my heart.
And now - the third period, already “printed”.
From “Morning in the Forest” and “Autumn according to Pushkin” I moved imperceptibly to “my own”.
This happened when I graduated from high school. I spent the summer before eighth grade on a remote river, on fishing. I ended up in a pool, near an old mill. A deaf old man lived there; the mill did not work. Pushkin’s “Rusalka” came to mind. So I was fascinated by the desolation, the cliffs, the bottomless pool “with catfish”, beaten by a thunderstorm, the split willows, the deaf old man - the miller from “The Silver Prince”! I began to feel overwhelmed, in a hurry, and it was difficult to breathe. Something unclear flashed. And - it passed. Forgot. Until late September I caught perch and bream. That autumn there was cholera, and the training was postponed. Something didn't come. And suddenly, in the very preparation for the matriculation certificate, among exercises with Homer, Sophocles, Caesar, Virgil, Ovid Naso... - something appeared again! Wasn't it Ovid who gave me the idea? Isn’t it his “Metamorphoses” - a miracle!
I saw my pool, the mill, the dug up dam, clay cliffs, rowan trees, showered with clusters of berries, my grandfather... I remember - I threw away all the books, choked... and wrote - in the evening - big story. I wrote “on a whim.” I edited and rewrote, and edited. He copied clearly and large. I re-read it... - and felt trembling and joy. Title? It appeared on its own, it was outlined in the air, green and red, like a rowan - there. With a trembling hand I wrote: At the mill.
It was a March evening in 1894. But even now I still remember the first lines of my first story:
« The sound of the water became clearer and louder: obviously, I was approaching the dam. A young, dense aspen tree grew around me, and its gray trunks stood in front of me, covering the noise of the river nearby. With a crash, I made my way through the thicket, tripped over sharp stumps of dead aspen, received unexpected blows from flexible branches...»
The story was creepy, with everyday drama, from the “I”. I made myself a witness to the denouement, so vividly, it seemed, that I believed my own invention. But what next? I didn’t know any writers at all. There were few intelligent people in the family and among friends. I didn’t know “how it’s done” - how and where to send it. I had no one to consult with: for some reason I was ashamed. They will also say: “Eh, you’re doing nothing!” I hadn’t read any newspapers then, maybe Moskovsky Listok, but it was only funny or about Churkin. To tell the truth, I considered myself above this. “Niva” didn’t come to mind. And then I remembered that somewhere I saw a sign, very narrow: “Russian Review,” a monthly magazine. Were the letters Slavic? I remembered and remembered... - and remembered that it was on Tverskaya. I knew nothing about this magazine. An eighth-grader, almost a student, I didn’t know that there was a “Russian Thought” in Moscow. I hesitated for a week: if I remember about “Russian Review”, I’ll get cold and burnt. I’ll read “At the Mill” and I’ll be encouraged. And so I set off to Tverskaya to look for the Russian Review. Didn't say a word to anyone.
I remember, straight from class, with a backpack, in a heavy cotton coat, very faded and bubbling to the floors - I kept wearing it, waiting for the student, wonderful! - he opened the huge walnut door and stuck his head into the crack, saying something to someone. There was a boring quack there. My heart sank: it grunted as if sternly?.. The doorman slowly walked towards me.
Please... they want to see you themselves.
The doorman was wonderful, with a mustache, brave! I jumped off the sofa and, as I was - in dirty, heavy boots, with a heavy backpack, the straps of which dragged with a clanking sound - everything suddenly became heavy! - entered the sanctuary.
A huge, very high office, huge bookcases with books, a huge desk, a gigantic palm tree above it, piles of papers and books, and at the table, wide, handsome, heavy and stern - so it seemed to me - a gentleman, a professor, with gray hairs on his shoulders curls. It was the editor himself, private associate professor at Moscow University Anatoly Alexandrov. He greeted me gently, but with a grin, albeit affectionately:
Yeah, they brought a story?.. What class are you in? You finish... Well, well... we'll see. We wrote a lot... - he weighed the notebook in his hand. - Well, come back in two months...
I came in in the middle of exams. It turned out that we had to “check back in two months.” I didn't look. I have already become a student. Another came and took over - not writing. I forgot about the story, I didn’t believe it. Should I go? Again: “Come back in two months.”
Already in the new March, I unexpectedly received an envelope - “Russian Review” - in the same semi-church font. Anatoly Alexandrov asked me to “come in and talk.” Already as a young student I entered a wonderful office. The editor politely stood up and extended his hand across the table to me, smiling.
