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Literature lesson Nekrasov frost red nose. Poems by N. A. Nekrasov. Poem “Frost, Red Nose. I. Organizational moment

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Lesson objectives:

educational:

• create conditions for students to become familiar with an excerpt from Nekrasov’s work;
• ensure students’ conscious perception of N. Nekrasov’s poem.
• explore the content and language of the work;
• compare the image of Moroz in the works of N. Nekrasov with a fairy-tale image.
• create conditions for students to write a spynquain - as a way of characterizing a character.
• to form the reader’s position by including students in emotional and creative activities;

developing:

• develop the ability to conduct mini-research of a literary text;
• the ability to express and prove your point of view.

educational:

• formation of (research) interest in fiction;
• education of a cultural reader capable of seeing and comprehending the deep layers of meaning of a literary text

Lesson format: lesson-research.

Formation of UUD:

educational:

• convert information from one form to another (verbal drawing, drawing up characteristics, writing syncwine);
• draw conclusions as a result of joint work between the class and the teacher;
• highlight the essential features of the object;
• build reasoning.

regulatory: develop skills:

• express your assumptions based on the studied material;
• formulate the topic and purpose of the lesson;
• plan your actions;
• carry out cognitive and personal reflection.

communicative:

• construct speech statements; work in pairs, coordinate your actions with partners.

personal:

• develop the ability to express your attitude towards the hero; express your emotions;
• to form motivation for learning and purposeful cognitive activity.

Planned results:

subject:

• read consciously, expressively, without errors;
• work with text: describe the hero (make a verbal portrait of a literary hero), his character, based on an analysis of the work;
• express and argue your attitude to what you read, including the artistic side of the text.

Personal:

• show: interest in reading Russian poetry; your feelings when analyzing the work;
• interest and creative attitude to completing tasks.

Metasubject:

• be able to express your assumptions based on working with the textbook material;
• build educational activities in accordance with the task;
• be able to listen and understand the speech of others;
• express your speech orally and in writing;
• be able to work in pairs;
• be able to find answers to questions in the text;
• be able to navigate and analyze works;
• be able to self-assess the success of educational activities.

Basic Concepts: personifications, epithets, comparisons, syncwine.

Interdisciplinary communications: Russian language, the world around us.

Equipment: projector, presentation for the lesson, textbook “Literary Reading”, 4th grade, L.F. Klimanova, (UMK “Perspective”). Application .

During the classes

Topic of the Russian literature lesson in 9th grade: Nekrasov’s poem “Frost, Red Nose”

Lesson summary on Russian literature
The purpose of the Russian literature lesson in 9th grade: introduce students to Nekrasov’s poem “Frost, Red Nose.”
Equipment for conducting a Russian literature lesson in 9th grade: portrait of the poet, text of the poem.
Method: conversation, teacher's story.
Tasks:
1) educational: introduce students to:
the emergence of a plan;
the artistic originality of the poem;
main characters;
2) developing:
promote the development of logical thinking skills;
promote the development of textual analysis skills;
promote the formation of thesis abstract skills from a teacher’s lecture;
3) educational:
promote the formation of discipline skills;
promote listening skills;
instill a sense of love for the native language in Russian literature lessons.
Progress of a Russian literature lesson in 9th grade

I. Organizational moment.
1. Statement of the problematic question:

2. The teacher's word.
God forgot to change one thing
The harsh lot of a peasant woman.
N. A. Nekrasov.

Wikipedia. Nikolai Alekseevich Nekrasov(November 28 (December 10) 1821, Nemirov, Podolsk province, Russian Empire - December 27, 1877 (January 8, 1878), St. Petersburg) - Russian poet, writer and publicist, democratic revolutionary, classic of Russian literature. From 1847 to 1866 - head of the literary and socio-political magazine Sovremennik, from 1868 - editor of the magazine Otechestvennye zapiski.
He is best known for such works as the epic poem “Who Lives Well in Rus',” the poems “Frost, Red Nose,” “Russian Women,” and the poem “Grandfather Mazai and the Hares.” His poems were devoted mainly to the suffering of the people, the idyll and tragedy of the peasantry. Nekrasov introduced the richness of the folk language and folklore into Russian poetry, making extensive use of prosaisms and speech patterns of the common people in his works - from everyday to journalistic, from vernacular to poetic vocabulary, from oratorical to parody-satirical style. Using colloquial speech and folk phraseology, he significantly expanded the range of Russian poetry. Nekrasov was the first to decide on a bold combination of elegiac, lyrical and satirical motifs within one poem, which had not been practiced before. His poetry had a beneficial influence on the subsequent development of Russian classical and later Soviet poetry.

