Cyril and Methodius Day in the senior group. Thematic week “Week of Slavic Literature”. Check out a fragment of the theme week

The very idea of ​​remaking life seems wild to Yuri Andreevich, since life is not material, but an active principle, whose activity far exceeds human capabilities. The result of his actions only corresponds to his good intentions to the extent of attention and submission to her. Fanaticism is destructive.

In one of the draft versions of the novel, Pasternak gave the following explanation for Zhivago’s attitude towards Strelnikov: “How he always loved these people of conviction and action, fanatics of revolution and religion! How he worshiped them... how unmanly he always seemed to himself in the face of them. And more than ever, I never set out to become like them and follow them. His work on himself went in a completely different direction. He did not like naked rightness, naked truth, naked holiness of heaven. And the voices of the evangelists and prophets would not have captivated him with their ever-repressing depth if he had not recognized in them the voices of the earth, the voices of the street, the voices of modernity, which in all centuries was expressed by the heirs of teachers - artists. This is who, in his conscience, he revered, and not the heroes, and he revered the perfection of creation, which came from imperfect hands, above the fruitless self-improvement of man.”

While working on the novel, Pasternak understood that he was writing about the past. In order for his text to transform half-forgotten events into a word necessary for his contemporaries and designed for participation in the spiritual life of subsequent generations, he had to think about the language, free it from outdated details, the sharpness and expressiveness of which, according to experience and in foresight, were not durable. He said that he deliberately simplified the style, trying “in a modern translation in the current language, more common, ordinary and calm,” to convey at least some part of that undivided world, at least the most dear from afar, because of the centuries, marked by the gospel theme “thermal, light, organic perception of life."

At the beginning of 1956, Pasternak gave the finished manuscript of the novel to the editors of the magazine “New World”, “Znamya”, negotiations were underway with the publishing house “Khudozhestvennaya Literatura”. In the summer, communist Sergio D’Angelo, an employee of Italian radio broadcasting in Moscow, came to his dacha in Peredelkino, accompanied by a representative of a foreign commission.

He asked for the manuscript to review and received it in this official setting. The manuscript was not returned to the author. Angelo handed it over to the Italian communist publisher G. Feltrinelli, who, due to the fact that the international copyright convention at that time was not recognized by the USSR, could print the novel without the author’s permission. Nevertheless, he notified Pasternak that he wanted to publish the novel in Italian on June 30, 1956. Pasternak replied that he would be glad if the novel appeared in translation, but warned: “If its publication here, promised by many magazines, is delayed, you will get ahead of her, the situation will be tragically difficult for me.”

Publishing the novel in the Soviet Union became impossible due to the position taken by the leadership of the Writers' Union. It was reflected in a collective letter from members of the editorial board of the New World, signed by K. Simonov, K. Fedin, B. Lavrenev, A. Agapov and A. Krivitsky, and determined the domestic fate of the book for 32 years to come. In Italy, meanwhile, the translation was successfully completed, and, despite the fact that A. Surkov specially went to Milan to pick up the manuscript for revision on behalf of Pasternak, Feltrinelli published the book on November 15, 1957. By the end of 1958, the novel was published in all European languages.

Since 1946, the Nobel Committee has considered Pasternak's candidacy for the prize six times. For the seventh time, in the fall of 1958, it was awarded to him “for outstanding achievements of modern lyric poetry and the continuation of the traditions of great Russian prose.” In political commentary, the award of the prize was arbitrarily and unambiguously connected with the release of the novel Doctor Zhivago, which was not published in the USSR and was allegedly anti-Soviet. A monstrous scandal erupted, dubbed the “Pasternak affair” in the press.

The fact that the honorary award was turned into shame and dishonor became a deep grief for Pasternak. He, who at first joyfully thanked the Nobel Committee and the Swedish Academy for awarding the prize, was now forced to refuse it “due to the meaning given to it in the society to which he belongs.”