Congratulations, I liked your story. You have quite good dialogue, live Russian speech. You feel Russian nature. Write to me.
I didn't say a word, I left in a fog. And soon I forgot again. And I didn’t think at all that I became a writer.
In early July 1895, I received by mail a thick book in green and blue - ? - cover - “Russian Review”, July. My hands were shaking when I opened it. It took me a long time to find it - everything was jumping around. Here it is: “At the mill” - that’s it, mine! Twenty-odd pages - and, it seems, not a single amendment! no pass! Joy? I don’t remember, no... Somehow it hit me... struck me? I couldn't believe it.
I was happy for two days. And - I forgot. The editor's new invitation is “welcome.” I went, not knowing why I was needed.
Are you satisfied? - asked the handsome professor, offering a chair. - Many people liked your story. We will be glad to further experiments. And here is your fee... First? Well, I'm very glad.
He handed me... seven-ten rubles! It was great wealth: for ten rubles a month I went to lessons across all of Moscow. I confusedly put the money over the side of my jacket, unable to utter a word.
Do you love Turgenev? It seems that you are undeniably influenced by Notes of a Hunter, but this will pass. You have yours too. Do you like our magazine?
I whispered something, embarrassed. I didn’t even know the magazine: I only saw “July”.
You, of course, have read our founder, the glorious Konstantin Leontyev... have you read anything?..
No, I haven’t had to yet,” I said timidly.
The editor, I remember, straightened up and looked under the palm tree and shrugged. This seemed to confuse him.
Now... - he looked sadly and affectionately at me - you must know him. He will reveal many things to you. This is, firstly, a great writer, great artist... - He started talking and talking... - I don’t remember the details - something about “beauty”, about Greece... - He great thinker our extraordinary Russian! - he told me enthusiastically. - Do you see this table?.. This is his table! - And he reverently stroked the table, which seemed wonderful to me. - Oh, what a bright gift, what songs his soul sang! - he said tenderly into the palm tree. And I remembered something recently:
He had a wonderful gift of songs,
And a voice like the sound of waters.
- And this palm tree is his!
I looked at the palm tree and it seemed especially wonderful to me.
“Art,” the editor continued to say, “first of all, reverence!” Art... art! Art is a song of prayer. Its basis is religion. This is always the case for everyone. We have the word of Christ! “And God is not a word.” And I'm glad you're starting in his house... in his magazine. Come by sometime and I'll give you his creations. Not every library has them... Well, young writer, goodbye. I wish you...
I shook his hand, and so I wanted to kiss him, listen to him, the unknown, sit and look at the table. He himself accompanied me.
I left intoxicated by the new, vaguely feeling that behind all this it was mine - accidental? - there is something great and sacred, unknown to me, extremely important, which I have just touched.
I walked as if stunned. Something was bothering me. He passed Tverskaya, entered the Alexander Garden, and sat down. I am a writer. After all, I made up the whole story!.. I deceived the editor, and for this they gave me money!.. What can I tell? Nothing. And art is reverence, prayer... But there’s nothing in me. Money, seven to ten rubles... for this!.. I sat like that for a long time, thinking. And there is no one to talk to... Stone Bridge I went into the chapel and prayed for something. This happened before the exam.
At home I took out the money and counted it. Seventy rubles... I looked at my last name under the story - as if it wasn’t mine! There was something new, completely different about her. And I am different. For the first time then I felt that I was different. Writer? I didn’t feel it, I didn’t believe it, I was afraid to think. I felt only one thing: I had to do something, learn a lot, read, peer and think... - prepare. I am different, different.
Lesson 58 extracurricular reading. M. A. Osorgin “pince-nez”. And. With. Shmelev “how I became a writer.” writers smile
Lesson objectives: emphasize the general themes of the stories; learn to speak in front of classmates, draw conclusions on your topic; consolidate the concepts of “metaphor” and “personification”.
Lesson progress
I. Organizational moment.
II. Communicate the topic and objectives of the lesson.
III. Work on a new topic.
1. The teacher's word.
Mikhail Andreevich Osorgin made the work of his future biographers easier. He himself spoke in detail about his life - in the book of memoirs “Times” written at the end of his life, in dozens of essays. “Our generation,” said Osorgin, “is in extremely favorable conditions for memoirs: without having time to grow old, we have lived for centuries.” It is not surprising that in his artistic works some plots have a documentary basis, and many heroes have prototypes. The narration is almost always led by a narrator, to whom the author entrusted his own thoughts and reflections.