II. 1. The history of the creation of the poem.
A multifaceted creative exploration of the depths of folk life led Nikolai Alekseevich Nekrasov to the creation of perhaps the most amazing work - “Frost, Red Nose.” Originally conceived as a dramatic story about the death of a peasant, the poem gradually developed into an epic work, in which the heroine came to the fore. Surprisingly, Nekrasov was able to write a truly epic poem, limiting himself to an episode from the life of one peasant family, defining the movement into the depths of this life, these characters. Despite the apparent simplicity of the plot, the work in its construction is one of the most complex by Nekrasov.
This poem is one of Nekrasov’s best creations, marked by special sincerity and subtle psychologism. Dedicated to the poet’s sister, Anna Alekseevna, and the main character here is also a woman, peasant Daria, Nekrasov’s favorite heroine. Dostoevsky first published it in his magazine “Time” - the pain and hope with which Nekrasov wrote about the people were dear to him here, and he felt the high artistic value of this work.
If in the poems “Peddlers” and “Who Lives Well in Rus'” Nekrasov narrates the wide expanse of life throughout post-reform Russia, its various social strata, then here the picture seems to be narrowed to one peasant family:

Dressed in snow like a shroud,
There is a hut in the village,

In the hut there is a calf in the basement,
Dead man on the table by the window;
His stupid children make noise,
The wife is quietly sobbing.

But this story, with its entire system of truthful details, penetration into the very essence of people's life and people's character, undoubtedly has enormous generalizing power. The specificity of everyday life and the pathos of high poetry were organically combined in the poem, and this combination was new for the peasant theme in literature.
2. The plot and composition of the poem. The image of the main character.
Constant shifts in time provide intense drama to the narrative. The poet seems to “scroll” time back; the story about the life of the family begins on the most tragic note - the death of the peasant Proclus.
Savraska got stuck in half a snowdrift -
Two pairs of frozen bast shoes
Yes, the corner of a matting-covered coffin
They stick out from the wretched woods.
Then time begins to rewind “backwards”, the author admires a Russian woman, a “stately Slav”, dexterous in work and fun. But you don’t often have to rejoice at her; a hard life kills a woman’s beauty. She comes into this world to work, suffer and go to the grave without leaving a memory of herself.
Fate had three difficult fates:
And the first share is to marry a slave,
The second is to be the mother of a slave's son,
And the third is to submit to the slave until the grave,
And all these formidable shares fell
To a woman of Russian soil.
But the poet does not want to “cry” over the bitter fate of the Russian woman. He sings a “great song” to her, perhaps idealizing and exaggerating her spiritual beauty. This is, rather, a desired rather than an actual position of a peasant woman - this is how she exists in the poet’s imagination.
They're on the same road
How all our people are coming,
And the dirtiness of the situation is wretched
It doesn't seem to stick to them.
The Beauty is blooming, a wonder to the world,
Blush, slim, tall,
She is beautiful in any clothes,
Dexterous for any job.

Daria and Proclus, their parents, children, their life in work and worries, their ability to be happy, and in grief to maintain steadfastness and dignity - all this is conveyed by Nekrasov with captivating truthfulness as a characteristic of the best traits that can be seen among the people. Nekrasov managed to convey the people’s idea of ​​love – deep and chaste, duty, family happiness – with utmost authenticity.

Didn’t I try to take care of him?
Did I regret anything?
I was afraid to tell him
How I loved him!

