What problems does the author raise in Dubrovsky. Student research What life experience can be gained by reading the novel by A.S. Pushkin "Dubrovsky"

Development of a literature lesson in grade 6 on the topic
"Moral and social problems in the novel by A.S. Pushkin "Dubrovsky"
Mukhopleva Elena Vladimirovna,
teacher of Russian language and literature
Arctic Gymnasium
Lesson objectives:
Educational:
form a primary idea of ​​the novel; the ability to define the problematics of a work of art on the example of the novel by A.S. Pushkin's "Dubrovsky"; to help students identify the author's attitude towards the heroes of the novel;
practice the ability to analyze the episode artistic text;
teach the ability to draw up characteristics of the heroes of the story;
teach to analyze the plot of a work of art;
continue to work on the formation of the ability to find means of expressiveness of a literary text;
teach to read episodes of the work by role;
to provide a repetition of the theory of literature: conflict, portrait, problematic, main idea.
Developing: develop:
reading skills,
the ability to establish a causal relationship events of the work,
commented reading skills,
skills of research work with text.
Educating: educate:
noble personality traits,
a feeling of dislike for meanness, despotism, dishonor.
Literary theory: novel (primary ideas), the author's attitude to the heroes.
Speech development: expressive reading reading by role.
Connection with other forms of art: listening to music.
Lesson type: learning new material
Organization methods learning activities students: verbal, practical, independent work, inductive, productive and reproductive method.
Forms of organizing educational activities of students: individual, group.
Technologies: information and communication, development technologies critical thinking.
P / p No.
Lesson stage
Teacher activity
Student activities
Target
Time

1
Organizational
Hello guys! Everyone is beautiful, healthy, you can start the lesson. I am sure that today you will take one more step towards comprehending the depths of the world of literature.

Create a positive emotional atmosphere
1 minute.

2
Goal setting
Name the characters referred to in these passages
"His wealth, noble family and connections gave him great weight in the provinces where his estate was located. The neighbors were glad to please his slightest whim; provincial officials trembled at his estate "
This, a retired lieutenant of the guard, was his closest neighbor and owned seventy souls "
Students' answers: K.P. Troekurov and A.G. Dubrovsky
Test knowledge of the text
1 minute

What is the position of each of the heroes?
- What are the similarities and differences between K.P. Troekurov and A.G. Dubrovsky?
Student responses:
- A.S. Pushkin's novel "Dubrovsky"; a rich landowner, the second is an impoverished nobleman.
- heroes are similar in fate, the difference in the position of each hero, outlook on life.

Formulate and write down the topic of the lesson.
Under the guidance of the teacher, the topic of the lesson is formulated: "Moral and social problems of the novel by A.S. Pushkin" Dubrovsky "
Determine the topic of the lesson, set the goals of the work.
1 minute

We will define the tasks of the lesson, make a basket of ideas.

Drawing up a basket of ideas (on the board and in notebooks): problem, novel, heroes, conflict, plot, main idea

3.
Updating the subjective knowledge of students.
- What unusual and noble theme does the author touch upon in the novel?
- How do you understand the expression "noble robber"?
- In what works of art does the topic of "noble robbery" occur?
Student responses
Preparing to learn new material
3 min

4.
Learning new material
1. Working with text.
- Who are you talking about at the beginning of the piece?
- What connected these two heroes?
- What do you think we need to do to understand what problems are touched upon in the work?
Student responses
Testing knowledge of the text

Group work.
Analysis of 1-2 chapters.
- Let's make a description of old friends Dubrovsky and Troyekurov, after working in groups.
A rough outline of the story:
1. The origin of the hero.
2. How was life in the past?
2. Financial situation at the time of the action in the novel.
3. Hobbies.
3. The attitude of people around to the hero.
4. Behavior during a quarrel.
5. Behavior during the trial (slide 2)
Group work.
Drawing up the characteristics of the heroes.
Development of the ability to analyze the plot of the story, make up the characterization of the heroes
7 minutes

As each group performs, the other group makes entries in the table.
K ° Group performance.
Filling comparative table
Report on the results of the work of the groups, drawing up the characteristics of the heroes
4 minutes

What can we say to K.P. Troekurove and A.G. Dubrovsky?
- How did their quarrel end?
Student responses

What was the conflict between the work?
- Write it down in a notebook
Entries in notebooks
Definition of the conflict of the work
1 minute

Work on the theory of literature:
- How do you understand the word "conflict"?
Student responses
Repetition of literary theory
1 minute

A quarrel between friends at the kennel and their resentment is real reason conflict?
- What is internal conflict?
Students answer: in different views on life among the heroes, in different understandings of honor, dignity, morality

How do the heroes understand this problem?
Work in pairs.
Sample student responses:
A.G. Dubrovsky - values ​​his human dignity, honor, does not tolerate insults and resentment, does not want to bow before his rich neighbor, although he knows his strength and power.
K.P. Troekurov - he cannot allow someone to act against his will, does not show due honor and respect to others, demands only respect for himself, cannot tolerate remarks from the poor, albeit nobles.
Developing the ability to draw conclusions
2 minutes

Physical education.

Lexical work
-How do you understand the words self-esteem?
- Pick up the opposite in the meaning of the concept.
Student responses: servility, ingratiation, flattery
Enrichment vocabulary
1 minute

How did events develop in the future?
- Who became the "heir" of the conflict between old friends?