Osorgin is a pseudonym. The writer's real name is Ilyin. One of the most ancient Russian noble families.
He was born and raised in Perm, “in a deep province, in a wooden house, surrounded by countless tithes that never knew serfdom,” where “ blue blood fathers was oxidized... by independent expanses, purified by river and spring water, colored anew in the breath of coniferous forests.” The Ural expanses, the banks of the Kama, the Permian forests... Even having traveled all over Europe, he will consider them the most beautiful places in the world, and the years spent here - the best universities. “Everything that books later revealed to me, that I accepted from them and did not reject - all of this was previously embroidered in green satin stitch on a strawberry slope, was born and lived under mosses, under tree bark, in countless holes, jumped along the branches, stood ringing song over the peasant field." Here, in his hometown, on the threshold of his youth, an amazing discovery was made (“the morning brought him forward and enchanted him... out of nowhere”): “The purpose of life is in the very course of life, in movement, and not in some final point.”
2. Creative “defense” of group I.
“Osorgin is a “servant of truth and justice.”
(Oral journal: each student turns over his page and tells.)
1st student “On the threshold.”
In 1897, Mikhail Ilyin entered the law faculty of Moscow University. From home he took only a “bundle” in which he “wrapped” his childhood impressions - everything that he had read in the great book of Nature. But student years it fell at a time when throughout all of Russia there was no such monastery where “people who wanted to recreate the world and in the name of this were ready to make any sacrifice” would not live. “Young women, for whom it was time to live cheerfully and love young, put on long dresses and went through the villages to study the people.” And “all good people” were, first of all, servants of “truth and justice.” How can you stay away from this? In 1899, for participating in student unrest, Mikhail Ilyin was sent to Perm under the secret supervision of the police. The fall turned out to be short-lived. A year later he was reinstated at the university, graduated in 1902 and began practicing law. He doesn't take money from the poor. And in general he views his activities as protecting the “rights of working people.”
2nd student. "Servant of truth and justice."
But the legal field was not Mikhail Andreevich’s vocation. His “dream path” is literature. Since his high school years he has been published in newspapers. He speaks in his own voice, unlike anyone else: he talks about the most serious things with irony, never acts as an impassive chronicler, and does not hide his position.
Very soon, in the law office, “suspicious people who had escaped from political hard labor began to sleep at night, typing out the texts of ardent and violent proclamations.”
In 1904, Mikhail Andreevich joined the Social Revolutionary Party. However, he was not a revolutionary for long, and never particularly active (according to him in my own words, “an insignificant pawn, an ordinary excited intellectual... due to his complete inability to take on leadership roles”).
But the police apparently did not consider him a “pawn.” In any case, in December 1905, Mikhail Andreevich was arrested. The sentence is three years of exile in the Narym region of the Tomsk province. Fortunately, they managed to deceive justice: Osorgin was released from prison for a while - on bail, and he never returned.
At first, he hides in a village near Moscow, where he is mainly engaged in fishing; he tries not to go to the city, and not only because it could end badly. “It’s not so much the bad things as the bad people... It’s gotten to the point where it’s hard to distinguish a revolutionary from a hooligan.”
It becomes dangerous to stay near Moscow, and Mikhail Andreevich moves to Finland. From the letters from there it is clear that he really does not want to leave even further: “I will go abroad only in extreme cases.” And yet such an “extreme” came, and quite soon. In the late autumn of 1906, a recent prisoner of the Tagansk prison found himself in Italy, at Villa Maria - a shelter for many Russian political emigrants.
3rd student. "In Italy."
The “knot” with which Perm high school student Mikhail Ilyin stepped from his home to great life, “they weren’t found and weren’t taken away even during searches.” Here in Italy, he left the party, since party affairs worried him less and less. More and more he plunges into literary studies. Since 1908, Osorgin has been a regular author, and soon a correspondent for Russian Vedomosti in Italy: over 10 years, more than 400 Osorgin materials appeared in this newspaper alone. In 1913, his book “Essays on Modern Italy” was published, a country that the author later called “The Novel of his Youth.” During these same years, the magazine “Russkiy Vestnik” published Osorgin’s stories, the heroes of which were emigrants, about whom Mikhail Andreevich would write all his life:
“Emigrants are originals who live not where their hearts desire, but where their hearts are heavy. I sympathize with them - you can consider them enemies... I will also not shed sentimental civic tears “about the stepsons of Russia”; It will be a shame for them...
A true emigrant differs from all other relatives in that in his quest he is deprived of the hope of finding in advance, since he is looking outside the promised land.”