Spouses are united in deeds, thoughts, difficulties and joys. Proclus is driving a cab, and Daria is spinning; her endless thoughts about him are like endless threads, and the threads are like his “alien” white road, in the bitter cold, in the open winter steppe...

My spindle jumps and spins,
It hits the floor.
The proklushka walks on foot, crosses himself in a pothole,
He harnesses himself to the cart on the hill.

Just as it was difficult for Daria, she pitied her husband, realizing that it was even more difficult for him:

In the summer he lived working,
I haven’t seen the children in winter...

While working as a cab driver, Proclus caught a cold, and the disease turned out to be fatal. Children and elderly parents were orphaned, a young beautiful woman was widowed - the author's sorrowful sympathy is felt in every line, in every detail. Whether he tells how the children were raised, how they dreamed of happiness for them, whether he shows the silent, concentrated grief of his old parents - throughout the entire narrative, the author’s voice merges with the voices of the characters: either it’s Daria remembering everything that happened, or it’s someone... then one of the villagers sympathetically tells a sad story, and at times we do not distinguish who is speaking.
By the end, Daria’s image takes on fabulously beautiful features (“She’s dressed in sparkling frost…”).
The picture of happiness that the peasant woman Daria paints in her dying sleep contains a lot of universal things. Daria's dying visions are her dream of happiness, but it is also a relief from the hardships of life, as death was usually accepted among the peasants.
Feeling sorry for his heroine, the author gives her a soothing death in the middle of a quiet, magically beautiful forest, illuminated by the bright winter sun.

Nowhere so deep and free
The tired chest does not breathe,
And if we live enough,
We can't sleep better anywhere!

Daria's death is psychologically very reliable, motivated quite realistically. Exhausted by caring for the sick, the funeral, and grief-stricken, Daria was at the limit of her strength during the last days, hardly slept, and stood strong in front of her parents, children, and fellow villagers. And now, alone in the forest, having chopped a whole load of firewood, having cried her heart out, weakened, she leaned against a pine tree, and was overcome by a mortal sleep. At the same time, both a real and a fairy-tale image at the end - a squirrel dropping a lump of snow on Daria from the top of a pine tree.

Wikipedia. In the poetry of the 1860s, such a concept as the “Nekrasov school” was formed. This was a group of poets who opposed themselves to the poets of “pure art” as poets of the real and civil movement - Dmitry Minaev, Nikolai Dobrolyubov, Ivan Nikitin, Vasily Kurochkin and others. The very concept of “Nekrasov School” did not mean at all that they were Nekrasov’s students in the literal sense. Rather, Nikolai Nekrasov managed to most fully express the totality of those tendencies in civil poetry of the 1840-60s that were significant in their work: Dobrolyubov and Minaev were predominantly satirical poets, Nikitin was a peasant poet, and the same with other poets.
Chernyshevsky also stated that Nekrasov is the creator of a new period in Russian literature. The appearance of the term “Nekrasov school” was influenced by such a concept as “natural school”, which in the mid-1840s was also largely associated with the name of Nekrasov. The definition “Nekrasov school” was first heard in connection with the characterization of the poetry of Dmitry Minaev. The existence of such a trend was also recognized by critics who were hostile to democratic poetry. By this school we can understand the system of artistic principles that developed in Russian (primarily democratic) poetry by the middle of the 19th century. The school had its influence on Russian poetry. Traces of the Nekrasov school are found even in poets of later times - in Andrei Bely, in Alexander Blok. However, usually the school of Nekrasov refers to the poets of the 1850s-70s, who were ideologically and artistically closest to him and were directly influenced by him. Most of them were formed around a few democratic publications: Nekrasov’s Sovremennik, Russkoe Slovo, Iskra. Nekrasov's poetry itself was characterized by nationality. Nekrasov was a poet who not only wrote about the people, but also spoke their language.