Independent work
Optional assignment:
1. Describe the life of V. Dubrovsky in the city.
2. How did Vladimir take the news of his father's illness?
3. Tell us about the meeting of young Dubrovsky with his father.
- What can we conclude about Dubrovsky's life in St. Petersburg?
The story of the life of V. Dubrovsky
Drawing up a story about the life of V. Dubrovsky.
Notes in notebooks.
Development of the ability to compose a story about the hero of the work
5 minutes

Reading by roles of chapter 6.
- At what point did V. Dubrovsky change? (after the death of his father)
- What feelings did Vladimir visit after the death of his father?
- When does he decide to burn down his estate?
- Who participated in the arson?
Working with illustrations p.190.
Reading by roles, answering questions about the chapter read
Development of the ability to read a work by roles
5 minutes

What kind of robber did Dubrovsky become?
- How do you understand the word "noble"?
- Guys, what do you think about the path chosen by Vladimir Dubrovsky? Did he do the right thing or not?
- What characteristics can we give Dubrovsky from a moral point of view?
Students' answers.

5.
Checking the primary assimilation of the material
- What moral problems are touched upon in the novel by A.S. Pushkin?
-What is the main idea of ​​the novel? What did A.S. wanted to say to us, the readers? Pushkin?
The formulation of the themes and the main idea of ​​the work: The dignity of the individual, her morality is valued less than the dignity of the nobility of the clan. But wealth doesn't make people better.
Development of the ability to determine the main idea of ​​the work
3 min

6.
Control stage
Reception "Letter in a circle". The guys work in rows. Each row gets a "letter" with a question. Students answer the question one by one and pass it on to the next student.
1. What determines the actions of Vladimir Dubrovsky?
2. What are the main moral problems of the novel "Dubrovsky"?
3. What are the social problems?
Completing the assignment. Mutual verification.
Determination of student assimilation of material
2 minutes

7.
Homework
Optional assignment
A) Prepare a story about Deforge.
B) Retelling of the episode "In a cage with a bear"
C) Creative task: write an essay-reasoning "As I understand what honor and dishonor"
Recording homework

8.
Lesson summary
- What problems are touched upon in the novel?

Working with a basket of ideas. Add missing labels.
Summing up the work
1 minute

The novel "Dubrovsky" by A.S. Pushkin is the most famous Russian robber novel, created in the spirit of the genre of literary composition popular in England, France and Germany of the 18th-19th centuries, in the center of which is the image of a noble robber.

The novel is based on the idea of ​​the moral decay of the Russian nobility and its opposition common people... The topics of honor protection, family lawlessness, peasant revolt are covered.

History of creation

The novel in 3 parts was started by Alexander Pushkin (1799 - 1837) after finishing work on the composition "Belkin's Tale" in the fall of 1832.

Pushkin wrote only 2 volumes from the planned three-volume work, the second of them was completed in 1833, that is, work on the novel proceeded rather quickly. The third volume was never started.

The first publication of the work took place 4 years after the death of the poet in a duel in 1841. Pushkin did not leave the title of the novel in the manuscript, and the title was given to him after the name of the protagonist "Dubrovsky".

The basis for the work was a case told to the poet by his comrade Nashchokin. According to the story, the landowner Ostrovsky, ruined through the fault of a high-ranking neighbor, gathered his serfs and created a robber gang. Pushkin became interested in history as a realistic basis for prose writing.

Analysis of the work

Main plot

(Illustration by B. M. Kustodiev "Troyekurov chooses puppies")

The landowners Troekurov and Dubrovsky, the father of the protagonist Vladimir, are neighbors and are friends. Row conflict situations they separate friends from each other and Troekurov, taking advantage of his special position, claims the rights to the only property of a neighbor. Dubrovsky is unable to confirm his right to the estate and goes mad.

The son Vladimir who came from the city finds his father dying. Soon the elder Dubrovsky dies. Not wanting to put up with injustice, Vladimir burns the estate along with the officials who came to register it for Troekurov. Together with the devoted peasants, he goes into the forest and terrifies the entire neighborhood, however, without touching Troekurov's people.

A French teacher goes to the service at the Troekurovs' house and thanks to bribery Dubrovsky takes his place. In the house of the enemy, he falls in love with his daughter Masha, who reciprocates.

Spitsyn recognizes in the French teacher the robber who robbed him. Vladimir has to hide.

At this time, the father gives Masha in marriage to the old prince against her will. Vladimir's attempts to upset the marriage do not give success. After the wedding, Dubrovsky and his gang surround the carriage of the young and Vladimir frees his beloved. But she refuses to go with him, since she is already married to another.

The authorities of the province are making an attempt to surround Dubrovsky's gang. He decides to stop the robbery and, having dismissed the people loyal to him, goes abroad.

main characters

Vladimir Dubrovsky in Pushkin's work appears as one of the most noble and courageous heroes. He is only son his father, a hereditary impoverished nobleman. The young man graduated Cadet Corps and is a cornet. At the time of news about the estate taken from his father, Vladimir is 23 years old.

After the death of his father, Dubrovsky gathers loyal peasants and becomes a robber. However, his robbery is painted in noble tones. All the victims of the gang are rich people who lead an unworthy lifestyle. In this, the image of the protagonist overlaps with the image of Robin Hood in many ways.

Dubrovsky's goal is revenge for his father, and it is aimed at Troekurov. Under the guise of a teacher, Vladimir settles in the house of a landowner and starts good relationship with all family members, and falls in love with her daughter Masha.

