Conducting lessons on the work of M. Sholokhov
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to conduct lessons on the work of M.A. Sholokhov
in grade 11 (basic level)
Approximate thematic planning of lessons on the work of the writer
(10 lessons + 2 speech development lessons)
For reading and studying in the classroom, the epic novel “Quiet Flows the Don” is taken
Sholokhov Quiet Don Roman
Introduction
Lesson number 2 (2 lessons). The originality of the genre of the epic novel. Spiritual world of the Don Cossacks. The character of Grigory Melekhov. The novel's character system
Lesson number 5 (2 lessons). The tragedy of Grigory Melekhov. "Family Thought" in the novel. Women's images. The theme of motherhood
Lesson number 6 (2 lessons). The development of speech. Working on drafting an essay
Materials used
Introduction
Lesson Objectives:
To develop and deepen students' ideas about realism, about the genre of the epic novel, about the plot and composition epic work, about lyricism and dramatic techniques in the epic, about the historicism of a work of art, about the category of tragic and tragic hero.
Update for students moral issues works (the problem of choosing and searching for truth, the problem of humanism and attitudes towards violence, the problem of war and peace, the relationship between man and history, attitudes to land and work, the problem of relationships between men and women, the problem of family and motherhood, the concepts of patriotic duty, military honor, valor).
Consolidate knowledge of such techniques psychological analysis, as a portrait, speech characteristic, dialogue, author's note, mutual characteristics of characters and self-characteristics of the hero, internal monologue, disclosure of the character of the hero through an act, psychological parallelism.
Explore how a realist artist reveals the psychology of the masses, using a variety of artistic means for this: crowd scenes, a collective portrait, a polyphonic dialogue.
To expand students' ideas about the methods of external depiction (landscape and portrait painting, subject detail) and the writer's linguistic skills (the folklore basis of Sholokhov's imagery, the role of dialect and vernacular in the language fiction, rhythm in a prose work).
Continue the formation and development of the skills of systematization and generalization of independent observations of the text of a work of art on a given topic, independent analysis of the episode, analysis of the author's means of creating the character of a realistic hero.
Formation in high school students of the ability to analyze information presented in different sign systems (text, illustration, diagram, audiovisual series).
Providing lessons:
The text of the studied work in each lesson for each student.
Slide film “M.A. Sholokhov. The truth of life in the epic novel "Quiet Flows the Don" (materials for literature lessons in grade 11)
Feature film "Quiet Flows the Don" (1957)
Director and screenwriter - S.A. Gerasimov.
Slide film “M.A. Sholokhov. The truth of life in the epic novel "Quiet Flows the Don" created in the Microsoft program power point. It contains fragments of the writer's biography, a description of the process of creating the epic, information about the Cossacks as an estate, and materials of a literary analysis of the epic novel "Quiet Flows the Don".
The film has two modes of operation: switching "on click", transition to the desired slide using the "menu" system. This system contains a "main menu" and five main "sub-menus", in addition, in some sections there are mini-menus, so you can quickly find the information you need.
Lesson number 1 (2 lessons). Acquaintance with the biography of M.A. Sholokhov. Features of the writer's work. General characteristics of the epic novel "Quiet Flows the Don" (the history of the creation of the work, its plot and compositional features and disputes over the issue of authorship)
Teacher's word.
Familiarize students with the slide film menu structure.
A story about the meaning of Sholokhov's epic novel "Quiet Flows the Don"
Mikhail Alexandrovich Sholokhov (1905 - 1984) did not live to see the 21st century. He did not see the current borders blurred in front of pseudo-art, in front of pornodetektivshchina, reinforcing the feeling of loneliness and uselessness of the folk artist, he did not feel the increased terrible feeling of homelessness of the Russian people. But he knew that the tragedy of Grigory Melekhov could happen again... And therefore, it is obvious that it is Sholokhov, with his greatest humane sense of saving people, striving to save the purity of childhood, to purify darkened souls, which is now becoming increasingly important as a great truth seeker and national intercessor.
Through the entire core of the 20th century - from 1925 to 1940 - as a line of moral feat, the labor of creating the greatest creative destiny, the painful story of the creation of Sholokhov's brilliant novel "Quiet Don" passes. And not at all as a novel about “the Cossacks in the civil war”, about “wanderings of the middle peasant”, “the torments of a renegade”, but as a national epic, as a passionate prayer for popular unity in the face of another for Russia, the most severe military thunderstorm of 1941. Sholokhov defended his seemingly "irrelevant" novel.
The global evil in the 21st century, which does not bypass Russia, has learned to hide, to dissolve in someone else's gullibility, naivety, it knows how to be talkative and faceless. And even the artistic word is often unable to recognize its paths to the destruction of entire nations.
Sholokhov warned us about this as well. He is the only master of the word in Soviet literature, a man-epoch who, in an unimaginably difficult time, ventured to answer all the most disturbing, eternal questions for Russia, which are still relevant today.
Stanitsa Vyoshenskaya
A necessity for Sholokhov was the village of Vyoshenskaya with its boundless distances, yellow stretches and the flood of the Don, with the steppe gilded by the sun, with drawn-out Don songs.
Vyoshenskaya invisibly but very reliably supported Sholokhov's inspiration, that creative potential that overcomes the cumbersomeness of a naturalistic description. The natural course of Veshensky time, the ever-present dynamic picture of the Don and the boundless steppe expanses is, in essence, the “frame” of all the main events of The Quiet Don, but it is not silent, not frozen, but as if confessing an artist, forcing something to guess, conjecture. As a result, the lyrical digressions of the poem about the steppe, about the Don, about the sun, outwardly superfluous in the dry chronicle about the errors of the Cossacks in 1917-1921, changed their nature, became the starting point for the ups and downs of many heroes of the Quiet Don. This is not only lyrical digressions, but the most complex synthesizing space of the author's text, when pictures of nature merge with the author's emotions and enter into dialogues.
Sholokhov's Don seems to carry with it a stream of everyday and cultural traditions: here the present does not rest against the past as a dead end. He always gave birth in Sholokhov to a full-blooded love for the black earth, exacerbated in him, who did not like the faceless "schools", "trends", "systems", the feeling about which Fyodor Tyutchev said: "One can only believe in Russia"
Familiarization of students with fragments of the biography of Mikhail Afanasyevich Sholokhov by viewing a fragment of a slide film (slides No. 12 - 22) and listening to comments prepared in advance by one of the eleventh graders.
Rod Sholokhov
In the Sholokhov family, in addition to the legendary Stepan Sholokh (XV century), a Novgorod peasant (it is no coincidence, apparently, the first writer's name of Sholokhov is Mikhail Sholokh), three most active figures stand out, speaking of the indomitable energy of the family and the deep connection of all the Sholokhovs with the Don land, with Don, the great Cossack river: Firs Sholokhov (1644 - 1708) from the era of Peter I, his son Sergei Firsovich Sholokhov (1678 - 1720) - these are gunners from ancient Zaraysk, a town in the Ryazan region, near Kolomna, where once in 1380 they converged on way to the Kulikovo field of the army of Dmitry Donskoy, and the grandfather of the writer, Mikhail Mikhailovich Sholokhov, who left Zaraysk as a teenager in the 1850s, settled on the Upper Don. He was a strong merchant of the 2nd guild and had three shops on the Don with two drinking cellars - in Veshki, on the Dudarev farm and on the Kruzhilin farm. In less than half a century, the tenacious family of the Sholokhovs took root very firmly on the Don: this is also evidenced by the fact that the writer's grandfather married the daughter of the merchant Vasily Mokhov, Maria Vasilievna. No matter how you look at the prehistory of the Sholokhov family, there is an enviable strength, stability and abundance of hardness in characters in everything. But the raznochintsy-nonresidents on the Don are an object of caste hostility, antagonism.
Writer's father
Mikhail Aleksandrovich: “Father, a commoner, a native of the Ryazan province, until his death (1925) changed professions. He was consistently a “shibay” (cattle buyer), sowed bread on purchased Cossack land, served as a clerk in commercial enterprise farm scale, the manager of a steam mill ... "
Father Alexander Mikhailovich Sholokhov (1851 - 1925), after graduating from the parochial school, very energetically mastered the skills of the “talkative” profession of a clerk, then head of a manufacturing shop in the Kruzhilin farm. But in the biography of the exemplary Soviet writer, the image of the father turned into the image of an advanced commoner, obsessed with the idea of self-education, who placed his son in one gymnasium, then in another.
On matters related to the purchase and resale of bread, A.M. Sholokhov often visited the family estate of the landowner Popov, Yasenovka, adjacent to Kruzhilin (in the Quiet Don, this is the Listnitsky Yagodnoye estate), where he met the writer’s future mother, the maid of the owners (“servant”) Anastasia Danilovna Kuznetsova, nee Chernikova (1871 - 1942 ). She has lived and worked here since the age of 12.
The fate of Sholokhov's mother
From the autobiographies of M.A. Sholokhov of the 30s about her mother: “The daughter of a serf, landless, burdened by a large family, worked on the land.”
In reality, the position of Anastasia Danilovna in Yasenovka in some ways became similar to the position of Aksinya, only until a certain time she was alone. She was fatally doomed to a typical "estate" romance (seduction) with a rich "panych".
But apparently, Dmitry Popov's feeling for the seduced maid with a bright character was not superficial. And she not only became the object of courtship of the young pan, but also gained a certain power in the house.
Apparently, in order to destroy this “fever”, the beautiful maid, who was also expecting a child from Dmitry, was married off by the owners of the estate to a wealthy, sedate Cossack chieftain Stefan Kuznetsov. No one, apparently, had to dream of any happiness in this marriage. And when the girl who was born died, then Anastasia, a woman, of course, proud, with an imperious and firm character, self-confident, again returned to Yasenovka-Yagodnoe to the Popovs.
Calling family...
Alexander Mikhailovich Sholokhov, her new husband, in essence, by marrying her, he stepped over many strong barriers: he tore his wife out of the estate and from a strange family, in fact, made him a “bihusband”.
Perhaps one of the most difficult, unhappy family heroes - Stepan Astakhov in "The Quiet Don" originates in the hidden drama of the writer's father?
Alexander Mikhailovich was a great stubborn: until 1913 he lived with a "two-man", his son bore the surname Kuznetsov. This challenge to his relatives continued for years, a challenge that gave rise to the traditional Russian vice - drunkenness, from which he eventually died.
Writer's education
To give his son a primary education, the father hires a home teacher, T.T. Mrykhina, in 1912 he sends his son to the Karginsky parochial school for men in the II class of education, and in 1914 he takes him to Moscow due to an eye disease (the clinic of Dr. Snegirev, where Sholokhov was treated, will be described in the novel “Quiet Don”) and sends preparatory class of the Moscow gymnasium No. G. Shelaputin. In 1915, his parents transferred Mikhail to the Bogucharov gymnasium, but his studies were interrupted by revolutionary events. It was not possible to complete his education at the Vyoshenskaya mixed gymnasium, where Sholokhov entered in 1918. Due to the outbreak of hostilities around the village, he was forced to interrupt his education, finishing only four classes.
Writer's youth
From 1919 until the end of the Civil War, Sholokhov lived on the Don, in the villages of Elanskaya and Karginskaya, engulfed by the Upper Don uprising, that is, he was at the center of those dramatic events that would be reproduced in the final books of The Quiet Don.