And Daria stood and froze
In my enchanted dream...
3. Epic and lyrical lines.
The epic and lyrical lines develop in parallel, sometimes intertwining. The everyday description of the events of the first part is intruded by the lofty theme of the “majestic Slavic woman,” the beauty and moral strength of a peasant woman. In the second part, with the appearance of Frost, lubricant fantasy enters the everyday plot. At the same time, here, in the heroine’s thoughts about life, rural life is shown in an unusually specific way: all types of work - plowing, haymaking, harvesting, garden cleaning, etc., constant people’s troubles - the death of livestock, fires, recruiting, the death of the breadwinner.
The author reveals excellent knowledge of peasant life and the customs of the Russian people. It manifests itself in the description of family life, folk beliefs, and agricultural work. The poet widely uses folk art, in particular parables. However, under the pen of Nekrasov, it is transformed in such a way that the cry of the Proclus family “You are our blue-winged darling!..” turns out to be not only a ritual repetition of formulas, but an expression of genuine grief.
“You are our blue-winged darling!
Where did you fly away from us?
Comeliness, height and strength
You had no equal in the village..."
And the narrative rises to even greater epic heights in the second part of the poem. Here the image of Daria, the world of her thoughts, feelings, and moods, is placed in the center. They are conveyed now as memories, now as dreams, now as reality, now as in a semi-conscious state of oblivion.
It is not the huntsman who blows the trumpet on the oak tree.
The crazy head cackles, -
Having cried, he stabs and chops
Firewood young widow...
I got up early, bitter,
I didn’t eat at home, I didn’t take it with me,
I plowed the arable land until nightfall,
At night I riveted my braid,
In the morning I went to mow.
The author defines its own rhythm for each part of this chapter. This is necessary to convey the different “moods” of the visions born in the consciousness of the freezing Daria. Pictures of bright, joyful work and peaceful family life with a beloved husband and children impress the reader, especially since they are perceived against the backdrop of an already accomplished tragedy - the death of Proclus and the death of Daria herself, which is taking place before our eyes.

Having finished the usual business,
I put firewood on the firewood,
I took the reins and wanted
The widow sets off on the road.
Standing under the pine tree, barely alive,
Without a thought, without a groan, without tears,
There is deathly silence in the forest -
The day is bright, the frost is getting stronger.
4. Connection with folklore.
At first it seems that the poem turns us to the famous fairy tale “Morozko”, but everything is not so. Nekrasov avoids any coincidences - this would simplify the image of the heroine. Nekrasov’s image of Moroz differs significantly from the hero of the Russian fairy tale “Morozko”. It personifies the harsh nature among which the people live, the mysterious, elemental forces, and becomes a symbol of the “Russian all-destroying winter.” But at the same time, Frost is a sorcerer, a wizard. He helps Daria escape from her painful existence, inviting her into a fabulously beautiful world. He even turns into Proklushka, Daria’s beloved husband, to “bewitch” her.
Like a sculpture, Daria freezes in the forest, which has suddenly become fabulous, enters the natural world and remains in it.
Not a sound! The soul dies
For sorrow, for passion. Are you standing
And you feel how you conquer
Its this dead silence.
Not a sound! And you see blue
The vault of the sky, the sun, and the forest,
In silver-matte frost
Dressed up, full of miracles...
And Daria stood and froze
In my enchanted dream...
5. The relevance of the poem today.
In this poem, the author rose to the highest level of artistic skill. It is not for nothing that the French literary critic Charles Corbet compared “Frost, Red Nose”, as a unique epic work of “modern literature”, with the Homeric epic. The poem is not only beautiful, but it is also mysterious, as it should be with the great creation of a master. And each era tries to find its own solution to this incomprehensible mystery.
Whatever the cost
Oblivion to my peasant woman,
What needs? She smiled.
We won't regret it.
There is no deeper, no sweeter peace,
What kind of forest sends us,
Motionless, fearlessly standing
Under the cold winter skies.

III. Summarizing.
1. Reflection.
2. Homework on Russian literature: reading the poem “Who Lives Well in Rus'.”
3. Grading.

Soon after the peasant reform of 1861, “hard times” came to Russia. Persecutions and arrests began. The poet M. L. Mikhailov was exiled to Siberia, D. I. Pisarev was arrested. In the summer of 1862 he was imprisoned in the Peter and Paul Fortress. The morally sensitive Nekrasov felt awkward in front of his friends; their dramatic fate was a reproach for him.