The courage and decisiveness of Dubrovsky is evidenced by the incident in the house of Troyekurov. Finding himself jokingly locked in a room with a bear, Dubrovsky does not lose his composure and kills the bear with one shot from a pistol.

After meeting with Masha, the main goal of the hero changes. For the sake of reuniting with his beloved, Dubrovsky is ready to give up the desire to take revenge on her father.

Masha's refusal to follow Dubrovsky after her wedding to Vereisky, as well as a raid on a gang, make Vladimir abandon his plans. He nobly lets his people go, not wanting to get them into trouble. Refusal from his beloved and flight abroad testify to the submissiveness of the young man and the unwillingness to go against fate.

The existing sketches for the third volume trace the return of Vladimir to Russia and attempts to return Masha. In this regard, we can say that the hero does not renounce his love, but only accepts the desire of his beloved to live according to church laws.

(editor's note - Kirila Petrovich - not to be confused with Kirill)

Troekurov in the novel acts as the main negative character... A wealthy and influential landowner knows no bounds in his petty tyranny, he can jokingly lock a guest in a room with a bear. At the same time, he respects independent people, to whom Vladimir's father Andrei Gavrilovich belongs. Their friendship comes to an end because of the trifles and pride of Troyekurov. Having decided to punish Dubrovsky for his insolence, he appropriates his estate for himself, using his unlimited power and connections.

At the same time, the image of Troekurov is built not only in negative tones. The hero, having cooled down after a quarrel with a friend, regrets his deed. In his behavior, Pushkin lays down the scheme of the Russian social structure, in which the nobles felt omnipotent and unpunished.

Troekurov is characterized as a loving father. His younger son born out of wedlock, but brought up in a family on an equal footing eldest daughter Masha.

The pursuit of profit can be traced in the choice of a husband for his beloved daughter Masha. Troekurov knows about his daughter's reluctance to marry an old man, but organizes a wedding and does not allow his daughter to escape with her beloved Dubrovsky. This is a great example of how parents try to arrange the lives of their children against their wishes.

Masha Troekurova at the time of the action is a 17-year-old girl who is brought up in the loneliness of a large estate, she is silent and closed in herself. Her main outlet is her father's rich library and French novels. The appearance in the house of a French teacher in the form of Dubrovsky for a romantic young lady develops into love, similar to numerous novels. The truth about the teacher's personality does not scare the girl, which speaks of her courage.

It is important to note that Masha is principled. Having married an unwanted husband, an old count, Masha rejects Dubrovsky's offer to flee with him and speaks of her duty to her husband.

The work is dramatic in its composition and is based on striking contrasts:

• friendship and judgment,
• meeting of the protagonist with his native places and father's death,
• funeral and fire,
• holiday and robbery,
• love and escape,
• wedding and battle.

Thus, the composition of the novel is based on the conflict method, that is, the collision of contrasting scenes.

The novel "Dubrovsky" by Pushkin under the cover romantic composition contains a number of deep reflections of the author on the problems of Russian life and structure.

Development of a literature lesson in grade 6 on the topic

“Moral and social problems in the novel by A.S. Pushkin "Dubrovsky"

Mukhopleva Elena Vladimirovna,

teacher of Russian language and literature

Arctic Gymnasium

Lesson objectives:

Educational:

Form a primary idea of ​​the novel; the ability to define the problematics of a work of art on the example of the novel by A.S. Pushkin's "Dubrovsky"; to help students identify the author's attitude towards the heroes of the novel;

Practice the ability to analyze an episode of a literary text;

To teach the ability to compose the characteristics of the heroes of the story;

Learn to analyze the plot of a work of art;

Continue work on the formation of the ability to find means of expressiveness of a literary text;

Provide a repetition of the theory of literature: conflict, portrait, problematic, main idea.

Developing: develop:

Reading skills,

Ability to establish a causal relationship between the events of a work,

Commented reading skills,

Research skills with text.

Educating: educate:

Noble personality traits,

Feeling of dislike for meanness, despotism, dishonor.

Literary theory : novel (primary ideas), the author's attitude to the heroes.

Development of speech : expressive reading, reading by roles.

Relationship with other forms of art : Listen to music.

Lesson type: learning new material

Methods of organizing educational activities of students: verbal, practical, independent work, inductive, productive and reproductive method.

Forms of organizing educational activities of students: individual, group.

Technologies: information and communication, technologies for the development of critical thinking.

MBOU "Sizinskaya OOSh"

Teacher: Glazkova Irina Borisovna

Mubarakshina Gulnara Rashitovna

Outline of a literature lesson in grade 7 on the topic

“Moral and social problems in the novel by A.S. Pushkin "Dubrovsky"

Lesson objectives:

Educational:

To teach the ability to compose the characteristics of the heroes of the story;

Form a primary idea of ​​the novel; the ability to define the problematics of a work of art on the example of the novel by A.S. Pushkin's "Dubrovsky"; to help students identify the author's attitude towards the heroes of the novel;

Learn to analyze the plot of a work of art;

Provide a repetition of the theory of literature: conflict, portrait, problematic, main idea.

Developing: develop:

Reading skills,

Ability to establish a causal relationship between the events of a work,

Commented reading skills,

Research skills with text.

Educating: educate:

Noble personality traits,

Feeling of dislike for meanness, despotism, dishonor.

Literary theory: novel (primary ideas), the author's attitude to the heroes.