4th student. “Smoke of the Fatherland.”
In 1916, having failed to obtain official permission, M. A. Osorgin returned to his homeland at his own risk.
- You will be sent to Narym.
– How is Narym different from Rome? Or maybe they won’t exile.
They didn’t exile - the February Revolution of 1917 arrived. At first, he accepted it enthusiastically, actively joining the struggle “not in the name of the future, but only because it was impossible to put up with the present.”
From the very first days of the October Revolution of 1917, Osorgin called not to obey the self-proclaimed government, tirelessly explained to the masses the “gangster nature of power”, and exposed false slogans. Calling for a general political strike, he understands that defeat is inevitable. He loves Russia very much, but knows it well: it always “allows every horse-riding enthusiast to ride on its horse. Sometimes, rearing up, she overturns the rider - and immediately allows herself to be bridled by another.”
1921 Famine in the Volga region. Osorgin – editor-in-chief newspaper "Help", organ of the Committee for Famine Relief. Trains with food went to the starving provinces. The prestige of the leaders was under threat. Foreign aid had to be refused... As a result, 5 million people died in the Volga region, but the political situation was saved. Osorgin, along with other members of the Committee, ended up in Lubyanka. Was scheduled for “liquidation”, but thanks to the intervention of the High Commissioner of the League of Nations F. Nansen death penalty replaced with a link. Formally for three years, but with a verbal explanation: “That is, forever.”
5th student. Defender of the "insignificant".
What is the meaning and purpose of existence, the secret of Nature, the purpose of man? Osorgin was not satisfied with religion’s answers to these questions. He did not want to be a slave - neither the king's nor God's.
Back in 1914, in Italy, he joined Masonic lodge, believing that the goal of Freemasonry is the free knowledge of the secrets of Nature.
During the second Parisian emigration, Osorgin was one of the most active and influential Russian masons. However, with the outbreak of World War II, the writer was forced to leave Paris - the Nazis were persecuting the Freemasons. He settled in the town of Chabri, in the unoccupied zone. From here, exposing yourself great danger, sent correspondence to America, to the newspaper “Russian Word”.
The dream of returning to his homeland remained with him until the end of his days. Philosopher George Gurvich wrote in his obituary: “Osorgin was not only a major writer. He was a wonderful person... the last knight Spiritual Order of the Russian Intelligentsia."
3. Conversation on issues to Osorgin's story "Pince-nez".
– What is the theme and idea of Osorgin’s story “Pince-nez”? Who becomes the main character in the work?
– What remarks of the writer about the life of things around us seemed true to you?
– In Osorgin’s story he has pince-nez physiognomy, crystal soul. What is the name used by the author? this technique artistic expression? Give a definition. ( Personification - This... (textbook, p. 114); metaphor - This... .)
– How is the irony of the description of the missing object shown in Osorgin’s story “Pince-nez”?
– Let’s turn to an excerpt from Osorgin’s story: from the words “The clock is ticking, it’s sick, it’s coughing...” to “... a fussy gossip - postage stamp"(pp. 109–110, textbook).
4. Reading mini-studies(1–2) about the things that are in the room, using personification, metaphors (individual homework of the 1st creative group).
5. Creative "defense" II group of students.
The teacher's word about I. S. Shmelev.
Ivan Sergeevich Shmelev was fully endowed with the gift of imagination. As a child, when I read the fable about the fox and the grapes, I saw: a bright sunny day, the fox’s eyes were burning, his tongue was hanging out, saliva was running down it... And the most ordinary objects also came to life in his eyes.
“The broom was alive - it ran around the yard collecting dust, froze in the snow and even cried. And the floorbrush was alive, looking like a cat on a stick. She stood in the corner - “punished.” I consoled her, stroked her hair...” He spoke with people, and with toys, and with the same broom or broom.
1st student.
Shmelev early experienced the happiness of writing. Shortly before graduating from high school, on a March evening in 1894, for some reason he remembered the past summer, fishing on a river, a deep pool near an old mill, and suddenly everything came to life in his imagination. In one fell swoop, himself amazed by what happened, Shmelev wrote a story.
He dared to submit his essay to the Russian Review magazine. For a long time I knew nothing about the fate of the manuscript. But a year later, the postman handed the author, now a student at Moscow University, a thick book of the magazine. The student opened it with trembling - and read the so familiar title: “At the Mill.”
2nd student.
Reading an episode dedicated to the hero’s experiences that were caused by the publication of his work(textbook).
Conversation on issues:
1) Why do you think the hero did not feel joy?