Since 1920, when Soviet power was finally established on the Don, Mikhail Sholokhov, despite his young years (he was then 15 years old), worked as a teacher for the elimination of illiteracy, serving in the village revolutionary committee, an accountant, an clerical worker, and a journalist.
Sholokhov's year of birth
In May 1922, Sholokhov completed short-term food inspection courses in Rostov and was sent to the village of Bukanovskaya as a tax inspector. “I worked in the cruel years (1921 - 1922) at the surplus appraisal,” the writer recalled. - I led a cool line, and the time was cool; I was a helluva commissar, I was tried by the revolutionary tribunal for abuse of power ... ”A special meeting of the revolutionary tribunal “for a crime in office” Sholokhov was sentenced to death. For two days he waited for inevitable death, but fate was pleased to spare Sholokhov. According to some reports, it was then that he indicated 1905 as the year of birth in order to hide his real age and pass himself off as a minor, while in fact he was born a year or two earlier.
On Moscow's winding streets
In the autumn of 1922, Sholokhov arrived in Moscow with the intention of enrolling in the workers' faculty, where he could be accepted with four years of education. However, he did not have a factory experience or a Komsomol permit, which were required upon admission. Getting a job was also not easy, since by that time Sholokhov had not mastered any profession. He was forced to work as a loader at the Yaroslavl railway station, paving cobblestone pavements. A year later, Mikhail received at the labor exchange a referral to the position of an accountant in the housing department on Krasnaya Presnya. All this time he was actively engaged in self-education, and service in the housing department gave time for literary work for newspapers and magazines.
On January 11, 1924, Sholokhov married M.P. Gromoslavskaya, daughter of the stanitsa ataman st. Bukanovskaya (1902 - 1992), linking his fate with her for a long sixty years. His wife was a graduate of the diocesan school. This fact was presented in the questionnaires in a neutral, "improved" from the class point of view: they said that she was a secondary school teacher, naturally an atheist.
Memories of the young Sholokhov and his Moscow addresses, of his friends from literary circles, and from the Journal of Peasant Youth depict the future creator of The Quiet Don as open, cheerful, and good at playing the accordion. However, the idea of returning to the Don, caused by the call of the Don expanses, the very language of the villages and farmsteads, grew stronger as he wandered around the Moscow editions.
The idea and history of the creation of the epic novel "Quiet Flows the Don"
Students are given the task while watching a fragment of a slide film (slides 25 - 44) to answer the following questions:
Who is Alexander Serafimovich?
What was, according to Serafimovich, the fault of L.D. Trotsky in relation to the Cossacks?
What is his role in the creation of Sholokhov's novel "Quiet Flows the Don"?
How and why did the original idea of the author of the epic novel "Quiet Flows the Don" change?
What is known about the prototypes of the heroes of the work?
Why did difficult days begin for Sholokhov after the release of the first volume of the book?
What is the fate of the third book of the epic novel?
When was the novel first published as a separate edition?
Why did the question of the authorship of this book arise and is still considered unresolved?
The point of view of which literary critic, Kozhinov or Solzhenitsyn, seems to you more reasoned?
Homework:
A) repeat the definition of the term "epic";
B) prepare an individual message about the Cossacks as an estate;
C) using the materials of the slide film (slides No. 53 - 69), prepare to answer certain questions covering the components spiritual world Don Cossacks (depending on the group);
Lesson number 2 (2 lessons). The peculiarity of the genre of the epic novel. Spiritual world of the Don Cossacks. The character of Grigory Melekhov
The character system of the novel.
Students are given the task to outline the materials of slides No. 46 - 49 in a workbook on literature.
The originality of the genre of the epic novel.
Wide spatial and temporal coverage of the narrative:
Prehistory of the Melekh family (since the end of the 50s of the XIX century).
The main action begins in May 1912.
The novel ends in March 1922.
The action takes place over 10 years, the events of 1917 divide the novel in half.
Event characteristics:
I. Global Events:
First World and Civil Wars;
February and October revolutions.
II. Events that determined the fate of the Cossacks:
Kornilov rebellion;
The rebellion of General Kaledin;
Upper Don uprising;
Podtyolkov's uprising.
All these events in Sholokhov became an integral part of the destinies of the main characters, and their destinies merged into the general flow of history.
Differences from the epic novel "War and Peace":
The absence of philosophical generalizations, reasoning about the force that “drives peoples”;
There is no theoretical substantiation of one's own historical concept;
Monocentricity of the epic (one main character Grigory Melekhov).
Student's individual message about the Cossacks as an estate (materials of slide No. 45)
Cossacks
The Cossacks are defined as a military estate in Russia in the 18th - early 20th centuries. In the XIV - XVII centuries self-governing communities of the so-called free Cossacks arise, mainly from fugitive peasants. These communities were located outside the borders of Russia, along its outskirts - on the Dnieper, Don, Volga, Ural, Terek. It was the Cossacks who were the main driving force popular uprisings in Ukraine in the 16th-17th centuries and peasant wars in Russia in the 17th-18th centuries.
The government tried not to quarrel with the Cossacks, recognized their relative independence and subjugated the Cossacks, turning them into a privileged military estate, using them to protect borders, in wars, and to pacify riots.
By the beginning of the 20th century, there were 11 Cossack troops (Don, Kuban, Terek, Orenburg, Ural, Astrakhan, Siberian, Semirechensk, Amur, Ussuri, Transbaikal). In 1916, the Cossack population consisted of 4.4 million people, owned 63 million acres of land. To the first world war about 300,000 Cossacks fought.
The beginning of the split was laid hundreds of years ago, when the less prosperous Cossacks of the northern districts, who had neither rich lands, nor vineyards, nor rich hunting and fishing industries, from time to time made raids on Great Russian lands and served as a stronghold for all rebels, starting with Razin.
Work on the theme "The spiritual world of the Don Cossacks"
The class is divided in advance into five groups, each of which works at home on a certain component of the spiritual world of the Don Cossacks (slide No. 52):
Spiritual world of the Don Cossacks
The relationship of the Cossacks and the land
Sanctity of military duty
Family relationships
The concept of clan and family for the Cossacks
Wildness of morals in the Cossack environment
When making a report, each group can use the materials of the slide film, analyzing the content of the first book of the novel, revealing the meaning of key episodes (meadow mowing, gathering Cossacks for service, quarrel between Panteley Prokofievich and Grigory, receiving a letter about Grigory's award, Grigory's wedding, the massacre of Stepan Astakhov over Aksinya, a fight between the Taurians and the Cossacks at the mill).
The character of Grigory Melekhov.
The formation of the personal qualities of the protagonist is shown based on the conditions of their occurrence. Therefore, the materials of slide No. 71 are entered by students in a workbook on literature.
The conditions that shaped the character of the protagonist of the novel
Land and work on it, military duty, family, farm, kuren are the most important components of the Cossack's spiritual world.
Further, the eleventh graders, analyzing the episodes of the meadow mowing and the killing of an Austrian soldier by Grigory in the first battle according to the plans given in slides No. 73 and 78, come to the conclusion that Sholokhov's portrait always important changes in the human psyche turning points in the fate of heroes.
Showing the inextricable connection of Grigory with the outside world, characterizing the originality of his worldview, the author uses a description of the starry landscape traditional for Russian literature. moonlit night.
Students' analysis of landscape details and language features its descriptions (slides No. 79 - 80).
horse bath episode
“Across the Don, obliquely - a wavy, untraveled lunar path. Above the Don - fog, and at the top of the star millet. The horse behind cautiously rearranges its legs. The descent to the water is bad. On the other side of the duck quack. Near the shore, in the mud, a catfish hunting for small things turned up and thumped on the water like an omaha.
Gregory stood by the water for a long time. The shore breathed damp and insipid Prelu. A fractional drop fell from the horse's lips. There is a light, joyful emptiness in Gregory's heart. Good and thoughtless. Returning, I looked at the sunrise, the blue semi-darkness had already dissipated there ”(1-1-3).
The landscape of a starry, moonlit night, traditional for Russian literature, is given here through the perception of the Don Cossack: “lunar path”, “star millet”, etc. It is no coincidence that the mention of catfish, which did not escape the attention of Gregory - not only a tiller, but also a fisherman.
Analysis of the episode of the beating of Listnitsky and the break with Aksinya.
Fragment view feature film S. Gerasimov "Quiet Don".
Students make a conclusion about the passion and determination of the protagonist of the work.
Teacher's word.
Grigory Melekhov has tremendous inner strength, which involuntarily manifests itself in his behavior and relationships with people during military service.
View slide number 84.
Question for students:
In what other episodes is this inner strength of the protagonist visible?
Conclusion about the character of Grigory Melekhov at the beginning of the First World War:
Grigory Melekhov is vitally connected with his native nature, loves all living things, has a heightened sense of self-esteem, passionate to violence.
Teacher's word.
The World War is the central historical event of the first book of the novel.
A detailed analysis by students of the landscape preceding the start of the war (questions on slide No. 88).
What is the general atmosphere of the landscape?
With what details is it created?
What is the color and sound scale of the landscape?
What epithets seem to you the most expressive?
What is the place of this landscape in the text?
What is its artistic function?
A terrible omen of a national disaster.
Preliminary landscape (slide number 87):
“Dry smoldering summer. The Don was shallow opposite the farm, and where a stray stirrup used to speed, a ford formed, bulls crossed to the other bank without wetting their backs. At night, a thick, fluid stuffiness crawled into the farm from the ridge, the wind saturated the air with the spicy smell of scorched herbs. Dead weeds were burning on the allotment, and sweet gauze hung in an invisible canopy over Obdon. At night, clouds thickened behind the Don, dry and rolling thunderclaps burst, but rain did not fall on the ground, bursting with feverish heat, lightning flashed in vain, breaking the sky into sharp-angled blue edges.
At night, an owl roared in the bell tower. Unsteady and terrible screams hung over the farm, and the owl flew from the bell tower to the cemetery, soiled by calves, groaned over the brown, haunted graves ”(1-3-1).
Teacher's word.
The key scene of the depiction of the beginning of the war is the scene of the mobilization of the Cossacks to the front. M.A. Sholokhov draws a collective portrait of the Cossacks for readers, gives speech characteristic collective hero(slides No. 89 - 90).
Collective portrait
“There was a crowd in the square. In the ranks of the horse, Cossack on the right, uniforms with different numbers of shoulder straps. Head and shoulders above the army Cossacks, like Dutch geese among the small poultry, atamans walked around in blue caps.<…>Drunk, hot faces. However, the Cossack mass, although it is called the crowd, does not seem homogeneous and faceless to Sholokhov, it consists of individual human characters, therefore, the details of portraits of individual characters, including episodic ones (a gloomy and preoccupied military bailiff, a hefty black ataman, a short Cossack woman, a sergeant-major in a red-rimmed beard, etc.)
Speech characteristics of the collective hero
War is the main theme that the characters discuss and revisit throughout the scene. However, the attitude to the impending danger among the Cossacks is different. Someone speaks of it with fear (“What about the war?”), someone - with ease and confidence in their strength (“What power can stand against us?”), Someone is indifferent to the strife of governments (“We care about they don’t care”), someone is sad only because of the ban on the sale of alcohol introduced during the war (“Monopolka was closed!”).
And yet, dissatisfaction with the war prevails in the conversation, and this is primarily due to the fact that the war tears the Cossacks from the land, from fulfilling their main grain-growing duty.