Development of speech: giving your opinion

Lesson type: repetition of learned material

Methods of organizing educational activities of students: verbal, practical, independent work, inductive, productive and reproductive method.

Forms of organizing educational activities of students: individual, group.

Among the unfinished prose works Pushkin, unusual for Russian prose of that time, a combination of acute social issues with an adventurous plot, the novel stands out, on which he worked from October 1832 to February 1833. The uncapitalized manuscript was published in 1841 under the title “Dubrovsky” in the X volume of the posthumous edition of Pushkin's Works.

Already the first readers perceived the novel as a completely finished plot, despite the fact that, having not received the final artistic "finishing", it was as if it remained in the "scaffolding" (some plot episodes were not worked out, the motives of the characters' behavior are not always clear, the sketchiness is felt in the image of Vladimir Dubrovsky, Masha Troekurova, Prince Vereysky). The study of plans and drafts allowed researchers to identify the movement of the writer's intention, put forward a number of hypotheses about the reasons for the incompleteness of the work and its possible continuation. Pushkin, who was enthusiastically writing the novel in the fall of 1832 and in the winter of 1832/33, suddenly lost interest in it and did not return to work on the manuscript in the future. The main reason was, apparently, the author's heightened interest in historical material: the “History of Pugachev” was being created, the first sketches of the novel about the Pugachev region were made. In Pushkin's work, the unfinished novel became both a milestone on the path from Belkin's Tales (1830) to a modern socio-psychological novel, and a serious step towards the historical novel, The Captain's Daughter.

In Dubrovsky, as earlier in Belkin's Tales, Pushkin was guided by his idea of ​​prose, which, in his opinion, should meet the requirements of “brevity”, “accuracy” and “naked simplicity”. The main narrative principle implemented in the novel is the alternation of compressed, concentrated author's characteristics of the characters with the depiction of specific scenes with their participation. About people and events, life and customs local nobility narrated in a restrained and extremely laconic manner. Each author's characteristic is an example of aphoristically accurate analytical prose. Revealing the most important social and moral and psychological qualities of the participants in the events, the narrator tries to be as objective as possible, although sometimes he cannot refrain from direct assessments and ironic remarks.

The novel evokes many associations with the works of Western European and Russian writers of the 18th - first third of the 19th centuries. However, the creative impetus was not given to Pushkin literary stories about “noble robbers”, whose stream did not dry up after the appearance of F. Schiller’s drama “The Robbers” (1781), not “accusatory” plays about corrupt servants of Russian justice (their images were created, in particular, by V.V. Kapnist in famous comedy"Yabed", staged in 1798). The writer was inspired by a story told by a Moscow friend P.V. Nashchokin's life story of a poor Belarusian nobleman Ostrovsky. The landowner, whose estate was illegally taken away, became a robber and eventually ended up in prison. This story, coupled with other historical and modern facts judicial arbitrariness, became the lifeblood of "Dubrovsky". The realist writer sought to maximize the authenticity, even the "documentary" nature of the novel. This is evidenced, for example, by the following episode: at the request of Pushkin, Nashchokin got hold of the text of a court decision in the case of one of the landowners, who, as a result of a litigation that ended in October 1832, lost his estate. The fictitious document entered the text of the second chapter practically unchanged, only the real names of the plaintiff and the defendant were replaced by the names of the fictional heroes - Troekurov and Dubrovsky.

"Raw", although very expressive material from the Russian judicial chronicle and oral stories the writer did not confine himself to the lawlessness that has long become a “common phenomenon” in Russia. The fate of the victims of landlord and judicial arbitrariness served as a starting point for Pushkin for staging a wider range of public and moral issues... “Dubrovsky”, even though it remains unfinished, is, according to V.G. Belinsky, one of those “poetic creations” in which “Russian society is reflected”.

A few months before the start of work on the novel, in February 1832, Pushkin received as a gift from Emperor Nicholas I the just published “Complete Collection of Laws of the Russian Empire” in 55 volumes. This sign of the tsar's "goodwill", obviously, was supposed to clearly demonstrate the power of Russian legislation to the poet, who, in his youth, proclaimed: public good is possible only where "there is strong combination with the Liberty of the saint / powerful laws." In Dubrovsky, already without the romantic pathos characteristic of early freedom-loving poetry, Pushkin showed how laws are violated in Everyday life nobles. The “laws of disastrous shame”, about which the poet wrote in the ode “Liberty,” in the novel has become not only an everyday reality for disenfranchised serfs, but also a monstrous “norm” of noble life, deforming the personality, breaking the fate of people. In the life of the local nobility, depicted in the novel, the laws of state and moral laws, in fact, are replaced by one, unwritten, but most authoritative - the “law” of power that wealth and nobility give.

In Dubrovskoye, two conflicts, different in nature and social significance, are developing, successively replacing each other.

First conflict , deployed in the first volume, intra-class, with a bright social connotation. In it, neighbors, former colleagues and old friends collided - a small-scale nobleman, retired lieutenant Andrei Gavrilovich Dubrovsky and a wealthy landowner, retired general-in-chief Kirila Petrovich Troekurov. The conflict was provoked by the impudent remark of the Troekurovsky hunter Paramoshka, who humiliated Dubrovsky's human dignity: “... it would not be bad for another and a nobleman to exchange the estate for any local kennel”. Fueled by the clash of pride between Dubrovsky and Troyekurov, the quarrel of friends soon turned into a property conflict between the landlord neighbors. They came to the fore social inequality, which predetermined the outcome of the litigation started by Troekurov. A poor landowner, the owner of a single village of Kistenyovka with 70 serf souls, fell victim to the vengeful "amusement" of a large landowner, who was helpfully helped by corrupt judicial officials and some neighbors who perjured in his favor (in particular, Anton Pafnutiich Spitsyn). The result of the judicial farce was quite predictable: Dubrovsky, a completely insignificant figure in the eyes of assessor Shabashkin and other members of the court, lost his estate, and his serfs, who understood that Troyekurov would “take away not only the skin, but also the meat,” almost mutinied on the day of the funeral of his old master, which coincided with the transfer of the estate to the new owner.

