Essay “Belikov. Why is it a great pleasure to bury people like Belikov
Warm weather. A clear, joyful, although not sunny day. A strange person in a dark warm coat with cotton wool, in dark glasses, in galoshes, with an umbrella in its case, sits on the cab and orders the top to be raised.
The surprised driver tries to ask something again, but suddenly realizes that it is useless to ask questions: his passenger’s ears are blocked with cotton wool.
No, this is not a horror movie hero or a hired secret agent. This is teacher Belikov, the hero of Chekhov’s story “The Man in a Case.” During his lifetime, this man buried himself in his little cases and cases, in an impenetrable shell that he created for himself.
Well, God is with him, he lives as he wants. And it would be his personal business if he lived in a hole, like wise minnow, who “lived - trembled and died - trembled.” But Belikov himself, trembling, has been making the entire gymnasium tremble for fifteen years - both students and teachers. He lowers behavioral scores for his students, demanding the exclusion of those who are undesirable, and hints to his colleagues that there are “higher authorities.” The whole city is trembling: “they are afraid to speak loudly, send letters, make new acquaintances, read books, are afraid to help the poor, teach them to read and write...” Fear has large eyes, which is why they tolerate Belikov, seeing in him no longer an ordinary teacher - a small man, but a big one. threat. And Belikov really poses a threat. Here he goes up to teacher Kovalenko. To “ease the soul,” as a well-wisher and senior comrade, warn: “You are riding a bicycle, and this fun is completely inappropriate for a teacher of youth.” It's not about the bike, it's about life position: “You need to behave very, very carefully.”
Suddenly, Kovalenko takes off the sheep’s skin from the wolf: “I don’t like fiscals.” For the first time in his life, Belikov heard the truth about himself. For the first time they were not afraid of him, but he of someone. This was enough for Belikov’s face to show horror. But fear and horror are the driving springs of meanness, which turned a well-wisher into an informer who considers it his noble duty to “report to Mr. Director.” Kovalenko only had to “shove” Belikov so that he would “roll down the stairs, rattling his galoshes.” As he fell down the stairs, he fell in his own eyes. He was sliding down from the height to which he had hoisted himself, maintaining his importance with fear, which, like a terrible infection, he infected everyone.
“Pushing” out of the normal human environment was quite enough for Belikov to be pushed out of life. Material from the site
The gallery of images of “little people” begun by Pushkin and Gogol found its worthy continuation in the image of Belikov. We sympathize with Vyrin and Bashmachkin who died of grief, Chervyakov who died of fear, we despise the wise minnow. But none of them interfered with others - they lived by the principle: “My house is on the edge.” Belikov moved with his hut into other people's lives, shamelessly and mercilessly destroying them. After death, his face, freed from fear, finally became cheerful and meek. In the coffin, Belikov finally looked human.
That is why, as Chekhov writes, “to bury people like Belikov is great pleasure" His death is a hint, a faint hope for another, free life, and even this is enough for the soul to gain wings. But... "how many more such people are left in the case... and how many more will there be..."
No, Belikov and others like him are not funny, but scary. Belikov is white. Not pure, like the first snow or a bride's veil, but devoid of color, an albino bleached from birth - but not externally, but internally nothing.
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- belikov the man in the case is scary or funny
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- Why is Belikov dangerous from the story Man in a Case?
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- iessay man in a case
LITERATURE LESSON BUILT USING CHPRKM TECHNOLOGY.
Item: literature.
Level: ninth grade.
Text: story by A.P. Chekhov “Man in a Case”
Methods used: work with a concept-terminological map, reference text, debates
TOPIC: “Is Belikov comical or scary?”
Formation of a conceptual and terminological apparatus on this topic,
development of critical thinking skills when working with text
preparatory work for home essay
During the classes.
CHALLENGE STAGE.
The 20th century has ended. A new time has come in everything: in technology, space, nature. Has the person changed?
Guys' thoughts.
CONSIDERATION STAGE.
Divide the class into pairs and groups. Work with the glossary for 10 minutes. You need to learn these concepts in a group, try to formulate definitions of these concepts in your own words, and write down in the group what you did.
Have 2 people quiz each other on the definitions.
Now the group needs to compose a coherent text on the topic “Man of the 20th Century.”
number of concepts used by the group
precision in use
B . WORKING WITH THE SUPPORTING TEXT “The Man in a Case” - according to the reader for grade 9.
TEACHER'S WORD:
At the end of his life, Chekhov wrote in notebook: “Nowhere is authority as pressing as among us, Russians, humiliated by centuries of slavery, afraid of freedom... We are overtired of servility and hypocrisy...” The writer studied the psychology of fear in extreme detail.
IN. ^ READ “Teacher Burkin’s Reflections on Life in the City after Belikov’s Death.”
Discuss the perspective (future) presented in the passage. What is your reaction?
^ D. WORK WITH THE ARTICLE “The Concept of Humor and Satire” - page 309
Find examples of grotesque in the text, pay attention to the techniques for creating the image of Belikov
TEACHER'S WORD:
Manic fear of life, which is not completely prohibited, but also not completely resolved, reigns supreme in the soul of the hero, a man in a case, absurd and insignificant.
REFLECTION STAGE.
HOMEWORK:
Write an essay on the topic:
Is Belikov comical or scary?
BELIKOV - hero of A.P. Chekhov’s story “The Man in a Case” (1898), teacher Greek language. The image of B. became a symbol of fear of life, the personification of the sacramental “no matter what happens.” Having no first name or patronymic in the story, he is one of the gallery of Chekhov’s “non-humans” (Zhmukhin from “Pecheneg”, or non-commissioned officer Prishibeev).