Mass scenes of the novel
In crowd scenes, the life of the Cossacks appears in an endless variety of colors, and it is no coincidence that conversations about the war are interspersed with replicas of an everyday nature, serious and comic. The writer reveals not only the mood of the Cossacks at the moment. Behind the diverse, sometimes unrelated replicas of the polyphonic dialogue, there are the historical fates of the Cossacks, their traditions and way of life.
Mass scenes are not presented in isolation in the novel; their rhythmic alternation with the narration of individual destinies gives the depicted events an amazing volume, stereoscopicity.
Work with a landscape-description of the state of nature on the Don in the first months of the war (slide No. 92).
“Where the battles were going on, shells blew up the gloomy face of the earth with smallpox: rusted in it, longing for human blood, fragments of iron and steel. At night, beyond the horizon, handy scarlet glows stretched to the sky, villages, towns, towns blazed with lightning. In August, when the fruit ripens and the bread is ripe, the sky, washed by the wind, unsmilingly gray, the rare fine days were tormented by steamy heat.
August was drawing to a close. In the gardens, a leaf turned fat yellow, from a cutting it was filled with a dying crimson, and from a distance it looked like the trees were in torn wounds and bleed with ore tree blood ”(1-3-10).
Questions for conversation (slide number 93):
What is the nature of this landscape?
What signs of war are included in the landscape?
What is the nature of metaphors and personifications?
How does the figurative structure of the passage reveal the perception of the war by the author and the hero?
Which of Sholokhov's predecessors portrayed the war in this way?
The materials of slide No. 94 are the result of the students' answers:
Thanks to unexpected metaphors, vivid personifications, one gets the feeling that nature itself is participating in the war. A similar method of depicting the war is seen in Leo Tolstoy (final scenes of the Battle of Borodino). War for writers is not a confrontation between armies, but a universal disaster.
However, the given landscape not only gives the story an epic scope, but also reveals the inner state of people who find themselves in the war. Sholokhov makes extensive use of psychological parallelism in the novel. The changes that take place in nature correspond to what takes place in the soul of each person. “Changes were taking place on every face, each in his own way nurtured and grew the iron seeds sown by the war, and all together, young Cossacks, just torn out of the villages and farms, in the atmosphere of the mortal horror going on around, resembled the stems of a mowed, withering and grass that changes its shape” (1-3-10).
Students are invited to analyze the internal state and behavior of Grigory Melekhov in the war. Here's what they should come up with:
Despite the fact that the war in the novel appears in blood and suffering, Sholokhov portrays Grigory Melekhov as a courageous warrior who deservedly received a high award - the St. George Cross. Melekhov fights fearlessly and at the same time thoughtlessly, not knowing why he sheds his own and other people's blood. But the war confronts Gregory with different people, communication with which makes him think, and not only about the essence of the war itself, but also about his own life, and about the world in which he lives (slide number 95).
Familiarization of students with the system actors and views on the life of the heroes surrounding Grigory Melekhov (slides No. 96 - 98).
The system of characters in the novel, centered on Grigory Melekhov, is built in such a way that next to the main character there are characters embodying polar views and life positions. Grigory Chubaty and Garanzh became such poles during the World War.
Gregory and life philosophy Chubatoy
“Chop a man boldly. He is soft, a man, like dough, - Chubaty taught, laughing with his eyes. - You do not think how and what. You are a Cossack, your job is to cut without asking. In battle, killing the enemy is a sacred thing. For each slain, God will give you one sin, just like for a snake. You cannot destroy an animal without need - a heifer, say, or whatever - but destroy a person. He is a filthy man ... Evil spirits, stinks on the ground, lives like a toadstool mushroom ”(1-3-12).
Such an inhuman position, even in conditions of war, turns out to be unacceptable for Gregory. Therefore, he shoots at the forelock, when he cut down the captive Magyar for nothing.
“... and if I had killed you, there would have been one less sin in my soul,” he would later say (1-3-20).
Garanga's views
Tired and disappointed, wounded in the head, Grigory ends up in Snegirev's Moscow eye clinic, where fate brings him to Garanzha. The wounded Ukrainian machine gunner was dissatisfied with everything: “Why are we fighting with you, boy?<…>We fought for the bourgeois, do you hear? What is it - bourgeois? The bird is so alive with hemp.<…>You say - for the king, but what is it like - the king? The king is a capplyuga, the queen is a whore, an increase in the lord's pennies from the war, and on our neck ... a noose. Do you hear? Axis! The hvabrykant drink vodka, - the soldier beat the louse, it’s hard for both ... The hvabrykant with a profit, and the worker is naked, it’s all right and plastered ... serve, Cossack, serve! (1-3-23)
Gregory was sunk into the soul of Garanzhi's instructions, which contained Bolshevik ideas.
Teacher's word.
In conclusion of this lesson, it should be noted that the basis for creating the image of the protagonist of the work by the author is the principle of the bipolarity of his nature. This is manifested in the hesitation of Grigory Melekhov when choosing a life position and in his love feelings.
Students get acquainted with the materials of slides No. 100, 101, outline the diagram in a workbook and comment on the conclusion about the characteristics of the main character.
Grigory Melekhov - natural nature; a person acting under the influence of momentary desires or under the pressure of external circumstances. He is not able to assess the consequences of his actions, but, committing reprehensible ones, he remains honest and sincere.
Homework:
A) prepare an individual report on the situation of the Cossacks in 1917;
C) answer the questions:
How does Sholokhov depict the changes in the mood of the front-line Cossacks in the period from February to October 1917? (materials of slides No. 195 - 114);
What choice did the revolution put Grigory Melekhov before? (materials of slides No. 115 - 117)
Lesson number 3 (2 lessons). The search for truth by the heroes of the work. Concrete-historical and universal in the novel. Techniques for creating and the significance of mass scenes in the epic
Students' individual report on the situation of the Cossacks in 1917 (Microsoft Word document - link from slide No. 106).
Conclusion (materials of slides No. 105 - 106):
All the Cossacks are drawn into an unprecedented confrontation between various political forces, and the government of Kerensky, and General Kornilov, and the Bolsheviks are striving to rely on the Cossacks, to make them their ally. The confusion that gripped the Cossack ranks after the overthrow of the emperor was especially vividly conveyed by Sholokhov in numerous mass scenes.
Students work on a detailed analysis of episodes with mass scenes.
(The class is divided into five groups, each of which analyzes one mass scene, making a conclusion about the nature of the behavior and mood of the Cossack masses.)
Spontaneous meeting about the order to return to the front (Chapter 8).
Conversation in the car after the rally (Chapter 8).
Unloading from the echelon of a hundred who refused to participate in the campaign against Petrograd to stop the beginning of the unrest (Chapter 15).
A rally at which Kalmykov reads Kornilov's telegram (Chapter 17).
Departure of the Cossacks Palace Square(chapter 19).
The result of the work of eleventh graders is summed up by the teacher:
The role of mass scenes in the novel (slide number 114)
Numerous mass scenes make it possible not only to present the whole variety of moods of the Cossacks-front-line soldiers on the eve of the October events, but also to see the dynamics of this mood, to trace how and why the psychology of the Cossack masses is changing, to realize what motivates the position of a significant part of the Cossacks at the turn of two historical eras.
Teacher's word.
The October Revolution, which split the whole world, and the Cossacks in particular, into friends and foes, put every Cossack before an inevitable choice. The protagonist of the novel, Grigory Melekhov, also faces such a choice. And again different people inspire him with different truths.
Question for students:
How does communication with Izvarin and Podtelkov affect Grigory? (materials of slides No. 115 - 117).
The search for truth for Gregory is not an abstract task, but a problem life choice, because they occur at the moment of the most acute confrontation between various political forces that decide the fate of the Cossacks and the whole country.
In Gregory, an illiterate and politically naive person, there is a desire to find the truth, to find his place in life, to find what is worth serving.
Question for students:
What events influenced the main character's sharp fluctuations from the "Red Faith" to the White Guards and, as a result, to the desire and desire to live in the interests of his family, his home?
Mirror scenes of the novel:
Reprisal against Chernetsov residents (2-5-12);
Execution of Podtelkovites (2-5-30).
Student's individual report "Don at the end of 1917 - beginning of 1918" (materials Microsoft document Word - link from slide No. 118).
Negotiations in Novocherkassk (slide number 118)
The moment of the most acute confrontation between various political forces that decide the fate of the Cossacks and the whole country. An example of this is the scene of the arrival in Novocherkassk for negotiations with the Kaledin government of the delegation of the Military Revolutionary Committee, headed by the same Podtelkov (2-5-10). Through the rampant crowd, ready to tear apart the "traitors of the Cossacks", the delegates are guarded by officers who themselves are eager for reprisals against them. The negotiations came to nothing. And during them, Chernetsov's detachment began military operations against the "Red Cossacks".
Analysis of the scene of the massacre of Chernetsovites according to a certain plan (materials of slide No. 121).
Questions for conversation:
1. What details most clearly express their internal state?
2 What motivates the behavior of these characters?
3. How and why does Grigory Melekhov behave in this scene?
4. Why are the details of the portraits of executed officers included in the episode?
5. How is the depiction of "enemies" related to Melekhov's act?
6. What is the meaning of Minaev in his phrase that ends the episode?
After an independent analysis (collective conversation), students get acquainted with the materials of slides No. 122 - 128.
Podtelkov and Chernetsov
The behavior of Podtyolkov and Chernetsov clearly embodies that force of hatred, that force of enmity that divided the Don: “Podtelkov approached him point-blank. He was trembling all over, his unblinking eyes crawled through the pitted snow, rising up, crossed with Chernetsov's fearless, contemptuous gaze and broke him with the weight of hatred.<…>Grinning, turning pale, Chernetsov, pressing his fists to his chest, leaning forward, walked towards Podtyolkov. The confrontation between the warring parties appears here with stunning clarity.
Gregory's behavior
Only one Grigory Melekhov, fighting on the side of the Revolutionary Committee, is trying to protect an unarmed enemy from massacre: “everything inside him was trembling”, “Grigory touched<…>horse, jumped, forgetting about the wound, from the saddle and, shot through with pain, fell backwards.
Giving details of the portrait characteristics of the executed officers, Sholokhov seeks to emphasize that we are facing people. This makes Grigory's act psychologically justified: the hero stands up not for the enemy, but for the person.
"Revolutionary humanism" (final massacre)
“Grigory at the first moment, as soon as the massacre began, broke away from the cart, - not taking his eyes filled with dregs from Podtelkov, limping, he quickly hobbled towards him. From behind, Minaev grabbed him across, - breaking, twisting his arms, took away the revolver; Looking into his eyes with faded eyes, gasping for breath, he asked:
How did you think?
In this short phrase Minaeva - an attempt to justify violence and cruelty by "higher" interests, the interests of the revolution, the victorious class; an attempt to establish the so-called "revolutionary humanism".
Experiences of Gregory
“He also broke his fatigue, acquired in the war. I wanted to turn away from everything seething with hatred, hostile and incomprehensible world. There, behind, everything was confused, contradictory. It was difficult to find the right path; as in a swampy gati, the soil rippled underfoot, the path was crushed, and there was no certainty whether it was going along the right one. He was drawn to the Bolsheviks - he walked, he led others, and then he took thought, his heart went cold. “Is Izvarin really right? Whom to lean on?"