On one of the sleepless nights, in difficult thoughts about myself and my disgraced friends, I cried out the great “song of repentance” - the lyrical poem “A Knight for an Hour”. When he wrote it, he remembered the reproach and reproach that had hurt him in his time in the letter of the late Dobrolyubov dated August 23, 1860: “And I thought: here is a man - he has a hot temperament, plenty of courage, a strong will, is not offended by his mind, is naturally healthy heroic, and all his life he languishes with the desire for some deed, an honest, good deed... If only he could have Garibaldi in his place.”

Dobrolyubov passed away, burned out on his ascetic journal work, and ended up in the Chernyshevsky fortress... But Nekrasov never had to become a “Russian Garibaldi.” And not because he lacked firmness of will and strength of character: with the heightened instinct of a people's poet, he felt the inevitable tragedy of the revolutionary feat in Russia. This feat required reckless faith. Nekrasov did not have such faith. And revolutionary “chivalry”, with caution, inevitably turned out to be “knighthood for an hour”:

Good impulses are destined for you,

But nothing can be accomplished...

In the fall of 1862, in a difficult mood (the existence of Sovremennik was under threat, the peasant movement, suppressed by the energetic efforts of the government, was in decline), the poet visited his native places: he visited the grave in Greshnev and in neighboring Ab'akumtsevo. The result of all these events and experiences was the poem “A Knight for an Hour” - one of Nekrasov’s most heartfelt works about filial love for his mother, developing into love for his homeland. The mood of the poem turned out to be consonant with many generations of the Russian intelligentsia, endowed with a burning conscientiousness, thirsting for activity, but not finding either in itself or around itself strong support for active good or for revolutionary feat. Nekrasov loved this poem very much and always read it “with tears in his voice.” There is a memory that Chernyshevsky, who returned from exile, while reading “A Knight for an Hour,” “could not stand it and burst into tears.”

The Polish uprising in 1863, brutally suppressed by government troops, pushed court circles to reaction. In the context of the decline of the peasant movement, some of the revolutionary intelligentsia lost faith in the people and in their creative capabilities. Articles began to appear on the pages of the democratic magazine “Russian Word” in which the people were accused of rudeness, stupidity, and ignorance. A little later, Chernyshevsky, in the “Prologue,” through the lips of Volgin, uttered bitter words about the “pathetic nation” - “from top to bottom, everyone is completely slaves.” Under these conditions, Nekrasov began work on a new work, filled with bright faith and good hope - the poem “Frost, Red Nose.”

The central event of “Frost” is the death of a peasant, and the action in the poem does not extend beyond the boundaries of one peasant family. At the same time, both in Russia and abroad it is considered an epic poem. At first glance, this is a paradox, since classical aesthetics considered the grain of an epic poem to be a conflict on a national scale, the glorification of a great historical event that had an impact on the fate of the nation.

However, by narrowing the scope of action in the poem, Nekrasov not only did not limit, but enlarged its problematics. After all, the event associated with the death of a peasant, with the loss of “the breadwinner and the hope of the family,” is rooted in almost a thousand years of national experience and involuntarily hints at our centuries-old upheavals. Nekrasov's thought develops here in line with a fairly stable, and in the 19th century, extremely lively literary tradition. - the basis of national life. This connection between family and nation was deeply felt by the creators of our epic from Nekrasov to Leo Tolstoy. The idea of ​​family, kinship unity arose before us as the most vital at the dawn of Russian history. And the first Russian saints were not warrior heroes, but humble princes, brothers Boris and Gleb, killed by the accursed Svyatopolk. Even then, the values ​​of brotherly and family love were elevated to the level of a national ideal.

The peasant family in Nekrasov’s poem is a part of the all-Russian world: the thought of Daria naturally turns into the thought of the “majestic Slav”; the deceased Proclus is like the peasant hero Mikula Selyaninovich:

Large, calloused hands,

Those who put up a lot of work,

Beautiful, alien to torment

Face - and beard down to arms.