Make a chronicle of the feudal "war" between Troyekurov and Dubrovsky. How are the characters' actions related to their sense of justice and basic personal qualities?

Second conflict , developed in the second volume of the novel, - family and household. Pushkin tells about another typical everyday situation. The marriage of Masha Troekurova is a common bondage marriage for a noble milieu (Pushkin has already touched on this topic in Eugene Onegin: the mother of the Larins' sisters was married off against their will). Troekurov forces Masha, who is in love with the robber Dubrovsky, to marry Prince Vereisky, whom she hates. The writer raised the problem of family lawlessness, the question of the right of lovers to happiness, regardless of the social barriers and prejudices separating them, European literature 1830s the theme of the struggle between love passion and moral duty.

In what works does Pushkin raise similar problems? Why is the writer so attentive to the issues of family, marriage, the status of women and the upbringing of children in noble families?

The central figure in both conflicts is Kirila Petrovich Troekurov, who became “ evil genius”Both for the Dubrovskys and for their own daughter. The image of the “old Russian master” is an artistic embodiment of arbitrariness and tyranny in their most disgusting features. A large landowner, accustomed to commanding the entire district, is convinced that any person below him on the social ladder is obliged to obey him unquestioningly. In the family he is as much a despot as in relations with the landlord neighbors. Feeling absolutely unpunished ("often he is his own judge"), the owner of Pokrovskoye does not give a penny to the honor and dignity of people, regardless of their class affiliation.

Troyekurov's human qualities are a consequence of his social status... He is rude, uneducated, spoiled and voluptuous, accustomed to completely surrender to "all impulses of an ardent disposition" and "the ventures of a rather limited mind." The house of Troekurov, who loves to play the role of a hospitable host, is always full of guests, but it costs him nothing to humiliate any guest, play a lordly joke with him, putting him in a wagon pulled by bears, or pushing him into a room with a “swallowed” bear. Troekurov can simply kick out all the guests if he is in a bad mood. The master's special pride is a huge kennel, where "more than five hundred hounds and greyhounds lived in contentment and warmth." In their "dog's tongue" they glorified the owner, just as numerous guests did not skimp on noisy praises to Troyekurov, just to earn his favor. Troyekurov's exquisite fun - together with the “robbers” servants, corrupted by their master, “besiege” the estate of a neighbor who did not please him in any way (“such feats,” the narrator bitterly ironically, “were no wonder to him”). The teacher Deforge, who was heading for Pokrovskoe, told Vladimir Dubrovsky that, according to rumors, two of his predecessors Troyekurov "pinned to death." The picture of Troekurov's arbitrariness is especially vivid and detailed in the history of the feudal "war" with Dubrovsky. However, the author finds other colors in the image of Troyekurov - “more noble feelings”, suppressed by an unbridled thirst for revenge and lust for power. Troyekurov feels remorse, thinking about Dubrovsky, robbed by him (“his conscience grumbled”), makes an unsuccessful attempt to make peace with him and return the seized Kistenyovka. But glimpses of the human in Troyekurov are short-lived: the habit of being a despot drowns out living feelings and the voice of conscience.

The vast majority of the district nobles are ready to be Troyekurov's slaves, meekly recognizing his "right" to humiliate and insult them only because he is a wealthy and influential landowner. Representatives state power(the police chief and the assessor) are happy to fulfill any of his whims, even if it is contrary to the law. Only Andrei Gavrilovich Dubrovsky Troyekurov for the time being allowed him to be a “black sheep” in his entourage. But, as soon as the friendship collapsed, Dubrovsky experienced all the strength lordly anger Troekurov, who took advantage of the "corrupt conscience of the ink tribe." Pushkin, free, according to the apt remark of the philosopher B.P. Vysheslavtseva, “from the lust of domination and from the lust of servility,” condemns Troekurov and those nobles and officials who support in him the destructive habit of omnipotence and permissiveness.

Andrey Gavrilovich Dubrovsky , who tried to defend his rights and human dignity in an unequal fight with Troekurov, undoubtedly arouses participation and sympathy, and the sad end of his life - feelings of pity and compassion. However, Pushkin does not idealize his hero. Dubrovsky is by no means a "perfect example". Hot temper and stubbornness make him related to Troekurov, in his actions he is often guided by momentary emotions, and not by the arguments of reason. Envy is not alien to him. Dubrovsky is an unimportant owner, he did not manage to correct his “upset” state.

In this honest and noble man, resolute and firm, with a heightened sense of his own dignity, there are many prejudices inherent in people of his environment. Dubrovsky is not ready to put the law above his feudal right to execute and pardon offenders at his own discretion. The demand to send the impudent huntsman Paramoshka “with guilt” (“and it will be my will to punish him or pardon him”), which infuriated Troekurov, and especially the lynching of the Troekurov men who stole from Dubrovsky forest, testify that the neglect of legality, the replacement of laws by aristocratic arbitrariness is deep rooted in the minds of even the finest members of the nobility.