“But when he imagined how he would prepare harrows, carts for spring, weave a manger out of red steel, and when the earth undresses and dries, he will leave for the steppe; holding on to the chapigi with hands that are bored with work, he will follow the plow, feeling its lively beating and tremors; imagining how he would inhale the sweet spirit of young grass and the black earth raised by plowshares, which had not yet lost the insipid aroma of snow dampness, it warmed his soul. I wanted to clean up cattle, throw hay, breathe in the withered smell of sweet clover, wheatgrass, and the spicy smell of manure. I wanted peace and silence…” (2-5-13)
The sanctity of the family hearth
In the most tragic moments, in moments of disappointment and confusion, Grigory turns his thoughts to the house, to native nature to peasant labor. It is the house that gives the hero peace of mind. The atmosphere of the native home gives rise to the hero's desire to get away from the struggle. Gregory loses faith in both whites and reds, and only with his family, with his home, he feels an inextricable connection. And it’s not his convictions that make him still go to serve on the side of the whites, but his dual position in his native farm: the Cossacks respect Grigory as a brave warrior, but they cannot forgive the service of the Bolsheviks.
Watching a film fragment and discussing the episode of the execution of the Podtelkovites
(questions for conversation - slide No. 129).
Questions for conversation:
How does Grigory perceive the execution of Podtelkov?
Why is he leaving the square?
What is the similarity of this scene with the episode of the execution of prisoners near Glubokaya?
What is the meaning of such a "mirror reflection"?
How do these episodes reveal the character of the protagonist of the novel?
How did these two executions determine his future fate?
Gregory's attitude to what is happening
Grigory perceives this execution as a just retribution, as evidenced by his passionate monologue addressed to Podtelkov: “Do you remember under the Deep Battle? Do you remember how the officers were shot... They shot at your order! BUT? Now you win back! Well, don't worry! You are not the only one to tan other people's skins! But, despite this, he leaves the square without waiting for the execution, because for Gregory, a warrior and humanist, the massacre of the unarmed is disgusting, no matter what it was caused by.
Grigory's condition after the execution of the Podtelkovites
The hero of the novel does not find the truth on any of the opposing sides. Everywhere he sees only deceit and cruelty, which, it would seem, can be justified, but which the very human nature of Grigory Melekhov rejects.
Teacher's word.
However, there are heroes in the novel who, at first glance, found their truth. Let's leave the protagonist for a while and turn to the image of Ilya Bunchuk, to whom the author assigns a significant place in the second book of the epic novel.
The life path of a hero (slide number 134)
Ilya Bunchuk, a convinced Bolshevik who went through a harsh school of life and consciously embarked on the path of revolutionary struggle. Very little is known about his past, but even the short memories of the hero testify deeply moral character his life choices. Heavy military memories and a meeting with a drunken girl (2-4-27) that arose in my memory explain Bunchuk's hatred for the existing world order, the desire to rebuild the world on the principles of equality, to put an end to the war. These aspirations of the hero completely coincide with the ideas proclaimed by the Bolsheviks.
Questions for conversation with students (slide number 135):
In what episodes does Bunchuk's loyalty to the Bolshevik party manifest itself most forcefully?
What distinguishes the relationship between Anna and Bunchuk from the love of the main characters of the novel?
What do these heroes put above personal happiness?
How does the portrait reveal the state of mind of Bunchuk during his service in the Revolutionary Tribunal?
Why does the hero not refuse the work entrusted to him?
Why did the dream of having a son turn out to be unrealizable for the hero?
How did Anna's love affect Bunchuk?
In what state is the hero after the death of his beloved woman?
After the conversation, students can familiarize themselves with the information on slides No. 136 - 142.
The execution of Yesaul Kalmykov
The staunch, unshakable faith of Bunchuk in the Bolshevik ideals, devotion to the party and Lenin is vividly revealed by the scene of the execution of Yesaul Kalmykov (2-4-27). When Kalmykov calls him a scoundrel, a traitor, a traitor, spits in his face, Bunchuk restrains himself, but when the captain calls the party "a gang of vile scum of society", and says about Lenin that he "sold Russia for thirty German marks", Bunchuk explodes: "Get up to the wall!"
Personal and social for Bunchuk
The image of the hero is given in the novel not just as an image of a “fighter for an idea”, and his character is revealed not only in revolutionary work, but also in love for Anna Pogudko. This love is devoid of that poetry, that high drama that is filled with the love of Grigory and Aksinya, but, nevertheless, this storyline allows the author to avoid schematism in the image. Moreover, the personal and the social are inseparable in Bunchuk. His activities on the Don are connected with the work of the revolutionary tribunal, with the daily executions of the "counter-revolutionary element." He considers such work dirty, it exhausts him, but he is not going to leave from there, because he believes that it is beneficial: “rakes up evil spirits, fertilizes the earth so that it is fatter.” Bunchuk hopes that his son will walk on the cleansed, fertile land, which is not there ... Blind faith in a happy future and readiness for the most terrible sacrifices for it are characteristic features of the revolutionary mentality. Moreover, the transpersonal goal becomes deeply personal for Bunchuk: the mention of his son.
The troubled conscience of a hero
The conscience of the hero is restless, because, "destroying human dirty tricks", he has to shoot the Cossack workers. It is no coincidence that he cannot forget the hands of one of the executed: "... he touched his hand, and it, like a sole ... callous ... Sprouted with solid calluses ... Black palm, torn ... all covered in abrasions ... in bumps ..." Without disputing either the ideas of the revolution or its ultimate goals, Bunchuk unconsciously feels the deepest doubts about the justice of the methods of revolutionary struggle.
The impossibility of justifying the monstrous sacrifices of today with tomorrow's happiness, the impossibility of growing a beautiful garden for a son on the blood of the executed is also confirmed by the fact that it is the service in the Revolutionary Tribunal that robs Bunchuk of the opportunity to become a father.
Anna's death
The death of Anna finally broke Bunchuk: “These days he lived as if in a typhoid delirium. He walked, did something, ate, slept, but all this seemed to be in a half-sleep, stupefying and intoxicating. With stunned, swollen eyes, he looked incomprehensibly at the world spread around him, did not recognize his acquaintances, looked like he was very drunk or had just recovered from a debilitating illness. From the day Anna died, his feelings atrophied in him: he didn’t want anything, he didn’t think about anything ”(2-5-26). The death of Anna was for Bunchuk not only the loss of a loved one, but also the final collapse of hopes for the birth of a son, which made all his activities meaningless.
Execution of Bunchuk
Questions for conversation:
How is Bunchuk depicted before his execution?
What are his last wishes?
What role does the image of a woman with a child play in the episode?
Before the execution...
“Bunchuk wanted to look again and again at the gray haze of the sky, at the sad earth on which he had been wandering for twenty-nine years. Raising his eyes, he saw a close formation of Cossacks fifteen paces away: one, large, with squinted green eyes, with a bang that fell from under the visor onto a white narrow forehead, leaning forward, tightly compressing his lips, aimed at him - Bunchuk - right in the chest. Even before the shot, Bunchuk's hearing was slashed by a bursting cry; turned his head: a young freckled woman, jumping out of the crowd, runs to the farm, with one hand clutching the child to her chest, with the other - closing his eyes ”(2-5-30).
Image "not a stamp"
How different this sad farewell to life is from the scene of the death of a revolutionary fighter, traditional for Soviet literature! And again there is a motif closely associated with the image of Bunchuk: a young mother seeks to protect her child (son?) from a horrifying picture of violence.
By the time of the creation of the second book of The Quiet Flows the Don, the stereotypical image of an unbending Bolshevik, a knight without fear and reproach, a “leather jacket” had already formed in literature. The author of the Cossack epic managed to avoid the stamp.
Question for students:
What is the symbolic meaning of the finale of the second book of the work? (materials of slides No. 143 - 144)
The symbolic meaning of the final book II of the novel
The second book ends with the death of Jack. But its ending has a symbolic meaning.
“After half a month, a tiddly mound was overgrown with plantain and young wormwood, wild oats sprouted on it, colza turned yellow on the side, lyubushka-melilot hung in shaggy tassels, it smelled of chobor, milkweed and honeydew. Soon an old man came from a nearby farm, dug a hole in the head of the grave, and erected a chapel on a freshly planed oak abutment. Under its triangular canopy, a mournful face glowed in the dark Mother of God, below, on the eaves of the canopy, the black ligature of the Slavic letter fluffed:
In a time of turmoil and depravity
Do not judge, brothers, brother.
The old man left, and the chapel remained in the steppe to mourn the eyes of passers-by and passers-by with an eternally dull look, to awaken an indistinct longing in their hearts.
Life-giving force of nature
“And yet - in May they fought near the chapel of the steppe, knocked out a dot in the blue wormwood, crushed the green spill of the ripening wheatgrass near: they fought for the female, for the right to life, to love, to reproduce. And a little later, right next to the chapel, under a tussock, under the shaggy cover of an old wormwood, the little bustard female laid nine smoky-blue spotted eggs and sat on them, warming them with the warmth of her body, protecting them with a glossy feathered wing ”(2-5-31) .
Sholokhov contrasts the fratricidal war, the mutual cruelty of people with the life-giving force of nature.
B) analyze one of the proposed landscapes according to the following plan: Plan for working with the landscape (slide No. 147)
mood and intonation.
Color spectrum.
The role of the artistic detail.
Linguistic originality.
Connection with the plot of the novel and the psychological state of the characters.
Epic and lyrical beginning.
artistic function.
Steppe landscape, anticipating the story of the service of Mishka Koshevoy as an atar (Chapter VI);
Image of nature on the eve of the first battle of a hundred under the command of Grigory Melekhov with the retreating units of the Red Army (Chapter VIII);
Picture of the spring emancipation of the earth (chapter X);
Landscape of the Tatar farm, where the deserted Cossacks returned (chapter XIII);
Image of the Don (chapter XXIV);
Description of nature before the conversation between Natalya and Gregory, who returned home for a short time (chapter XLVI);
Image of a snow drift (chapter L);
The episode of the retreat of the rebel troops (chapter LIX).
C) prepare individual messages: “The Great Don Army”; "The policy of decossackization";
"Vyoshensky rebellion".
D) prepare individual reports about Mishka Koshevoy and Mitka Korshunov (message plans - slides No. 155 - 156).
Lesson number 4 (2 lessons). The problem of "general" and "private" truth. The nature and functions of the Sholokhov landscape. The originality of the language manner of the author
Checking homework: listening to 3 messages - comments on the functions of landscapes.
Conclusion (slide number 148):
1. Psychological parallelism: the landscape, remaining an independent, absolutely complete picture, at the same time serves as an important means of revealing the hero's state of mind (3-6-50).
2. Epic parallelism: the borderline state of nature is a clear parallel to the state of Cossack farms (3-6-19).
3. Lyrical landscape: mood, feelings of the author (3-6-6).
The paintings are accurate, conveying in the smallest detail the features of the nature of the Upper Don, expressive, thanks to their vivid metaphor and colorful language, have an independent artistic value. But they are always connected either with the internal state of the characters, or with the plot movement of the novel.
Teacher's word.
We again return to the topic of the search for truth, especially since the events of Book III fill these searches with even greater drama.
The epigraph to this stage of the lesson will be the words spoken to Gregory by his brother Peter (slide No. 149):
“Look how the people were divided, bastards! As if they drove with a plow: one - in one direction, the other - in the other, as if under a plowshare. Damn life and terrible time!” (3-6-2)
Students write the epigraph in their workbooks.