2) What definition does the editor of Russian Review give to art? Do you agree with this point of view?
3) How did the hero’s worldview change after the publication of his work? Why does he talk about the need to “learn a lot, read, peer and think... - prepare”? In your opinion, what is the difference between a writer and an ordinary person?
3rd student presents a compiled diagram of the character system of Shmelev’s story “How I Became a Writer”, indicating in it all the main and minor characters, the nature of their activities and how they are related to each other.
4th student reads a story on one of the topics: “How I prepared for an essay,” “How I wrote my first essay,” “Review of the story “How I became a writer” by Shmelev.”
6. Conversation on " General history, processed by "Satyricon"".
1) What do you know about the magazine "Satyricon"? Where did this name come from? Who published their works on the pages of the magazine?
2) Say Teffi’s real name.
3) Read the given excerpts from “General History...” and explain how the satirical effect is created?
(Projected onto the screen.)
“The Spartans were also very modest and simple in their clothing. Only before the battle did they dress up in a more complex costume, consisting of a wreath on their heads and a flute in right hand. In ordinary times, they denied themselves this.”
“Raising children was very harsh. Most often they were killed outright. It made them courageous and resilient.”
“A woman in Sparta was respected, and she was also occasionally allowed to speak laconically, which she took advantage of while raising children and ordering dinner from the helot cook. So, one Spartan woman, giving her shield to her son, said laconically: “With it or on it.” And another, giving the cook a rooster to fry, said laconically: “If you overcook it, it will swell.”
4) What function do the following expressions perform in the text of “General History...”? the kings quarreled; patience has run out; together it’s sickening, but apart it’s boring; bribes from him are smooth, etc. Is it appropriate to use such vocabulary when creating historical work? What style are the authors of this work deliberately distorting?
7. Working with cards(individual creative work).
Read the first chapter “Slavs” from the chapter “The Beginning of Rus'” of the “General History, processed by the Satyricon.” What language game is this passage based on? Write down the words whose meaning is played out by the author, as well as those linguistic units whose compatibility is violated, which leads to a satirical effect. Come up with their examples of language games. Define the highlighted words.
“People with brown hair, gray eyes and ruddy faces were called Slavs. All the rest were called Slavophiles and neo-Slavs.
The Slavs loved to be tall and energetically stretched their heads towards the sky. They took subscriptions from the short ones, in which the short person obliged to grow up and reach a certain standard within a certain period of time.
When, at the end of the period, those who gave the subscription did not grow up, they were exiled to the banks of the Dnieper, where the undersized people soon founded their own state called Little Russia.<...>
The Slavs lived on the banks of rivers, but they were not forbidden to leave the banks and take walks outside the Slavic Pale of Settlement.
They were busy catching brides, fish and animals. There were so many of the first, second and third that they were often caught with bare hands and even bare feet, for in the summer the Slavs walked almost naked, which dress in those days was considered very fashionable and dapper.
The Slavs fried and boiled fish. The animals were skinned and released into the wild. The brides, in turn, skinned the Slavs and sent them to their parents.<...>
They fought scatteredly, but, having lost the battle, fled in a friendly crowd and in serried ranks.
Sometimes they resorted to cunning. By pretending to flee, they lured the enemy into the forest and never came out again, thus leaving the enemy in the cold and in the cold.<...>
The religion of the Slavs was simple and accessible to all. They worshiped everything that God sent.
They will see a stump and kneel in front of it. They will catch the beast and let us pray in front of it before they skin it.
One stump made great career. A temple was built for him and priests were hired. The stump was given the name Perun and the sun, thunder and all other deities were subordinated to it.”
Read an excerpt from the chapter “Rurik, Sineus and Truvor” of “History of the Russian State” by N. M. Karamzin and try to “rework” it in the spirit of the writers of “Satyricon”.
“The beginning of Russian history presents us with an amazing and almost unprecedented case in the chronicles. The Slavs voluntarily destroy their ancient popular rule and demand sovereigns from the Varangians, who were their enemies. Everywhere the sword of the strong or the courage of the ambitious introduced autocracy (for the people wanted laws, but were afraid of bondage): in Russia it was established with the general consent of the citizens; our chronicler narrates - and the scattered Slavic tribes founded a state that now borders ancient Dacia and the lands North America, with Sweden and China, connecting three parts of the world within its borders. Great nations, like great men, have their infancy and should not be ashamed of it: our fatherland, weak, divided into small regions until 862, according to Nestor’s calendar, owes its greatness to the happy introduction of monarchical power.