Equally majestic is the father of Proclus, frozen mournfully on the grave mound:

Tall, gray-haired, lean,

Without a hat, motionless and mute,

Like a monument, old grandfather

I stood at my dear one’s grave!

“A great people has its own history, and history has its own critical moments, by which one can judge the strength and greatness of its spirit,” wrote Belinsky. “The spirit of the people, like the spirit of a private person, expresses itself completely at critical moments, by which one can unmistakably judge not only his strength, but also the youth and freshness of his strength.”

From the 13th to the 20th centuries, the Russian land was subjected to a devastating invasion at least once a century. An event that happened in a peasant family that lost its breadwinner, like a drop of water, reflects the historical troubles of a Russian woman-mother. Daria's grief is solemnly called in the poem as “the great grief of a widow and mother of small orphans.” Great - because behind him are many generations of Russian women - brides, wives, sisters and mothers. Behind him lies the historical fate of Russia: the irreparable losses of the best national forces in devastating wars and social catastrophes have echoed with orphan grief for centuries, primarily in our families.

Nekrasov’s epic event shines through the everyday plot. Testing the strength of the peasant family, showing the family at the moment of a dramatic shock to its foundations, Nekrasov keeps in mind the national trials. “Centuries have flown by!” In the poem, this is not a simple poetic declaration: with all the content, the entire metaphorical world of the poem, Nekrasov brings momentary events to the centuries-old flow of Russian history, peasant life to national existence. Let us remember the eyes of the crying Daria, as if dissolving in the gray, cloudy sky, crying with stormy rain. And then they are compared to a field of grain flowing with overripe grains-tears. Let us remember that these tears freeze into round and dense pearls, hanging like icicles on the eyelashes, like on the cornices of the windows of village huts:

There’s no point in looking around,

The plain glitters in diamonds...

Daria's eyes filled with tears -

The sun must be blinding them...

Only an epic poet could boldly correlate the snowy plain in diamonds with the eyes of Daria in tears. The figurative structure of “Moroz” rests on these broad metaphors, which bring everyday facts to national existence. In the poem, nature is attentive to the grief of the peasant family: like a living being, it responds to the events taking place, echoes the peasant cries with the harsh howl of a blizzard, and accompanies dreams with the folk witchcraft spells of Frost. The death of a peasant shakes the entire cosmos of peasant life and sets in motion the spiritual forces hidden within him. Concrete everyday images, without losing their grounding, are sounded from within by a song, an epic beginning. “Having worked in the earth,” Proclus leaves her an orphan - and now she “lays down with crosses,” the sacred Mother is the damp earth. And Savraska became orphaned without his master, like a heroic horse without Mikula Selyaninovich.

Behind the tragedy of one peasant family lies the fate of the entire Russian people. We see how he behaves in the most difficult historical trials. A fatal blow has been dealt: the family's existence seems hopeless. How is the people's “world” overcome by inconsolable grief? What helps him survive in tragic circumstances?

Let us pay attention: in severe misfortune, household members least of all think about themselves, least of all worry about their grief. No complaints about the world, no grumbling, groaning or bitterness. Grief gives way to an all-consuming feeling of pity and compassion for the departed person, up to the desire to resurrect Proclus with a gentle, friendly word:

Splash, darling, with your hands,

Look with a hawk's eye,

Shake your silken curls

Dissolve your sugar lips!

The widowed Daria also faces misfortune. She does not care about herself, but, “full of thoughts about her husband, she calls him and speaks to him.” Dreaming of her son’s wedding, she anticipates not only her own happiness, but the happiness of her beloved Proclus, addresses her deceased husband as if he were alive, and rejoices at his joy. There is so much homely warmth and affectionate, protective compassion towards a loved one in her words. But the same warm, kindred love extends to those “distant” - to a deceased schema-monster, for example, accidentally met in a monastery:

I looked into the face for a long time:

You are younger, smarter, cuter than everyone else,

You are like a white dove among sisters

Between gray, simple pigeons...

In a tragic situation, Daria is warmed by the warmth of spiritualized compassion. Here Nekrasov touches on the hidden core of folk moral culture, on what the Russian land stood and should stand on.