This division of the Cossacks is especially clearly manifested in the conversation of Grigory with Ivan Alekseevich Kotlyarov and Mishka Koshev (3-6-XX).
Eleventh graders read this passage aloud to the class.
Questions for conversation:
Who and what attracts Soviet power?
Who does not need Soviet power?
Why can Grigory Melekhov's words about the new system be considered prophetic?
What is the meaning of the truth that the protagonist of the book is looking for?
After the conversation, students can familiarize themselves with the materials of slides No. 150 - 153.
Question for students:
How does class truth differ from universal truth?
class truth
Serving private, class truth, no matter what class it may belong to, always leads to cruelty, violence, to the destruction of human ties: tribal, family, neighborly, friendly. And the class truth is asserted, as a rule, by force.
Teacher's word.
Heroes serving the class truth, mirroring each other in their individual life path:
Mikhail Koshevoy;
Mitka Korshunov.
The class hears individual messages from students.
about Mikhail Koshevoy (plan - slide No. 155),
Mitka Korshunov (plan - slide No. 156).
Conclusion (view slide number 157):
Specularity of compositional solutions
The sworn enemies, Koshevoy and Korshunov, commit extremely similar acts - first of all, with incredible cruelty and cynicism: Mishka kills Pyotr Melekhov, drives Grigory out of his home, which does not prevent him from marrying Dunyashka, on his conscience and the death of his grandfather Grishaka; Mitka is the first to volunteer to execute the Podtelkovites, brutally destroys the Koshevoy family. And although the author's likes and dislikes are obvious, for modern reader these two heroes are not antipodes (by the way, Grigory Melekhov, in a conversation with Prokhor Zykov, admits: “For me they are of the same price”).
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The reality of war in the pages of the novel.
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Task 1. The war in the novel is the antithesis of the norm of life. What episodes and how confirm this idea?
See how war enters the world of the heroes of the novel? (part 3, ch. III)
Find lyrical digressions (part 3, end of chapter VI, beginning of chapter X, beginning of chapter XVI). Determine the cross-cutting thought that unites them.
What role does the diary of the former student Timothy play in the narrative of the war (Part 3, Ch. XI)?
Sholokhov uses Tolstoy's technique, talking about the Cossack Kryuchkov and his feat (part 3, ch. VIII-IX). What is the essence of this technique and why does the author need it?
Task 2. War is a test of humanity for every person. What episodes and how confirm this idea? (part 3)
What is the meaning of the antithesis: Alexey Uryupin, nicknamed Chubaty, - Grigory Melekhov? And how is it implemented?
What is the meaning of the antithesis: Yevgeny Listnitsky - Grigory Melekhov? And how is it implemented?
Task 3. War is a test of the world - for the ability to stability and rebirth, to preserve the covenants and shrines in it. What episodes and how confirm this idea?
On pages 3 and 4 of parts we meet Bolshevik agitators Garanzha (Part 3, Ch. XXIII) and Bunchuk (Part 4, Ch. XIII). Why are they successful with their listeners?
How does the author create the image of Lavr Georgievich Kornilov on the pages of part 4? Try to determine the attitude of Sholokhov to this person? Why does he often use documentary evidence - letters and telegrams from Kornilov? (Ch. XV, XVI, XVII, XX)
Can Atarschikov (Part 4, Ch. XI, XIX) and Kalmykov (Part 4, Ch. XVII) already be considered victims of the civil war, although it is yet to come? Why?
CONCLUSIONS: …
Practical work on part 6 of the Quiet Flows the Don. M.A. Sholokhov.
Alien ("Nowhere to go!"). The path of the hero in the civil war.
1. The main events of the 6th part, dedicated to the Veshensky uprising, precede the chapters on the sluggish opposition of the Cossack self-defense units to the Reds advancing from the north (ch. 2, 8-10). Highlight the most striking episodes that show us the mood of the Cossacks and the thoughts of Gregory consonant with him. Nevertheless, it is already clear here: a stranger… How does this manifest itself?
2. The first meeting of the Melekhovs with the Red Army takes place in their home. What did this meeting convince Gregory of (ch. 16)?
3. Why, after all, Grigory Melekhov adjoins the Cossacks who rebelled against the Bolsheviks?
Wed from the point of view of literary critics: 1) In the main character, “the writer sharply exposes terrible, bestial features - the face of the owner” (N. Dragomiretskaya, 1958); 2) “To the common, Cossack - as they understand it, - Gregory is devoted with all his heart ... And least of all he cares about personal self-interest ...” (V. Litvinov, 1980).
4. See the disputes about power that Gregory leads with the Bolsheviks Koshev and Kotlyarov (ch. 20). Who do you think is closer to the truth in their observations and conclusions?
5. How does the novel talk about the causes of the Veshensky uprising (ch. 19, 22-23, 26-28, 39, etc.)?
6. Here we see Gregory at the time of the greatest external successes: the commander of the Veshensky regiment, then a division in the army of the rebel Upper Don district. Is his path clear now (ch. 36, 44, 46)?
7. See antitheses and parallels in the system of images in part 6. What characters are compared by the author and in what way?
CONCLUSIONS: …
Final questions and tasks for a written survey
based on the novel by M.A. Sholokhov "Quiet Flows the Don"
1. Follow storyline hero (Mikhail Koshevoy, Aksinya, Natalya, Mitka Korshunov - according to options) in the form of a plan. Make a generalization about the character embodied in this character.
2. What role do love stories play in the narrative secondary characters novel? (On two or three examples.)
3. In work of art one of the important tricks is the introduction of the hero's dream. What "dreams" do we find in the novel "Quiet Don". What are they about? What is their meaning? (On two or three examples.)
4. In what episodes of the novel does the author introduce the song? What role do Cossack songs play in the artistic structure of the novel? (On two or three examples.)
5. In The Quiet Don, the author often uses parallel scenes. Give examples of such parallelism. What is the point of juxtaposing your chosen scenes?
6. See the final scenes of parts of the novel. Determine their ideological and artistic meaning, their role in the composition of the part, the novel.
Get ready
to the essay (analysis of the episode):
Most tragic pages novel by M.A. Sholokhov "Quiet Don".
Test on the creativity of M.A. Sholokhov. 11 class 1 option
1. Indicate the years of life of M. Sholokhov
A) 1905-1984
B) 1895-1950
B) 1900-1985
D) 1910-1990
2. The first collection of stories that made the name of M.A. Sholokhov famous was called:
A) Azure steppe
B "Don stories"
C) "Strange blood"
D) "The Science of Hate"
3. What estate does M. Sholokhov depict in his works
A) merchants
B) the peasantry
B) Cossacks
D) nobility
4. Which description does not apply to Grigory Melekhov:
5. What prize was Sholokhov awarded for his novel Virgin Soil Upturned?
a) Stalinist;
b) Nobel;
c) Leninskaya.
6.. In what year does the novel "Quiet Flows the Don" begin?
a) 1912; 6) 1913; c) 1914.
7. Why were the Melekhovs called "Turks", "Circassians"?
A) because they had an unbridled character?
b) because they were desperately brave
C) because the grandmother of Grigory Melekhov was Turkish
8. When did the wedding of Gregory and Natalia take place?
a) at Easter
b) a meat eater;
c) at Christmas.
9. What war did Prokofy Melekhov participate in?
a) In Russian-Turkish 1828-1829;
b) in the Crimean;
c) in Russian-Turkish 1877-1878.
10. There are no episodes in Sholokhov's novel "The Quiet Flows the Don":
a) World War I
b) civil war
c) Vel. Patriotic War
d) the establishment of Soviet power
11. What is the fate of Aksinya in the novel?
A) dies from a random bullet
B) connects his fate with the fate of Gregory
C) was shot as an accomplice of the White Guards by Mikhail Koshev
D) committed suicide by drowning herself in a river
12. What American novel can be compared to The Quiet Flows the Flowston and why?
13Grigory Melekhov was awarded in the First World War
a) the St. George Cross c) the Order of A. the First-Called
b) medal "For Courage" d) home leave
14. The Civil War is depicted by Sholokhov to show
a) the heroism of the Red Army c) the tragedy of the people
b) white heroism d) its inevitability
15. The researcher of Sholokhov's creativity V. N. Sobolenko calls
the author of "The Quiet Flows the Don" "the author of the Iliad of the 20th century." What do you think this opinion is based on?
16. What artistic technique used in the title of Sholokhov's novel?
18. Why was Grigory Melekhov chosen as the main character? In what episodes is the personality of Gregory most clearly revealed?
Test on the creativity of M.A. Sholokhov. 11 grade 2 option
1 . In what year was The Quiet Flows the Don first published as a separate book?
a) 1938;
b) 1941;
c) 1953.
2. In what year did Sholokhov receive the Nobel Prize?
a) 1958;
b) 1965;
3. Which group of Cossacks did the Melekhovs belong to?
A) Cossack aristocracy (kulaks)
B) strong Cossacks (middle peasants)
C) poor poor Cossacks)
4. What does the author not accept in the heroes of the novel "Quiet Flows the Don"?
A) pride
B) industriousness
B) compassion
D) senseless cruelty
5. The word "Cossack" is of Turkic origin. What does it mean in translation into Russian?
a) robber
B) warrior
B) a farmer
D) daring
A) as a senseless, cruel war
B) as a just war waged for the sake of freedom and equality of estates
C) as to the opposite human mind
D) as tragic but inevitable events
7. For what purpose does Sholokhov introduce battle scenes:
a) show the heroism of the people
b) show what war does to a person,
c) show the senselessness of war
d) raise the spirit of the people
8. The novel by M. A. Sholokhov "Quiet Flows the Don" was completed in
a) 1928, c) 1940
b) 1932 d) in 1946
9. How long does the action of the novel "Quiet Flows the Don" last?
A) 12 years b) 10 years c) 20 years d) 5 years
10. In the image of Grigory Melekhov embodied:
A) traits of selfish, individualistic
B) typical features of the Cossacks
C) the best features inherent in the Cossacks
D) features unusual for the Cossacks
11. What American novel can be compared to "Quiet Don" and why?
12. Which description does not apply to Grigory Melekhov:
a) “Medium height, thin, eyes set close to the fleshy bridge of the nose brightened with cunning”, “an oblique transverse wrinkle, scarring ... the forehead, moved slowly and heavily, as if pushed from within by the course of some hidden thoughts”;
b) “... he threw a hat on the snow, stood, swaying, and suddenly gritted his teeth, groaned terribly and, with a distorted face, began to tear the fasteners of his overcoat”;
c) There is no single truth in life. It can be seen whoever defeats whom, he will devour him. And I was looking for the bad truth. My soul ached, swayed back and forth ”;
d) “Mishatka looked at him in fright and lowered his eyes. He recognized in this bearded and scary person father."
13. What genre tradition is not in the novel "Quiet Flows the Don":
A) Cossack epic b) family saga c) love story d) adventurous romance e) military-historical chronicle f) philosophical and existential parable
14. What, from the point of view of D. Bykov, did M. Sholokhov succeed in The Quiet Don best of all?
15. The researcher of Sholokhov's work V. N. Sobolenko calls the author of The Quiet Flows the Don "the author of the Iliad of the 20th century." What do you think this opinion is based on?
16. How does Sholokhov feel about his hero Grigory Melekhov? Executes, punishes or sympathizes, worries, suffers along with his hero? What feelings does the writer evoke for the character?