On February 10, 1960, Pasternak turned 70 years old. There was a stream of congratulatory letters and telegrams from all over the world. At the festive dinner there were acquaintances from the artistic circle. During the winter, Pasternak was bothered by periodic back pain. He tried not to pay attention to them, but by the end of April they became so strong that, having completely rewritten the prologue and the first act of the play, he allowed himself to go to bed. He was getting worse. X-ray showed lung cancer. The day before the end, Pasternak called us to tell us how much he was tormented by the duality of his confession, which turned into complete obscurity in his homeland. “All life was just a single combat with the reigning and triumphant vulgarity for free and playing human talent. It took a lifetime,” he said.

Lesson 39 (100). Christian motives

in the novel "Doctor Zhivago"

The purpose of the lesson: try to understand the meaning of Christian motifs in Pasternak’s creative plan.

Methodical techniques: discussion of homework issues, commented reading of episodes.

During the classes

I. Teacher's word

Pasternak's hero, Yuri Zhivago, attracts with his openness, ability to love and appreciate life, insecurity, which is not a sign of lack of will, but the ability to think and doubt. The hero is an expression of the author's moral ideal: he is talented, smart, kind, he maintains freedom of spirit, he sees the world in his own way and does not adapt to anyone, he is an individual. The idea of ​​the novel is the Christian idea of ​​a free individual.

II. Discussion of homework issues.

The entire novel is permeated with Christian ideas both directly (through speech) and indirectly (through symbols). The hero’s surname itself is associated with the image of Christ (“You are the son of the living God”: “zhivago” is a form of the genitive and accusative cases in the Old Russian language). The name Yuri is also symbolic - a variant of the name George (George the Victorious). Yuri Zhivago takes almost no direct part in events, but his understanding of life and everything that happens is based on Christian values. The plot is based on the gospel drama of spiritual choice and sacrifice on the cross. The triad “life - death - resurrection” is constantly at the center of the hero’s thoughts, and creativity is understood as “the Word of God about life.”

The novel begins and ends with a funeral scene. “They walked and walked and sang “Eternal Memory...” to Yura’s mother at the beginning of the novel. At the end of it, Lara, saying goodbye to Yuri, speaks to him as if he were alive: “Your departure is my end. Again something big, irrevocable. The mystery of life, the mystery of death, the beauty of genius, the beauty of nakedness, this is welcome, we understood this. And small world squabbles like reshaping the globe, excuse me, excuse me, this is not our part.” All events of “world significance” are “squabbles”, nothing compared to human life, which is realized every minute, now, in everyday life, in small and seemingly insignificant matters. But the last lines of the novel are poetic lines: the novel ends with the poem “Garden of Gethsemane”, the resurrection of the Son of God, immortality, life in other people.

III. Working on assignments

Exercise 1. We read and comment on the “sermon” of N. N. Vedenyapin (part 1, chapter 5).

(Nikolai Nikolayevich Vedenyapin, who renounced the priesthood, defines history as “the establishment of centuries-old works on the consistent solution to death and its future overcoming.” Vedenyapin remains true to his preaching confession. He believes that you can be an atheist, you can not know whether God exists and for what he, and at the same time know that man does not live in nature, but in history, and that in the current understanding it is founded by Christ, that the Gospel is its foundation." In this "sermon" of Vedenyapin, an understanding of meaning and value is very important for Pasternak life. The basis for creativity in any area of ​​human activity is spiritual equipment": "love for one's neighbor, ... the idea of ​​a free personality and the idea of ​​life as a sacrifice." The mention of Jesus Christ in the sermon of Father Nicholas is not accidental. According to N. L. Leiderman , in the system of value guidelines of the novel, the Son of God and the Son of Man acts both as a symbol of the personal principle in man, his moral essence, and as the one who was the first in the history of mankind to realize the idea of ​​immortality. This understanding of God is somewhat different from the traditional one, which is why the Orthodox Church gives ambiguous assessments of the novel “Doctor Zhivago”, as well as other works that use biblical motifs (for example, “The Master and Margarita” by Bulgakov, “The Scaffold” by Aitmatov). In Pasternak’s artistic world, the spiritual and the earthly are closely connected, fused, and the author correlates his heroes with the ideal of the Personality, with Christ.)

Task 2. Let us pay attention to the features of the chronology of events in the novel.