The main character trait of Dubrovsky is noble pride, which did not allow him to accept the patronage of Troekurov, when his “upset state” forced him to resign and settle in Kistenyovka. Dubrovsky ruled out the very possibility of his son marrying a rich bride - Masha Troekurova, about which a neighbor and friend “often used to say” to him. For Dubrovsky, this is a humiliating favor, unworthy of a nobleman. Troekurov's intention to return the seized estate, undoubtedly, would also have been rejected with indignation.

Compare Dubrovsky with Andrei Petrovich Grinev (property status, family life, attitude towards raising sons). How life principles the heroes were reflected in the fates of their children?

The hero's legal carelessness, shown by him in litigation, combined with pride and intransigence, largely determined the drama of his personal fate. Dubrovsky, knowing about the judicial fraud, took Troekurov's "sneak" rather frivolously, relying on the force of the law and the justice of the judges. In response to the court's demand to prove his rights to Kistenyovka, being a hot-tempered person, he wrote a “rather rude attitude” that pleased the assessor Shabashkin, and only after a while, recovering himself, sent “a rather efficient paper” that seemed insufficient to the judges. Instead of signing his “displeasure” under the decision of the district court, Dubrovsky in anger threw an inkwell at the assessor. Overwhelmed by illness, he was no longer able to file an appeal, and, apparently, he was not going to. The fate of Dubrovsky the father is a clear example of how lawlessness and injustice make an honest person completely helpless, driving him to illness and madness. The straightforward and proud nobleman Dubrovsky was unable to overcome the “boorish tribe” of corrupt judges - the legal mirror of the cynical nobility and self-righteous noble servility.

How does the narrator characterize the behavior of the participants in the trial - Troekurov, Dubrovsky and the judges? Analyze the judgment, paying attention to the reasoning and style of the document. What caused the outbreak of madness in Dubrovsky, what is its meaning?

The fate of Vladimir Dubrovsky - a logical continuation of the fate of his father. The tyranny of Troyekurov and the arbitrariness that killed his father, not only pushed Vladimir out of his native social environment, but also outlawed him.

Creating the image of Dubrovsky, Pushkin took into account literary tradition: the hero was to be perceived against the background of the images of “noble robbers” and avengers, well-known to the readers of that time, created by F. Schiller (drama “The Robbers”, 1781), H.A. Vulpius (novel "Rinaldo Rinaldini, leader of the robbers", 1797-1800), C. Nodier (novel "Jean Sbogar", 1818), W. Scott (novels "Rob Roy", 1818 and "Lammer-Moor's bride", 1819) , D.N. Begichev (novel "The Kholmsky Family", 1832) and other writers. However, the writer needed the “recognition” of the widespread literary type in Dubrovsky, apparently, in order to emphasize that life itself can make a Russian person the hero of a “robber” novel. The unusual fate of Dubrovsky is motivated by quite ordinary everyday circumstances.

Dubrovsky does not look like romantic heroes, whose souls are filled with "world sorrow", who ultimately rebel against an unjust world order. In his rebelliousness it is impossible to find philosophical meaning, for Pushkin's hero does not seek to oppose himself to the entire imperfect world. He has nothing in common with the romantic "villains" over whom Pushkin sarcastically in Eugene Onegin. The writer, as he promised in the humorous outline of the novel “in the old way,” showed in his “noble robber” “not the torture of secret villainy”. The hero's robbery is an open protest against the “robber” state that helped Troyekurov to take his future away from him. “Yes, I am the unfortunate one whom your father deprived of a piece of bread, drove out of his father's house and sent to rob on the highways,” Dubrovsky says bitterly to Masha. The poet and philosopher S.P. Shevyrev: “This robber Dubrovsky, conceived in an honest and noble man, is the fruit of public robbery, covered by the law. Any violation of the truth under the guise of a court, any violence by the authorities, called to the establishment of order, any plunder of public<...>give rise to personal robbery, with which the offended citizen takes revenge for the untruths of the entire body of the public ”.

Frequent changes in appearance and behavior patterns make Dubrovsky, a nobleman left without an estate, an avenger forced to engage in robbery, with Pushkin's impostor heroes - Grigory Otrepiev and Emelyan Pugachev. He appears in the novel as a guard officer accustomed to a luxurious and carefree life (Chapter II); then as a son, “romantically” attached to his father, whom he almost did not know, since in childhood he was taken to St. Petersburg (Ch. II-III); then as an avenger robbing the false witness Spitsyn (Ch. X), and the chieftain of a bandit gang (Ch. XVIII-XIX). Dubrovsky appears as a brave and cold-blooded "impostor", penetrating into Troekurov's house under the guise of a French teacher Deforges, but in scenes of love meetings it is unexpectedly revealed that he is a sentimental and timid lover.

Analyze portrait descriptions Dubrovsky in various episodes. What role does the portrait play in creating his image and the images of other characters in the novel?