17. What classic model did M. Sholokhov follow in the novel Quiet Flows the Don?
18. In your opinion, does Sholokhov manage to "transmit the movement of the human soul" using the example of the fate of Grigory Melekhov? What is the tragedy of Grigory Melekhov?
The name of Mikhail Alexandrovich Sholokhov is known to all mankind. His outstanding role in world literature of the 20th century cannot be denied.
The works of M. Sholokhov are likened to gigantic epoch-making frescoes, and the novel The Quiet Flows the Don in terms of the power of artistic generalization becomes on a par with Leo Tolstoy's War and Peace.
By the power of his talent, Sholokhov in the epic "Quiet Flows the Don" gave the historical events depicted with the utmost concreteness such a wide generalizing meaning that it excites and will excite as long as there is a need to wage a liberation struggle on the planet.
The Quiet Flows the Don is the largest epic novel of the 20th century. In it, the artist discovered not only his own heart, but also the hearts, minds, souls, experiences of all the people he writes about. The Quiet Don is snatched from the ocean of folk life in all the naturalness and independence of its own existence, just as independently of any individual person as the life of the steppe, mountains, the swaying of forests, the movement of clouds, the sound of folk Cossack songs.
The songs of the people, both sad, and mischievous, and majestic, and poetic, “sound” throughout the entire novel, giving special brightness to certain events, revealing the souls of the heroes of the novel.
Already at the beginning of the novel, Sholokhov chose old Cossack songs as an epigraph:
Not with plows, our glorious little land is plowed up ...
Our land is plowed with horse hooves,
And the glorious land was sown with Cossack heads,
Our quiet Don is decorated with young widows,
Our father, the quiet Don, is blooming with orphans,
The wave in the quiet Don is filled with paternal,
maternal tears.
This song reveals the essence of the novel - full of tragedy. And as in an old song, the Cossacks fight for their native land, generously water their own and other people's blood, the Cossacks plow the steppe with the wrong thing, they sow it with the wrong thing; Terrible harvests will then be gathered by mothers and widows.
The ferocious twentieth century of the Don lands does not spare: it escaped into every village, every hut, now, returning home, the Cossacks do not find their home the same, many people died: Grigory Melekhov missed seven relatives by the time of his last return to Tatarsky, crossed the family forever Listnitsky, the kurens and the "white" Korshunov and the "red Koshevoy" were burned to the ground. Only the “quiet” Don, who has never known peace, is outwardly calm.
But just as the generous flow of the quiet Don does not dry up forever, so do the Don Cossacks: many laid down their heads in the endless steppes near the Don, many were crippled both bodily and spiritually by the war, but the will to live in the Cossacks was not killed and they compose songs about the Don.
Oh you, our father quiet Don!
Oh, what are you, quiet Don, mutnehonek flowing?
Oh, how can I, quiet Don, not cloudy leaks!
From the bottom of me, quiet Dona, cold keys are beating,
In the middle of me, quiet Dona, a white fish stirs.
Mikhail Sholokhov began working on the epic The Quiet Flows the Don in 1925 and devoted almost 15 years to this novel.
The novel consists of four books.
In the first two parts of the first book of The Quiet Don, Mikhail Sholokhov gives a broad picture of the life of the Don Cossacks on the eve of the First World War.
From the first chapters of the novel, when we plunge into the working life of the Melekhovs, a feeling of pleasure and happiness covers us: fishing, haymaking, Peter's family gatherings in a military camp for service.
And what are the farewells without songs?
…on the! Let's play service?
Stepan throws back his head, clearing his throat, starts in a low sonorous voice:
Oh you, zorenka - lightning
Rising early to heaven...
Young, here she is, a woman
Went late...
The first hours of the morning are full of peace and joy: Daria is milking cows, the old man Pantelei Prokofievich set off with young Grishka on a longboat across the Don. At the beginning of the novel - their rhythms. Rhythms of serenity and peace. And the songs are peaceful, serene.
Duda deck,
where were you?
She guarded the horses.
What did you watch out for?
horse with saddle
with gold trim...
An inexhaustible life flows under the roof of the Melekhovsky house, full of strength, work, joy, bitterness, love, passions; in its hour of birth and death.
Here is the river, here is the bridge,
And who brought us
We would you-pi-and-whether.
And in the bedroom, a continuous woman's squeal:
And to help - someone's senile, rattling, like a hoop on a barrel, a male voice:
Lost, uh, lost, uh
Oh, flying through other people's gardens,
Bitter berry-viburnum pecking.
Walk, good people!
Try the lamb.
Bitter-ah! …“
Sholokhov, using folk songs and jokes emphasizes the daring, rollickingness and genuine humor of the Cossacks.
The epic "Quiet Flows the Don" is permeated with consistent historicism. And this is all the more striking because the writer does not hide his blood connection with the Don, his love for people, the nature of the Don, folk Cossack songs, boldly breaking the majestic course of the epic with powerful bursts of lyrics. The author's lyrical appeals to the Don steppe, to the Cossack mother, sincere landscapes, Cossack folk songs entered the classical repertoire.
Whirlwinds of time swept over the house of the Melekhov family, tore off the roof, scattered people, forever, irretrievably destroyed the former order.
Having broken the forces of the former patriarchal cohesion, depriving each of the Melekhovs of family protection, a saving paternal shelter, history has put all of them as if on a "blowing" - under its furious winds, whipped and tested everyone, not feeling any pity for anyone or anything.
And completely different songs, songs full of sorrow and sadness are heard far from home, relatives and people close to the heart.
"And in the evening in the opal June crown in the field by the fire:
The Cossack went to a foreign land far away
On his good raven horse,
He left his country forever ...
The silver tenor is killed, and the basses spread a velvety thick sadness:
He will not return to his father's house.
The tenor takes a stepped height, grabs the most bare:
In vain his young Cossack
Looks north all morning and evening.
Everything is waiting, she is waiting - from a distant land
When will her dear Cossack - the soul will fly.
And there, behind the mountains, where blizzards wind,
In winter, severe frosts crackle,
Where the pines and firs moved menacingly,
Cossack bones lie under the snow.
Cossack, dying, asked and prayed
Pour a big mound in his head.
Basses yearn with him:
Let go on that on the mound native viburnum
Grows and shrinks bright colors.
At another fire - less often to the people and the song is different
Oh, from the violent sea and from the Azov
Ships are sailing to the Don.
Returns home
Ataman is young.
And these folk songs show how sad and painful it is to be away from home.
The third part of the first book mainly shows the fighting on the fronts of the first imperialist war of 1914. Using folk songs, the author gives a special flavor to certain events. Here they are taking trains of Cossacks with regiments and batteries to the Russian-Austrian border.
There are conversations in the carriages, but songs are heard more often.
Excited, excited
Orthodox Quiet Don.
And obediently responded
At the call of the monarch, he
The life of the Cossacks is changing, the songs are changing, they become sad, filled with longing for their homeland, relatives and friends. The author emphasizes this with words from the songs.
“The Cossacks have changed radically compared to previous years. Even the songs - and those were new, born of war, painted with black despondency. In the evenings, passing by a spacious factory barn where a hundred people lived, Listnitsky most often heard one song, dreary, inexpressibly sad...
Oh, yes, my promiscuous side,
I won't see you anymore.
Nightingale at dawn in the garden.
And you, my degenerate mother,
Don't be sad for me.
It's not all the same, my dear,
They die in the war.
And the eyes “moisten with tears, sharply and sweetly cuts the eyelids.”
I'm going, I'm going through an open field,
The heart feels in me
Oh, yes, the heart feels, it portends -
Do not return the young man home.
In the second book of the novel Quiet Flows the Don, M. Sholokhov describes the historical events of the period of the February bourgeois-democratic revolution, the monarchist conspiracy of General Kornilov, the first days of the Great October Socialist Revolution. The author gives pictures of the fight against counter-revolutionary actions on the Don in late 1917 and early 1918.
In these historical events, the fates of the heroes of the novel change, the songs change, but, using old Cossack songs, the author shows his love for his fellow countrymen, pride in them.
... But our Don is also proud, quiet Don,
our father -
He did not bow to Basurmanin, In Moscow, how to live,
didn't ask.
And with Turetchina - oh, yes, on the top of the head with a sharp saber
century hello...
And from year to year the Don steppe, our mother,
For the most pure Mother of God, but for your faith
orthodox,
Yes, for the free Don, which makes noise with a wave, called into battle
with adversaries...
Cossacks sing sad songs in the war, but the songs of Cossack women sound even sadder.
... Like my darling in the war
He himself loads the gun,
Thinking about me...
... How the letter arrived, yes with a seal
That my dear has been killed.
Oh, killed, killed my dear,
The plot-thematic knot in which all the threads of the monumental narrative converge is artistic analysis causes and consequences of the Cossack uprising. The author gives a description of the Upper Don uprising of 1918 in the third book. AT recent times the attention of researchers was focused mainly on the causes of the uprising. The assessment of the heroes of the epic also depended on the correct identification of all the reasons that caused hesitation among the Cossacks, and then the uprising. Focusing on only one or two components from a complex of causes (in this case, the uprising of the Cossacks) is not in the nature of Sholokhov's epic talent. It does not contribute to the full disclosure of the ideological concept of his epic. The conflict between the Cossacks and the Soviet government, as Sholokhov portrays it, was prepared by the policy of tsarism, which was reflected in marching songs. At the same time, it is always very important how the author comments on them.
And what fathers - commanders will order us,
We go there - chop, prick, beat!
An unbearable burden of time fell on the Melekhovs (and on the entire Tatarsky farm: whose house was preserved in it, whose family? Korshunovs? Mokhovs? Koshovs? Astakhovs?). All of them, the entire Tatarsky farm, the entire Donskoy Region, all of Russia went the same way (this path was wide for all of Russia), time did not spare anyone.
How irresistible must be the forces that “launched” this movement so that it could raze the peasant-patriarchal Melekhov fortress to the ground, overcome the cohesive forces created over millennia!
This alone forces us to peer into the processes that take place at the junctions of the old; millennial; and new, brought by the twentieth century.
This junction went through the very soul, through the fate of Grigory Melekhov, the youngest son of the old Cossack Panteley Prokofievich Melekhov and his wife Ilyinishna.
Grigory Melekhov is a talented, ardently lively character, snatched from the very depths of Russian folk life at the beginning of the twentieth century. He absorbed what the Russian people had been alive for centuries, what was strong in one of the branches of the people - the freedom-loving and independent Cossacks. Revealing the image of his hero, Sholokhov also uses Cossack folk songs.
And suddenly ahead, over the hushed steppe, like a bird, the courageous, rough voice of the lead singer flew up:
Oh, how it was on the river, brothers, on Kamyshinka,
On the glorious steppes, on the Saratov ...,
And many hundreds of voices powerfully raised the old Cossack song, and above all, the tenor voice of amazing strength and beauty surged above all. Covering the subsiding basses, a ringing tenor, grabbing the heart, was still trembling somewhere in the darkness, and the singer was already leading out:
Cossacks lived there, lived - free people,
All Don, Grebensky and Yaik ...
It was as if something had broken inside Gregory... Suddenly surging sobs shook his body, a spasm seized his throat. Swallowing his tears, he eagerly waited for the singer to start singing, and soundlessly whispered after him the words familiar from his teenage years:
Their ataman is Ermak, son of Timofeevich,
Esaul they have - Astashka, son Lavrentievich ...