(The action of the novel is tied to the Orthodox calendar: Yura’s mother died on the eve of the Intercession; in the summer of 1903, Yura and his uncle go to Voskoboinikov - It was Kazan, the height of the harvest during the Civil War - “It was winter at the end, Passion, the end of Lent.” Pasternak as as if he were building a plot on the scale of eternity, so the meaning of even minor events deepens and expands.)

Task 3. We will find elements of Church Slavonic vocabulary, references to the Holy Scriptures, to the Gospel texts, and determine their role.

(There are a lot of such elements and references in the novel. Here are just a few of them: Anna Ivanovna’s funeral scene (part three, chapters 15-17); Zhivago’s conversation with Gordon (part four, chapter 12); mention of biblical images in the rally scene (part fifth, chapter 7); the scene of the return to Moscow, when Doctor Zhivago sees first the Cathedral of Christ the Savior, and then the domes, roofs, houses of the entire city (part five, chapter 16); the scene of Zhivago’s typhoid delirium, ending with the words “We must wake up and stand up. We must be resurrected" (part six, chapter 15); conversation between Lara and Yuri and Lara’s comparison of them with Adam and Eve (part thirteen, chapter 13); conversation between Lara and Sima - interpretation of the gospel texts (part thirteen, chapter 17).)

What is the role of poetry in the composition of a novel?

What are the main themes and ideas of these poems?

Analyze the figurative structure of the poems.

Lesson 40 (101). Poems by Yuri Zhivago

The purpose of the lesson: determine the places and meaning of “The Poems of Yuri Zhivago” in the composition and concept of the novel.

Methodical techniques: lecture with elements of conversation, analysis of poems.

During the classes

I. The teacher's word

The novel about life on earth by Yuri Andreevich Zhivago begins with the death of his mother and ends with his death. Larisa simply disappears from the face of the earth (“one day... she left home and never returned”), “disappeared somewhere unknown, forgotten under some nameless number from the subsequently lost lists, in one of the innumerable general or women’s concentration camps of the north.” We learn about the terrible fate of their daughter, who received the “barbaric, ugly nickname” Tanka Bezchereva from the conversation between Gordon and Dudorov in the epilogue of the novel. Blok’s line, which his friends remember (“We are children of the terrible years of Russia”), takes on a new symbolic meaning: “When Blok said this, it had to be understood in a figurative sense. And the children were not children, sons, brainchildren, intelligentsia, and the fears were not terrible, but providential, apocalyptic, and these are different things. And now everything figurative has become literal, and children are children, and fears are terrible, that’s the difference.”

The novel ends with a feeling of freedom that runs through the work like a red thread. The aged Gordon and Dudorov leaf through the notebook of Zhivago’s writings, which have become his eternal incarnation, his resurrection: “Death can be overcome // Through the effort of Resurrection” - these are the last lines of the poem “On Strastnaya”. The poems of Yuri Zhivago are the immortality of the hero, his otherness, the eternal life of his soul and the soul of the author himself, who understood his creation as a fulfilled mission: “I finished the novel,” Pasternak wrote to Varlam Shalamov, “I fulfilled the duty bequeathed by God.”

II. Analysis of poems

Exercise. Let's read the poem that opens the cycle, with the Shakespearean title "Hamlet" and try to understand its figurative structure.

Hamlet's theme is consonant with the theme of the novel. The tragedy of Hamlet, according to Pasternak, is not a drama of duty and self-denial, and this brings this image closer to the image of Christ. “If only you can, Anna Father, // carry this cup past” these are the words of Christ. The poem “Hamlet” is about Shakespeare’s hero, and about Christ, and about the hero of the novel, Yuri Zhivago, and about the author of the novel himself, who tragically feels his existence, and in general about a person in Hamlet’s position. Man's duty is to pay with torment for the miracle of life. Gospel images, a high biblical syllable are combined with a folk proverb containing a simple but very deep thought: “Living life is not a field to cross.” Life is symbolic because it is significant in all its manifestations. And the subject of poetry is life itself. It is not for nothing that the next poem in the cycle is “March,” the month of awakening the life of nature.

By what means is life affirmed in the poem “March”?