In the depiction of Dubrovsky, the plot technique of default is very effectively used. Until the XI chapter, the narrator does not tell about who the imperturbable and courageous teacher Deforges really was, who appeared in the house of Troyekurov (Chapter VIII). Silence becomes the main technique in the story of Dubrovsky's predatory activities. Already in the final chapters of the first volume, the “all-knowing” narrator disappears, directly reporting on his intentions and actions until his departure from Kistenyovka and reincarnation as Deforges. Direct characteristics of the “chief of the gang”, who was “famous for intelligence, courage and some kind of generosity,” are practically absent. Limiting himself to "rumor" - rumors and rumors of frightened landowners about him, the narrator seems to be moving away from Dubrovsky the robber, trying to make him a legendary person (part of the emerging legend about Dubrovsky is the story of the landowner Anna Savishna Globova). In the second volume, there are even more silences, the atmosphere of mystery around the “noble robber” thickens. Having left the house of his enemy, he nevertheless is well aware of everything that happens in the Troyekurov family, in particular about the appearance of Prince Vereisky and his possible matchmaking to Masha. And only in last chapters(XVIII and XIX) the hero appears among the robbers as the chieftain.

Dubrovsky is an avenger, but his vengeance did not touch Troyekurov. The moral ban on revenge on the main offender was imposed by love for Masha. “I understood,” Dubrovsky confessed to Masha on the first date, “that the house where you live is sacred, that not a single creature connected to you by blood ties is subject to my curse.” Dubrovsky calls himself Masha's keeper, and considers the three weeks spent in the Troyekurov family to be true bliss, "days of happiness." It turned out that he had started the dangerous adventure of reincarnating into Desforges's teacher in order to be close to Masha, and not at all because of a desire to overtake the enemy in his own home... Passion for love won in Dubrovsky the thirst for personal revenge: “I forgave him. Look, you saved him. " This is perhaps one of the most attractive features Pushkin's “noble robber”.

It is difficult to agree with the widespread opinion about "inorganicity", excessive "melodramatism" and conditionally literary content of the novel's love line. Image love relationship heroes fit perfectly into moral issues novel. It is only important to correctly determine the nature and meaning of these relations, the connection with the family and everyday conflict, unfolded in the final chapters of the novel.

The dominant image of the hero in the second volume is the tragedy of his unfulfilled love, the impossibility for him, an outcast, of the usual “family” happiness, to which he, as the narrator has repeatedly emphasized, strove with all his soul. However, the love affair in the novel is actually only outlined and does not play a significant role in the plot.

Only before leaving the house of Troyekurov, the imaginary Deforzh-Dubrovsky opened up to Masha and confessed his love to her. The stunned heroine did not express, however, reciprocal feelings, confining herself to the promise to resort to his help in case of danger. Dubrovsky did not persuade Masha to escape, secret weddings, etc. On the contrary, he in every possible way emphasized his role of her “guardian” and protector, without pretending to be more. Between Chapters XII and XIII, the usual time gap for Pushkin's works is about seven months. Not a word is said about the meetings between the heroes. After three weeks in Troyekurov's house, the loving robber did not find himself in any way. Love correspondence between the characters also did not arise. Masha, of course, remembered Dubrovsky, but it is hardly possible to talk about the strength and depth of her feelings. If Dubrovsky, under the guise of Deforges, attracted Masha with courage (before killing the bear, she perceived him not as a man, but as a teacher-“servant”) and awakened in her a feeling of love tightly controlled by class prejudices, then her interest in Dubrovsky the robber had obvious “romantic” origins.

Compare the “love stories” of Tatyana Larina, Masha Troekurova and Masha Mironova. What kind artistic techniques Are images of heroines' love experiences used in Pushkin's novels?

Dubrovsky's love confession did not destroy the social barrier between lovers. On the contrary, the personality of Dubrovsky the robber attracts Masha and frightens her. She listens with excitement to stories about him, but in her perception it is more likely a hero of one of the novels she read, and not a lover. For her, it is impossible both to enter into a marriage relationship with a French teacher, and to become the wife of the robber Dubrovsky - only an extreme measure, which the heroine decided to take so as not to marry Prince Vereisky (“the fate of the robber's wife seemed to her like paradise in comparison with the lot, prepared for her ”).

Thus, it is not the love relationship between Masha and Dubrovsky, but the decision of the despot father to marry his daughter to the hated Prince Vereisky that determines the course of events.

The moral basis of the family and everyday conflict is the humiliation of Masha's human dignity, whom the “loving” father, despite her desperate resistance, forces to marry a person she hates: “... marriage frightened her like a chopping block, like a grave.”

Masha's marriage with the prince cannot be called unequal: Troyekurov marries a landowner with 3000 souls of the family estate not a dowry, but a rich bride. His decision was dictated exclusively by family despotism and complete disrespect for human dignity and daughter's feelings. No less sinister figure in the history of the "hated marriage" is the aging dandy Prince Vereisky. Unlike Troekurov, who is capable of embarrassment at least for a moment after Masha's desperate pleas not to destroy her, the prince is cold, dry and businesslike. The indifference of the bride did not bother him, he perceived Masha only as a beautiful and expensive thing that would decorate his estate. The prince's European gloss, behind which lies the absence of feelings, the voluptuousness and cynicism of a man oversaturated with idleness and luxury, is perhaps even more disgusting than Troyekurov's crude straightforwardness. Masha's letter, with which she wanted to arouse a “feeling of generosity” in her unwelcoming groom, not only did not touch him, but also prompted him to even more actively prepare the wedding. And after the wedding ceremony, Vereisky was not at all embarrassed by Masha's “cold look”.

The only person who could save Masha from this marriage "involuntarily" was Dubrovsky. Having intervened in the family and household conflict of the Troekurovs, Dubrovsky tried to protect Masha from her father's tyranny, to “free” her. At the same time, the hero himself persistently urged Masha to use all means of influencing Troekurov (“beg your father, throw yourself at his feet, imagine all the horror of the future”), before resorting to the extreme - his help.