Only a strong personality, such as the hero - Grigory Melekhov, can love his land, his people, his native songs so much.
The novel "Quiet Flows the Don" is a whole gallery of images that captivate with the skill of the plastic image. This is a giant layer of artistically reproduced historical reality, illuminated by the wise thought of the author.
In the novel, Cossack folk songs flow in a bright convoy, helping to better understand the characters of the characters of the novel, the events.
The songs of the Don Cossacks are very popular even today, and not only in Russia. In 2001, the premiere of the documentary film "Sounds of the Globe" took place. The film was shown for the first time on the national Japanese channel No. NK. The film featured a song called "Flowers". The birth of the song is directly connected with Russia. The composer and performer of this song, Pete Seeger, while reading Mikhail Sholokhov's novel "The Quiet Flows the Don" 45 years ago, wrote down in a notebook the words of the song that Grigory Melekhov heard on the eve of his departure to the war. Impressed by an old Cossack song, Pete Seeger composed a song calling for the renunciation of wars. And this, once an old Cossack song from the Don, was performed by John Baez, Marlene Dietrich and many other world-famous stars.
So, thanks to the novel by M. Sholokhov “Quiet Don”, an old Cossack song spread around Earth and sounds in our time far from the Don steppes.
Bibliography
1. M. Sholokhov "Quiet Don".
2. History of Russian Soviet literature. Moscow. Education. 1923.
3. B. Akimov "On the winds of time". Children's literature. Leningrad. 1991.
4. Soviet encyclopedic dictionary.
Essay Topics 17.3
Why did Grigory Melekhov never find his place in the element of warring forces? (According to the novel by M.A. Sholokhov "Quiet Flows the Don".)
What is the role of female images in M.A. Sholokhov "Quiet Flows the Don"
What role in the life of the heroes of the novel M.A. Sholokhov's "Quiet Don" is played by a family?
As in the story of M.A. Sholokhov's "The Fate of Man" expressed the writer's humanistic protest against the inhumanity of war?
What's the bottom line life quest Grigory Melekhov? (According to the novel by M.A. Sholokhov "Quiet Flows the Don".)
What is the meaning of the title of the story by M.A. Sholokhov "The Fate of Man"
How the composition of the story "The Fate of a Man" helps
M.A. Sholokhov in revealing the image of Andrei Sokolov?
What are the reasons for the emergence of an internal conflict in Grigory Melekhov, caused by the events of the revolution and the Civil War? (According to the novel by M.A. Sholokhov "Quiet Flows the Don")
He went under the barn and, whistling, began to cut out the teeth on the rake. Little Mishatka spun around him, looked imploringly into his eyes, and asked:
- Uncle Mikhail, make me a small rake, otherwise I have no one to do it. Granny can't do it, and aunt can't do it... You're the only one who can do it, you can do it well!
“I’ll do it, namesake, by God, I’ll do it, just move away the crumbs, otherwise the chips don’t get into your eyes,” Koshevoy persuaded him, chuckling
and thinking with amazement: “Well, how similar, imp ... Poured dad!
And the eyes, and eyebrows, and the upper lip also raises ... This is a job!”
He began to make tiny children's rakes, but could not finish: his lips turned blue, an embittered and at the same time submissive expression appeared on his yellow face. He stopped whistling, put down his knife, and moved his shoulders shiveringly.
- Mikhailo Grigorich, namesake, bring me some kind of sack,
I'll lie down, he asked.
- What for? Mishatka asked.
- I want to get sick.
- For what?
- Oh, how persistent you are, just like a burdock ... Well, it's time to get sick, that's all! Bring it quickly!
- What about my rake?
- I'll finish it later.
A large tremor shook Mishka's body. Chattering his teeth, he lay down on the sackcloth brought by Mishatka, took off his cap and covered his face with it.
- Are you sick already? - Mishatka asked sadly.
- Ready, fell ill.
- What are you trembling about?
“The fever is shaking me.
- And what are you clicking on with your teeth?
From under his cap, the bear looked at his little annoying namesake with one eye, smiled briefly and stopped answering his questions. Mishatka looked at him in fright and ran to the hut.
- Grandmother! Uncle Mikhail lay down under the shed and was trembling so, so trembling, the buzzard was beeping!
Ilyinichna looked out the window, went to the table and was silent for a long, long time, thinking about something ...
- Why are you silent, grandma? Mishatka asked impatiently, tugging at her jacket sleeve.
Ilyinichna turned to him and said firmly:
- Take, little child, a blanket and take it to him, Anchichrist, let him cover himself. It's a fever that beats him, such a disease. Will you bring a blanket? - She again went to the window, looked into the courtyard, hastily said: - Wait, wait! Don't wear it, don't.
Dunyashka covered Koshevoy with her sheepskin coat and, bending down, said something to him...
After the attack, Mishka was busy preparing for mowing until dusk. He visibly weakened. His movements became sluggish and uncertain, but he nevertheless made a rake for Mishatka.
In the evening Ilyinichna gathered supper, seated the children at the table, and without looking at Dunyashka she said:
- Go, call this ... how to ... supper.
Mishka sat down at the table without crossing his forehead, hunched over wearily. His yellow face, covered with dirty streaks of dried sweat, reflected fatigue, his hand trembled slightly when he carried a spoon to his mouth. He ate little and reluctantly, occasionally glancing indifferently at those sitting at the table. But Ilyinichna noticed with surprise that the dead eyes of the “murderer” warmed and revived, stopping at little Mishatka, the lights of admiration and affection flashed in them for a moment and went out, and a slightly noticeable smile lurked in the corners of his mouth for a long time.
(M.A. Sholokhov, Quiet Flows the Don)
At the beginning of this episode, a conversation between Koshevoy and Mishatka is described. What is the term for this form of speech in a work of art?
Establish a correspondence between the characters of this episode and the facts of their life: for each position of the first column, select the corresponding position from the second column.
Mikhail Koshevoy notes that little Mishatka is strikingly similar to his father: “Well, how similar, imp ... Poured dad! And the eyes, and eyebrows, and the upper lip also raises ... ". Indicate the name and surname of the hero of the novel, which Koshevoy recalls.
Name the means of characterization of the character associated with the description of his appearance, for example, “Fatigue was reflected on his yellow face, covered with dirty stripes of dried sweat, his hand trembled slightly when he carried a spoon to his mouth.”
What kind of novel, which includes the image of a large period of historical time or a significant, fateful event in the life of a nation, does “Quiet Flows the Don” by M.A. Sholokhov?
Specify literary direction, which is characterized by the desire for an objective depiction of life and the principles of which are embodied in The Quiet Don.
Ilyinichna has reason to dislike Mikhail, calling him "anchichrist" and "murderer." What is the term for a sharp clash of views and life principles literary characters?
8. What natural properties of human nature are contrasted in this episode with the theory of "class hatred"?
9. In what works of Russian literature do the characters show humanity in relation to the "stranger" and in what ways can these characters be compared with Sholokhov's Ilyinichnaya?
On the morning of the next day, he approached the Don opposite the Tatarsky farm. For a long time he looked at his native courtyard, turning pale with joyful excitement. Then he took off his rifle and pouch, took out a Shitwyanka, hemp flakes, a vial of gun oil, counted the cartridges for some reason. There were twelve clips and twenty-six pieces in bulk.
At Krutoyar, the ice moved away from the shore. The transparent green water splashed and broke off the sharp ice of the Okraintsy. Grigory threw his rifle and revolver into the water, then poured out the cartridges and carefully wiped his hands on the floor of his overcoat.
Below the farm, he crossed the Don along the blue, corroded growth, March ice, walked towards the house. Even from a distance, he saw Mishatka on the descent to the pier and could hardly resist not to run to him.
Mishatka broke off the ice icicles hanging from the stone, threw them and carefully watched the blue fragments roll downhill.
Grigory approached the descent, panting, and hoarsely called out to his son:
- Mishenka! .. Sonny!
Mishatka looked at him in fright and lowered his eyes. He recognized his father in this bearded and scary-looking man ...
All the affectionate and tender words that Grigory whispered at night, remembering his children there, in the oak forest, now flew out of his memory. Kneeling down, kissing his son's cold pink hands, he repeated only one word in a choked voice:
“Son… son…”
Then Gregory took his son in his arms. With dry, frantically burning eyes, greedily peering into his face, he asked:
- How are you here? .. Aunt, Polyushka - alive and well?
Still not looking at his father, Mishatka answered quietly:
- Aunt Dunya is healthy, Polyushka died in the fall ... From a glottis. And Uncle Mikhail is in the service ...
Well, the little that Gregory dreamed about during sleepless nights came true. He stood at the gate of his native house, holding his son in his arms ...
It was all that remained in his life, which still made him related to the earth and to all this huge world shining under the cold sun.
(M.A. Sholokhov "Quiet Flows the Don")
What is the name of the description of nature in a work of art (“At the Krutoyar, the ice moved away from the coast ...”)?
What is the name of the opposition technique, with the help of which the writer conveys the depth of the hero's feelings ("cold hands of the son" - "frantically burning eyes")?
8. Why does the novel "Quiet Flows the Don" begin and end with a description of the Melekhovs' house?
9. What works of Russian classics show the history of the family?
The Red Army soldiers poured in a crowd along the street, divided into groups, went into the yards. Three turned into the gate to Anikushka, five of them, one of them mounted, remained near the Astakhov kuren, and the remaining five headed along the wattle fence to the Melekhovs. In front walked a short, elderly Red Army soldier, clean-shaven, with a flattened, wide-nosed nose, himself all dexterous, well-built, with a swagger to see - an old front-line soldier. He was the first to enter the Melekhovsky base and, stopping near the porch, for a minute, bowing his head, looked at the yellow male thundering on a leash, choking and choking with barking; then took the rifle off his shoulder. A shot blew a white haze of frost from the roof. Grigory, adjusting the collar of his shirt that was choking him, saw through the window how a dog was rolling in the snow, staining it with blood, in its deathly furious torment it gnawed at the shot side and the iron chain. Glancing back, Grigory saw the women's faces washed with pallor, the mother's forgetful eyes. He stepped into the vestibule without a hat.
Gregory opened the door. An empty shell fell on the threshold, ringing. The stragglers of the Red Army entered the gate.
Why did you kill the dog? Interfered? Gregory asked, standing on the threshold.
The wide nostrils of the Red Army soldier gasped for air, the corners of thin, blue-shaven lips slid down. He looked around, threw the rifle over his hand:
– What about you? It's a pity? And I'm sorry to spend a cartridge on you. Want? Become!
- But, but, come on, Alexander! - coming up and laughing, said a tall red-browed Red Army soldier. - Hello, master! Have you seen the red ones? Take it to an apartment. Did he kill your dog? In vain! Comrades, come in.
Gregory was the last to enter. The Red Army soldiers cheerfully greeted, took off their pouches, leather Japanese bandoliers, overcoats, wadded heating pads, and hats were piled on the bed. And immediately the whole hut was filled with the poisonous-smelling alcohol spirit of the soldiers, the indivisible smell of human sweat, tobacco, cheap soap, gun oil - the smell of distant Putins.
The one whose name was Alexander sat down at the table, lit a cigarette, and, as if continuing the conversation he had begun with Grigory, asked:
- Were you in white?
- Here ... I immediately see an owl in flight, and you in snot. White! Officer, huh? Golden shoulder straps?