(The poem “March,” like Hamlet, is written in trochee pentameter and contains four stanzas. But the tragic sound of “Hamlet” in the last line (“Living life is not a field to cross”) is replaced by the optimistic mood of “March.” Every natural phenomenon is spiritualized, personified, filled with the highest meaning: “The sun warms to the point of sweat, // And the ravine rages, stupefying”; “life in the cow barn is smoking”; “the teeth of the forks are full of health.” The title sentences of the third stanza, marked by a joyful, exclamatory intonation, convey surprise and delight before the next miracle of life:

These nights, these days and nights!

Fraction of drops by the middle of the day,

Roofing icicles are thin,

Streams of sleepless chatter!)

Only in Pasternak do we find a comparison of spring with a “hefty cowgirl” in whom “things... are boiling in her hands.” The beautiful is life. Therefore, “dung smells like fresh air,” it is “the life-giving and culprit of everything.” There is no low and no high, there is work, there is an eternal thirst for life and its endless renewal.

How are the poems “Hamlet”, “March” and “On Strastnaya” connected?

(The poem “March” holds together the first and third poems of the cycle with its imaginary simplicity, everyday life, and the affirmation of simple life values. “...March scatters snow / On the porch to a crowd of cripples.” Nature itself participates in the events of Holy Week: “Water drills the shores // And it creates whirlpools"; "The trees look naked // Into the church bars... // Gardens come out of the fences, // The order of the earth shakes: // They bury God." The renewal of life, the spring of nature causes the Resurrection of Christ:

But at midnight creation and flesh will fall silent,

Hearing the spring rumor,

It's just clearing weather,

Death can be overcome

With the effort of Sunday.)

What other connections do you see in the poems in the cycle?

(The cycle “Poems of Yuri Zhivago” also includes the annual natural cycle: spring, summer, autumn, winter. “March”, “White Night” and “Spring thaw” are associated with the awakening of nature, the awakening of human life, in which the “shares” are mixed // Madness, pain, happiness, torment." Summer - "Explanation" - the return of life, its new round:

Life returned just as without reason,

As it once strangely interrupted.

I'm on the same old street,

Like then, on that summer day and hour.)

What is the role of the words “the same”, “the same”, “again”, repeating images?

(These words and repeated images and phrases reinforce the impression of harmony, cyclicality, constant renewal.) Lesson Explanatory note

... Lesson development. - M.: Enlightenment. 3. Zolotareva I.V., Mikhailova T.I. Lesson development By Russian literature XIX century. 10 Class. 1st half of the year. - M.: Vako, 2003. 4. Zolotareva I.V., Mikhailova T.I. Lesson development By Russian literature ...

In Russia, the Day of Slavic Literature is celebrated annually in May. In , as part of patriotic education and expanding the historical knowledge of children, a week of Slavic writing is held, in accordance with the Federal State Educational Standard for Education and the recommendations of the program “From birth to school.” This week the teacher talks about the emergence of writing, Cyril and Methodius, and introduces children to Slavic literature and games. The result of the week is the entertainment “Day of Slavic Writing”, where children consolidate their acquired knowledge. You will find a description of conversations with children and fairy tales of Slavic peoples in the appendix to the plan “Thematic week “Week of Slavic Literature”.

Social and communicative development

Children prepare a report on genealogy, find out what the colors on the Russian flag mean, and discuss the story “How the chick learned to write,” which contributes to social and communicative development.

Cognitive development

In the field of cognitive development, a presentation “How people learned to write”, experiments “Natural Magnifying Lens” and “Two is More Fun”, making a model “Spring in the Forest”, observing potatoes in the garden are planned.

Speech development

Older preschoolers learn to answer questions correctly and solve the problem situation “What would happen if people never learned to write.” An adult offers games and exercises to familiarize children with sentences, sound words, etc., solving problems of speech development.

Artistic and aesthetic development

In the area of ​​artistic and aesthetic development, it is planned to sing familiar folk songs, sculpt and design according to plan, and draw “Artists are magicians” to develop the ability to mix colors.

Physical development

In the field of physical development, the teacher considers introducing the games of the Slavic peoples, repeat the rhymes. To form the habit of a healthy lifestyle, a field of miracles “Products for Health” and conversations about the daily routine are planned.

Check out a fragment of the theme week