Dubrovsky, dreaming of a “family” life, perceives the impossibility of starting a family as a personal tragedy. His nobility lies in the fact that at the climax, when the fate of his love was being decided, he did not even have a thought to force Masha to follow him. “Your will is sacred to me,” he said to Masha in the midst of a family conflict, promising not to harm Prince Vereisky. V last episode, in which Masha and Dubrovsky appear, it comes not at all about love, but about freedom. “You are free” - these words are pronounced by the hero, opening the carriage door, giving Masha the right to freely choose her fate. And after the heroine made this choice, saying: “No.<...>It's too late, I'm married, I'm the wife of Prince Vereisky ", - Dubrovsky left her with her husband, in last time fulfilling the "sacred" will of his beloved. The “noble robber” put his moral duty to Masha above his personal happiness.

Analyze the wedding scene and the episode of Dubrovsky's attack on the newlyweds' carriage. Why was Dubrovsky's help late? How convincingly motivated is Masha's refusal to follow him? Are Masha's words true: “I agreed, I took an oath”? How did she solve for herself the problem of choosing between love and marital duty?

In Dubrovsky, Pushkin touched on the theme of the Russian revolt, which, due to the peculiarities of the conflict relations underlying the novel, ended up on the periphery of the narrative. Shown is not a riot, but only an impulse to the riot of the serfs of Kistenyovka, where the clerks came to put into the possession of Troyekurov (volume one, ch. V). The Kistenyov peasants, by their attempt to rebel, declared their loyalty to the old masters: “... command, condemnation, we will cope with the court. We will die, but we will not betray ”. In response to the police chief's demand to find the impudent person who dared to boldly disagree (“how wrong”) with the fact that their master is now Troekurov, the crowd gathered in the courtyard of the manor house, answered very emotionally: “... a murmur arose in the back rows, began to intensify and in one minute turned into the most terrible screams ”. The peasants were ready to knit clerks who took Kistenyovka away from the “young master”, but Vladimir Dubrovsky himself stopped them: “Stop! Fools! What are you? You are ruining yourself and me. Go through the courtyards and leave me alone. Do not be afraid, sir merciful, I will ask him. He will not offend us. We are all his children. ” After these words, “the people quieted down, dispersed, the yard was empty”.

The peasants obeyed the "young master", but the rebellious mood in them did not disappear. They were expressed by the blacksmith Arkhip, whom Dubrovsky discovered at night in a noble house with an ax in his hands. To the peasant's proposal to kill the sleeping clerks ("all at once, and ends in the water") Dubrovsky replied with a resolute refusal: "Not the clerks are to blame." Disobeying the master, closing them in a burning house, Arkhip not only in his own way, “robbers”, took revenge on the state “robbers” who gave Kistenyovka to Troekurov, but also deprived Dubrovsky of the opportunity to achieve justice by legal means, resorting to the “mercy” of the sovereign. It was the act of Arkhip that put Dubrovsky outlawed. An important touch to the peasant's appearance is a touching episode with a cat, which he, “looking at the fire with an evil smile,” who refused to save the “accursed,” removes from the roof of the burning barn. The burning of the clerks, therefore, does not at all testify to his natural cruelty. This is a manifestation of popular ideas about the inevitability of retribution for the harm done to people.

The indignation of the peasants and the night fire in Kistenyovka are only a harbinger of a popular revolt. Without expanding his complete picture, Pushkin showed possible reasons mass riots, which, starting as a spontaneous manifestation of peasant discontent, turn into a full-scale people's war... However, such a war became the object of the image already in "The Captain's Daughter". The “daring robberies” of the formidable gang led by the nobleman Dubrovsky (“formidable visits, fires and robberies”), despite their scale that alarmed the government, are devoid of social and ideological signs of popular revolt.

Speaking about the robbers of Dubrovsky, the narrator does not specify their social composition. It can only be assumed that among his "accomplices", in addition to the former Kistenev household, there were fugitive peasants and soldiers. From last words Dubrovsky it is clear that the interests of the robbers and their leader do not coincide. Having satisfied the thirst for revenge and having lost, after Masha's marriage, the slightest hope for a happy “family” life with his beloved woman, Dubrovsky understands the meaninglessness of the further existence of his criminal community. The attitude of the hero to the robbers loyal to his “chieftain” is lordly and disdainful. He considers them to be “crooks” who are unlikely to follow his advice to “spend the rest of their lives in honest labor” and will not want to leave their predatory trade. After Dubrovsky said goodbye to the robbers, the gang ceased to exist. Further destiny the hero could develop without any connection with these people.

The last, XIX chapter of the novel is full of images and motives that recall the novel “ Captain's daughter”. The robber song “Don't make a noise, mother green dubrovushka ...”, which the guard Stepka sang “with all his might,” disturbing the peace of the wounded Dubrovsky, is sung at the request of Pugachev by his comrades-in-arms (chapter “The Uninvited Guest”). The assault by soldiers of a forest "fortress" of robbers, organized according to all the rules of military art: with a rampart, a moat and a cannon that came from nowhere, is easily correlated with a siege Belogorsk fortress and the actions of its commandant - Captain Mironov. In the final chapter of "Dubrovsky" there is a vague silhouette of another novel, in which Pushkin wrote about how the fire "raged" in a real people's war.