He threw smoke out of his nostrils in a column, bored Grigory, who was standing at the lintel, with cold, unsmiling eyes, and kept tapping the cigarette from below with a smoky convex fingernail.
- Is it an officer? Confess! I can see by the expression: I myself, tea, broke the German one.
“I was an officer,” Grigory forced a smile and, catching Natalya’s frightened, pleading gaze on him from the side, frowned and quivered his eyebrow. He was annoyed at his smile.
(M.A. Sholokhov, Quiet Flows the Don.)
To which literary direction does M.A. Sholokhov, in particular the work "Quiet Flows the Don"?
What means of creating the image of the hero, based on the description of his appearance, is used in the above fragment (“... a short, elderly Red Army soldier, shaven, with a flattened, wide-nosed nose, he is all dexterous, full-bodied ...”)?
What is the name of the expressive evaluative definition (“smiling eyes”, “pleading look”)?
The above fragment ends with a conversation between Grigory and one of the Red Army soldiers. What is the term for replica exchange?
What is the artistic technique based on the transfer of the properties of one phenomenon to another by their similarity (“Women’s faces washed with pallor”).
Indicate the name of a significant detail that gives the narrative a special expressiveness (“An empty cartridge case fell on the threshold, ringing”).
Specify the genre of M.A. Sholokhov "Quiet Don".
8. How was the tragedy of the Civil War reflected in a short episode from The Quiet Flows the Don?
9. In what works of Russian writers are wartime paintings depicted and in what way do they echo Sholokhov's "Quiet Don"? (Give 2-3 examples with names of authors.)
Prokofy's wife died in the evening of the same day. The premature baby, taking pity, was taken by the grandmother, Prokofiev's mother.
They overlaid him with steamed bran, gave him mare's milk to drink, and a month later, making sure that the swarthy Turkic boy would survive, they carried him to church and christened him. They named him Pantelei after his grandfather. Prokofy returned from hard labor twelve years later. A trimmed red beard with gray hair and ordinary Russian clothes made him a stranger, unlike a Cossack. He took his son and took charge of the household.
Pantelei grew up black and swarthy, troubled. He looked like his mother in face and stocky figure.
Prokofy married him to a Cossack woman - the daughter of a neighbor.
Since then, Turkish blood has gone to interbreed with the Cossack. From here the hook-nosed, wildly beautiful Cossacks Melekhovs led the way in the farm,
and in the street - Turks.
After burying his father, Panteley got into the household: he re-covered the house, cut to the estate from half a dozen ghouls of land, built new sheds and a barn under tin. The roofer, on the master's order, cut out a pair of tin roosters from scraps, strengthened them on the roof of the barn. They amused the Melekhovsky base with their carefree appearance, giving it a self-satisfied and prosperous look.
Panteley Prokofyevich squirmed under the slope of his years, sliding down: he was wide, slightly stooped, but still looked like an old man of folding. He was dry in bones, chrome (in his youth, at the imperial review at the races, he broke his left leg), wore a silver crescent-shaped earring in his left ear, until old age his beard and hair did not fade on him, in anger he reached unconsciousness and, apparently, this prematurely aged his once beautiful, and now completely entangled in a web of wrinkles, portly wife.
His eldest, already married son, Petro, resembled his mother: small, snub-nosed, with lush, wheat-colored hair, brown-eyed; and the youngest, Grigory, stomped on his father: half a head taller than Peter, at least six years younger, the same drooping vulture nose as Bati, blue tonsils of hot eyes in slightly slanting slits, sharp cheekbones covered with brown, ruddy skin. Grigory stooped in the same way as his father, even in the smile they both had something in common, animalistic.
Dunyashka - her father's weakness - a long-armed, big-eyed teenager, and Petrov's wife Daria with a small child - that's the whole Melekhov family.
(M.A. Sholokhov, Quiet Flows the Don.)
In the proposed fragment, a significant place is occupied by a description of the appearance of Panteley Prokofievich and his children. What is this type of characterization tool called?
What is the name of the character mentioned in this fragment, who is the main character of The Quiet Flows the Don.
What term denotes an expressive detail that has an important semantic content (for example, tin roosters on the roof of the Melekhov barn)?
What is the name of the intentional violation of the usual word order in the phrase (“They entertained the Melekhov base with their careless appearance, giving it a smug and prosperous look”)?
Indicate the literary direction, the main principle of which is an objective image of life and in line with which the work of M.A. Sholokhov.
Name the genre to which Sholokhov's "Quiet Flows the Don" belongs.
8. How are the Melekhovs internally distinguished in the Cossack environment?
9. In what works of Russian classics does the “family thought” sound, and in what ways are these works consonant with Sholokhov’s “Quiet Don”?
... Aksinya, as soon as she came home, emptied the buckets, went up to the mirror, smeared into the stone of the stove, and for a long time excitedly looked at her aged, but still beautiful face. There was still the same vicious and alluring beauty in him, but the autumn of life had already cast faded colors on his cheeks, yellowed his eyelids, spun sparse cobwebs of gray hair into his black hair, dimmed his eyes. From them already looked mournful weariness.
Aksinya stood for a moment, and then went up to the bed, fell on her face, and wept such abundant, relieving tears as she had not wept for a long time.
In winter, over the steep slope of the Obdonskaya Mountain, somewhere above the convex ridge of the descent, colloquially referred to as "Tiber", chilly winter winds circle and howl. They carry white crumbly snow from the hillock covered with bare spots, sweep it into a snowdrift, pile it up in layers. Sugar sparkling in the sun, blue at twilight, pale lilac in the morning and pink at sunrise, a snow giant will hang over the cliff. It will hang, formidable with silence, for the time being, until the thaw undermines it from under the bottom or, burdened with its own weight, pushes a gust of side wind. And then, dragged down, with a dull and soft rumble, it will rush down, crushing small-growing bushes of blackthorn on its way, breaking hawthorn trees shyly pressing along the slope, rapidly dragging behind it a silver hem of snow dust, boiling up to the sky ...
Aksinya's many years of feeling, which had accumulated like a drift of snow, needed the smallest push. And the impetus was the meeting with Grigory, his affectionate: “Hello, Aksinya dear!” And he? Was he dear to her? Was it not about him all these years that she remembered daily, hourly, in obsessive thoughts returning to him? And no matter what she thought about, no matter what she did, she was always invariably, inseparably in her thoughts near Gregory. So a blind horse walks in a circle in a chigir, turning a watering wheel around its axis...
Aksinya lay on the bed until evening, then got up, swollen with tears, washed herself, combed her hair, and with feverish speed, like a girl before a bride, began to dress. She put on a clean shirt, a burgundy woolen skirt, covered herself, glanced briefly at herself in the mirror, and went out.
Dusk was gray over Tatarsky. Somewhere on a flood of hollow water, geese were anxiously buzzing. A feebly pale moon rose from under the Obdon poplars. A rippling greenish stitch of moonlight lay on the water. The herd returned from the steppe before dark. Cows that had not yet eaten their fill of young brilliant green were mooing around the bases.
(M.A. Sholokhov "Quiet Flows the Don")
The internal state of the heroine is conveyed through the description of the movement of the snow mass. What is the description of nature in a work of art called?
8. What is the role of the pictures of nature in the above scene?
9. In what works of Russian prose writers does the image of nature help to understand inner world heroes?
From that day on, the gun rumble sounded non-stop for four days. Dawns were especially audible. But when the northeast wind blew, the thunder of distant battles was heard even in the middle of the day. Work on the threshing floors stopped for a minute, the women crossed themselves, sighed heavily, remembering their relatives, whispering prayers, and then again the stone rollers began to rumble dully on the currents, the chasing boys urged the horses and bulls, the winnowing machines rattled, the labor day entered into its inalienable rights. The end of August was fine and dry to a marvel. The wind carried chaff dust around the farm, the sweet smell of threshed rye straw, the sun warmed mercilessly, but the approach of autumn was already felt in everything. On the pasture, faded gray wormwood was dull white, the tops of poplars behind the Don turned yellow, the smell of Antonovka became sharper in the gardens, the autumn cleared up distant horizons, and the first villages of flying cranes have already appeared on the deserted fields.
On the Hetman's Way, from day to day, wagon trains stretched from west to east, bringing military supplies to the crossings across the Don, and refugees appeared in the Obdon farms. They said that the Cossacks were retreating
with fights; some assured that this retreat was deliberate, in order to lure the Reds, and then surround them
and destroy. Some of the Tatars slowly began to get ready to leave. They fed bulls and horses, at night they buried bread, chests in pits
with the most valuable property. The rumble of guns, which had been silent, resumed on September 5 with renewed vigor and now sounded distinctly and menacingly. The fighting went on forty versts from the Don, in the direction to the northeast from Tatarsky. A day later thundered upstream in the west. The front moved inexorably towards the Don.
Ilyinichna, who knew that most of the farmers were going to retreat, suggested that Dunyashka leave. She experienced a feeling of confusion and bewilderment and did not know what to do with the household, with the house; whether it is necessary to leave all this and leave with people or stay at home. Before leaving for the front, Pantelei Prokofievich talked about threshing, about the fall, about cattle, but did not say a word about how they should be if the front approaches Tatarsky. Just in case, Ilyinichna decided this: to send Dunyashka with the children and the most valuable property with one of the farmsteaders, and to stay on her own, even if the Reds occupied the farmhouse.
On the night of September 17, Pantelei Prokofievich unexpectedly appeared at home. He came on foot from the Kazan village, exhausted, angry. After resting for half an hour, he sat down at the table and began to eat in a way that Ilyinichna had never seen in her entire life; half-bucket iron of lean cabbage soup seemed to have thrown it for itself, and then fell on millet porridge. Ilyinichna threw up her hands in amazement:
“God, how are you eating, Prokofich!” How, tell me, you haven't eaten for three days!
“And you thought you ate, you old fool!” For three days there was no poppy dew in my mouth!
“Well, they don’t feed you there, do they?”
“Damn them to be fed like that!” - purring like a cat, with a full mouth, answered Pantelei Prokofievich. - What you think is what you burst,
and I didn’t learn to steal isho. This is good for young people, they don’t have a conscience even for a semak [two kopecks] ... They were so full of theft for this damned war that I was terrified, terrified, and stopped. All that they see - they take, pull, drag ... Not a war, but the passion of the Lord!
(M.A. Sholokhov, Quiet Flows the Don)
What kind of literature does “Quiet Flows the Don” by M.A. Sholokhov?
Name the novel by A.S. Pushkin about the Pugachev uprising, in which, like in The Quiet Don, the elements of the Russian rebellion are depicted.
Panteley Prokofyevich uses phrases like “there was no poppy dew in your mouth”, “what you think about is what you pop”. What is the name of such figurative folk sayings?
Match the characters in this novel, and the facts of their future fate: for each position of the first column, select the corresponding position from the second column.
| CHARACTERS | FACTS OF THEIR FURTHER FATE |
|||||||||
|
Indicate the surname of Panteley Prokofievich and his sons.
What term denotes a significant detail that carries an artistic function (for example, a half-bucket cast iron of lean cabbage soup, which the hungry Pantelei Prokofievich attacked)?
Indicate the genre to which Sholokhov's "Quiet Flows the Don" belongs.
8. How is the tragedy of the Civil War displayed in the above fragment?
9. In what works of Russian literature does the military theme sound, and in what way can these works be compared with Sholokhov's "Quiet Don"?
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