Wanting to explain this important incident in some way, we think that the Varangians, who captured the countries of the Chuds and Slavs several years before that time, ruled them without oppression and violence, took light tribute and observed justice.
Dominating the seas, having in the 9th century relations with the south and west of Europe, where new states were founded on the ruins of the Roman colossus and where the bloody traces of barbarism, curbed by the philanthropic spirit of Christianity, had already been partially erased by the happy labors of civil life, the Varangians, or Normans, were supposed to be more educated than the Slavs and Finns, imprisoned in the wild reaches of the North; could tell them some of the benefits of new industry and trade that would be beneficial for the people. Slavic boyars, dissatisfied with the authorities the conquerors, who destroyed their own, outrageous, perhaps this people are frivolous, seduced them in the name of their former independence, armed them against the Normans and drove them out; but personal strife turned freedom into misfortune, they failed to restore the ancient laws and plunged the fatherland into the abyss of civil strife. Then the citizens remembered, perhaps, the beneficial and calm Norman rule: the need for improvement and silence told them to forget the people's pride, and the Slavs, convinced - so says legend - by the advice of the Novgorod elder Gostomysl, demanded rulers from the Varangians. Ancient chronicle does not mention this prudent adviser; but if the legend is true, then Gostomysl is worthy of immortality and glory in our history.”
8. Creative task III group of students (based on Teffi’s creativity).
1) Retelling the textbook article about Teffi (pp. 125–126).
2) Analysis of the compiled diagram of the character system of Teffi’s story “Life and Collar”, indicating all the main and minor characters, the type of their activities and how they are related to each other.
3) Retelling the story told by Teffi in the work “Life and the Collar” “from the perspective” of the collar.
Summing up.
– What human vice does the satirical writer ridicule in the story “Life and Collar”?
9. Creative task IV group of students (based on the works of M. M. Zoshchenko).
A) A little message about the life and work of M. M. Zoshchenko.
b) Conversation on issues.
– What goal did M. M. Zoshchenko pursue while engaging in literary activities?
– What genre did Zoshchenko work in?
– What is the theme and idea of the story “Case History”?
– Who is narrating? What can you tell about this person? Where did you get this information from?
– At the beginning of the twentieth century, transformations in the life of society entailed changes in the language, for example, many complex abbreviated words were created. Zoshchenko's story was written at this significant time. Find a word in the text of the work that reflects the trends new era. What does it mean?
– What function do the following words and expressions perform in Zoshchenko’s story “Case History”: Steam almost comes out of his mouth from the heat; we'll drill some water for you; patronize; raise a fuss etc?
c) Quiz on the works of Zoshchenko.
– What work is this from?
“And I have money - the cat cried. At most, it's enough for three cakes. She eats, and I anxiously rummage through my pockets, checking with my hand how much money I have. And the money is as big as a fool’s nose.
She ate it with cream, but something else. I already grunted. And I remain silent. This kind of bourgeois modesty took over me. They say he’s a gentleman, not with money.”
“Tell me,” he says, “thank you for losing me on the tram.” In another public place I can’t guarantee, but getting lost on a tram is a sacred thing. We have such a camera for lost things. Come and take it. Holy cause."
“I go, I don’t look at the Crimean nature. If only I could reach Alupka alive, I think.
I turn around. I look - he waves his hand at me. I also waved my hand at him. They say, leave me alone, do me a favor.”
IV. Summing up the lesson.
Download material
See the downloadable file for the full text of the material.
The page contains only a fragment of the material.
The narrator remembers how he became a writer. It turned out simply and even unintentionally. Now it seems to the narrator that he has always been a writer, only “without a press.”
IN early childhood the nanny called the narrator a “babbler.” He retained memories of early infancy - toys, a birch branch near the image, “the babble of an incomprehensible prayer,” snatches of old songs that the nanny sang.
Everything for the boy was alive - living toothy saws and shiny axes chopped down living boards in the yard, crying with resin and shavings. The broom “ran around the yard collecting dust, froze in the snow and even cried.” The floor brush, which looked like a cat on a stick, was punished - it was put in a corner, and the child consoled it.
Everything seemed alive, everything told me fairy tales - oh, how wonderful!
The thickets of burdocks and nettles in the garden seemed to the narrator like a forest where real wolves lived. He lay down in the thickets, they closed overhead, and the result was a green sky with “birds” - butterflies and ladybugs.
One day a man with a scythe came into the garden and mowed down the entire “forest”. When the narrator asked if the man took the scythe from death, he looked at him with “scary eyes” and growled: “Now I am death myself!” The boy got scared, screamed, and was taken away from the garden. This was his first, most terrible encounter with death.
The narrator remembers the first years at school, the old teacher Anna Dmitrievna Vertes. She spoke other languages, which is why the boy considered her a werewolf and was very afraid.
I knew what “werewolf” meant from the carpenters. She is not like every baptized person, and therefore she says things like sorcerers.
Then the boy learned about the “pandemonium of Babylon,” and decided that Anna Dmitrievna was building Tower of Babel, and her tongues were confused. He asked the teacher if she was scared and how many languages she spoke. She laughed for a long time, but she only had one tongue.
Then the narrator met beautiful girl Anichka Dyachkova. She taught him to dance and kept asking him to tell stories. The boy learned from the carpenters many fairy tales, not always decent ones, which Anichka really liked. Anna Dmitrievna caught them doing this and scolded them for a long time. Anichka did not pester the narrator anymore.
A little later, the older girls learned about the boy’s ability to tell fairy tales. They sat him on their laps, gave him candy and listened. Sometimes Anna Dmitrievna came up and also listened. The boy had a lot to tell. The people in the large courtyard where he lived were changing. They came from all provinces with their fairy tales and songs, each with their own dialect. For his constant chatter, the narrator was nicknamed “The Roman Orator.”
This was, so to speak, the pre-literate age of the history of my writing. The “written one” soon came for him.
In the third grade, the narrator became interested in Jules Verne and wrote satirical poem about the teachers' journey to the moon. The poem was a great success, but the poet was punished.
Then came the era of essays. The narrator, in the teacher’s opinion, revealed the topics too freely, for which he was retained for the second year. This only benefited the boy: he ended up with a new vocabulary book that did not interfere with the flight of his imagination. To this day, the narrator remembers him with gratitude.
Then the third period came - the narrator moved on to “his own”. He spent the summer before eighth grade “on a remote river, fishing.” He was fishing in a pool near a non-working mill in which a deaf old man lived. These holidays had such an effect on the narrator strong impression, that while preparing for his matriculation exams, he put everything aside and wrote the story “At the Mill.”
I saw my pool, the mill, the dug up dam, clay cliffs, rowan trees, showered with clusters of berries, my grandfather... Alive - they came and took it.
The narrator did not know what to do with his essay. In his family and among his acquaintances there was almost no intelligent people, and he had not yet read newspapers, considering himself above this. Finally, the narrator remembered the “Russian Review” sign that he saw on the way to school.
After hesitating, the narrator went to the editorial office and got an appointment with the editor-in-chief - a respectable, professorial-looking gentleman with graying curls. He accepted the notebook with the story and told me to come back in a couple of months. Then the publication of the story was delayed for another two months, the narrator decided that it would not work, and was captured by another.
The narrator received a letter from Russian Review with a request to “come in and talk” only the following March, when he was already a student. The editor said that he liked the story and it was published, and then advised him to write more.
I didn't say a word, I left in a fog. And soon I forgot again. And I didn’t think at all that I became a writer.
The narrator received a copy of the magazine with his essay in July, was happy for two days and forgot again until he received another invitation from the editor. He handed the aspiring writer a huge fee for him and talked for a long time about the founder of the magazine.
The narrator felt that behind all this “there is something great and sacred, unknown to me, extremely important,” which he had just touched. For the first time he felt different, and knew that he had to “learn a lot, read, peer and think” - prepare to become a real writer.
Target: See what impact it had historical era on the fate and creativity of the writer.
Lesson progress
I. Organizational moment.
II. Creating motivation.
Today we will meet another great master of Russian word and image. You have already encountered in literature lessons individual pages of his work and some facts from his biography.
Now I will read several excerpts from his work.
…Drip-drip...drip-drip-drip...drip-drip...
Already chattering on the piece of iron, jumping and dancing like heavy rain.
I wake up to this tartan, and my first thought is: I’ve got it! Of course, spring has arrived.
... Closing my eyes, I see the sun pouring into the room. A wide golden strip, looking like a brand new board, fits obliquely into the room, and little pieces of gold are scurrying around in it.
And it’s more pleasant to look out the window.
The sparrows are standing on the branches, all wet, swaying from the drops. And in the sky you can see a black mess of jackdaws.
(Excerpt from the chapter “March Drops” of the story “The Summer of the Lord” by I.S. Shmelev)
By what signs did you guess?
(Language signs: describes objects and phenomena in simple language, uses epithets and metaphors unique to him: “the tinkling of drops, the scurrying of gold, the black mess of jackdaws”).
So, name the topic of the lesson.
(Write on the board and in a notebook.)
A portrait of the writer appears on the TV screen.
Consider I.S. Shmeleva.
What details in the writer’s appearance attract your attention? ( serious sad eyes, but a gentle smile)
Not only you, but also those who were, noted precisely these details in his appearance.
What character traits could a person with similar facial features have?
What factors can influence the formation of a person’s character and worldview?
Tell me, is it important to know at what historical time the formation of a writer’s personality takes place? Why? ( Time leaves its mark on a person’s fate, shapes his views and beliefs; themes may appear in the writer’s work).
Based on the topic of the lesson, and what you just said, determine the purpose of the lesson using the following supporting words: to trace what... the impact... the era had on... and... the writer.
III. Let's learn something new
(Work in notebooks.)
Divide the notebook sheet into 2 equal columns
Formulate in the form of questions what you would like to know about the biography and work of I.S. Shmeleva.
Preparation of OT
| I want to know | Found out |
| 1. What historical events took place in Russia, when the writer was born and worked? | |
| 2. What influence did the family have on the boy’s upbringing? | |
| 3. What kind of education did you receive? | |
| 4. How did the first printing experience end? | |
| 5. What is the theme of Shmelev’s works? (Date, title of work, theme.) |
Children fill out the second column independently (each child receives a printout with the writer’s biography), then a check is carried out.
While reading, children should note:
+ – new knowledge;
! - what surprised me.
Conclusion
What influence did the historical era have on the formation of the writer’s personality? (Children give their answer in writing.)
Shmelev's path to literature was long and difficult. The story “How I Became a Writer” tells about the difficulties of becoming a writer.
IV. Analysis of the story “How I became a writer.”
Read the beginning of the story. What is his role?
(The first phrase immediately answers the question of the title; the rest of the story reveals this phrase. The laconic beginning quickly introduces the reader to the writer’s creative laboratory.)
What role did childhood impressions play in the writer’s fate?
(Even as a child, the writer had a vivid imagination, fantasized, and animated the surrounding objects.)
What work do the descriptions of things remind us of: “living boards”, “living broom”, “living broom”?
(M.A. Osorgin’s story “Pince-nez”, where the technique of personification is also widely used.)
How were the boy’s first writing experiences perceived in the gymnasium?
(No one took it seriously; they tried to find shortcomings.).
What are the ways to create an image? literary hero You know?
(Social status, portrait, speech characteristics, life principles, actions of the hero and his attitude towards other characters, attitudes towards the hero of other characters.).
The story depicts the teachers of the gymnasium - inspector Batalin and literature specialist Tsvetaev. What role did they play in the boy’s fate?
Work in groups.
The class is divided into 4 groups of 5-7 people. Each group has a coordinator who organizes and directs the work. Groups 1-2 - the image of Batalin, 3-4 - the wordsmith Tsvetaev.
How and with the help of what means of artistic expression is the image of Batalin and Tsvetaev created?
Image of Batalin
| Ways to create an image | |
| 1. Social status | Inspector |
| 2. Portrait characteristics | Expressive epithets, comparisons, evaluative vocabulary: “a dry, thin, bony finger with a sharply sharpened nail, teeth showing, cold eyes, cold contempt, this is how a fox smiles, gnawing the neck of a cockerel.” The technique of irony and satire. |
| 3. Speech characteristics | He speaks through his teeth - well, he just mutters! In a terrible, whistling voice, he began to saw with a whistle. |
Image of Tsvetaev
What technique does Shmelev use when creating the images of Batalin and Tsvetaev?
(Contrast.)
(Batalin is a teacher who should not be allowed close to children; Tsvetaev is a teacher who played an important role in Shmelev’s fate.)
What qualities “in your opinion” should a teacher have?
How is the author's character revealed in the story?
(In thoughts and actions, he is endowed with imagination, is passionate about literature, is a grateful person, textbook p. 138 read out the quote)
V. Independent work.
Independent work is carried out in the form of a test
VI. Summing up.
What is the topic of the lesson?
What did you study?
On what subjects can you use the acquired knowledge?
VII. Reflection.
Evaluate your activity in class: I will close my eyes and ask you one question. If you think that the work was done well, with high quality, then show it like this (clench your fist and stick it out thumb up), if so-so, then (clench your fist and stick your thumb down).
VIII. Homework.
Write a story on the topic: “How did I write my first essay?”