B. “always, even in very good weather, went out in galoshes and with an umbrella and certainly in a warm coat with cotton wool. And he had an umbrella in a case and a watch in a gray suede case, and when he took out his penknife to sharpen a pencil, his knife was also in a case; and his face, it seemed, was also in a cover... He wore dark glasses, a sweatshirt, stuffed his ears with cotton wool, and when he got into the cab, he ordered the top to be raised.” But B. is not just a person with quirks - his caution is aggressive, everything new, unusual, generally outstanding, causes fear and stubborn opposition in him. His colleagues do not have the courage to “brush it off”; they hate him, but they obey: on his orders, they expel “dubious” schoolchildren and endure his painful visits. B. is scary, not funny; in this image, signs of a demonic principle are obvious. His death is vaguely reminiscent of Chekhov’s story “The Death of an Official” (1883), the hero of which also dies of shock. But Chervyakov, who sneezed the bald head of an important person, is a trifle, a nonentity. B., a colossus of forever frozen, eternal dogma, dies because the very foundations of his “case world” have collapsed: the bride is riding a bicycle, they threw him out of the house where he came to explain this about this, saying unheard of rude things, and to top it all off he - the demon - was ridiculed. Varenka Kovalenko’s unrestrained “ha-ha-ha”, in a happy way having avoided marriage with this man, “everything ended: both the matchmaking and Belikov’s earthly existence.”
On the silver screen, the image of B. was embodied by N.P. Khmelev in the 1939 film.
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The story “The Man in a Case” continues the theme of the vulgarization of man - one of the main themes of A.P.’s work. Chekhov. His hero is another intellectual in the gallery Chekhov's characters, a person who should be the spiritual support of society. In fact, he is a moral and ethical dead man. What else can you call Belikov, a teacher of ancient languages?
This person is afraid of life and runs away from it by all possible means. He even dresses as if he were wearing protective armor: “always, even in very good weather, he went out in galoshes and with an umbrella, and certainly in a warm coat with cotton wool... He wore dark glasses, a sweatshirt, stuffed his ears with cotton wool, and when he got into a cab, then he ordered the top to be raised.”
The narrator concludes that this man had a constant and irresistible desire to surround himself with a shell, to create a case for himself that would seclude him and protect him from external influences.
In life, this hero occupied the same “case” position. He taught ancient languages, which are called “dead” because they are no longer spoken by any people in the world. “Reality irritated him, frightened him, kept him in constant anxiety,” says Burkin. In order to justify this timidity of his, his disgust for the present, Belikov always praised the past and what never happened. Therefore, it is not surprising that he chose ancient languages as his field of life, “which were for him, in essence, the same galoshes and umbrella where he hid from real life.”
Belikov did not show any emotions towards other people; in his head there were only rules, responsibilities, and schemes. So, for example, the hero believes that it is necessary to support a good relationship with colleagues. What does this mean in his understanding? Belikov regularly comes to visit the teachers he works with and just sits in the corner and is silent. Everyone is afraid of Belikov, but no one loves him.
Only once did any semblance of feelings flash in the hero’s life. He felt sympathy for the sister of the history and geography teacher Kovalenko. The history teacher was a lively and spontaneous person, so against his background the dead figure of Belikov is even more contrasting.
Kovalenko couldn’t stand the teacher of ancient languages: “Or he laughed, laughed until he cried, sometimes in a bass voice, sometimes in a thin squeaky voice, and asked me, spreading his hands: “Why is he sitting with me?” What does he need? Sit and watch." He gave Belikov the nickname “swallow the spider” and, of course, did not approve of the teacher’s decision to propose to his sister.
Varenka Kovalenko's infatuation ended badly for the hero. His mind, filled with stereotypes and prejudices, could not stand it. Angered by the fact that Kovalenko and his sister are riding a bicycle, Belikov has a conversation with his colleague. His arguments are funny and terrible at the same time: “If a teacher rides a bicycle, then what remains for the students? All they can do is walk on their heads! And since this is not allowed circularly, then it is impossible. I was horrified yesterday! When I saw your sister, my vision went blank. A woman or girl on a bicycle is terrible!”
An angry Kovalenko pulls Belikov down the stairs. A witness to this disgrace of the hero is Varenka, who laughs cheerfully at this incident that happened to her fiancé.
The hero could not survive this - Belikov withstands all this and dies, So, his attempt to start living real life ended in failure.
Chekhov shows that Belikov is no longer capable of being reborn, is no longer capable of normal life. Only in his dead state did he look “alive”: “Now, when he lay in the coffin, his expression was meek, pleasant, even cheerful, as if he was glad that he had finally been put in a case from which he would never come out.” .
The narrator notes that with the death of this teacher, everyone felt relief, “great pleasure.” People felt that they had finally found freedom. But it was only an illusion, a fleeting delusion. At the end of the story, the author notes: “But no more than a week passed, and life went on as before, the same harsh, tiresome, stupid life, not circularly prohibited, but not completely permitted either; it didn't get any better."
The heroes of the story conclude that, even though Belikov was buried, how many more such “men in a case” are left, and how many more will there be! Fear of life, Chekhov tells us, deprives life itself not only of one person, but also of all those who surround him. And what could be more terrible than becoming dead while alive?
An essay based on A. Chekhov’s story “The Man in a Case” Warm weather. A clear, joyful, although not sunny day. Strange face in a warm coat with cotton wool, in dark glasses, in galoshes, with an umbrella, he sits on the cab and orders the top to be raised. The surprised cab driver tries to ask something again, but suddenly realizes there is no point in asking the question: his passenger’s ears are blocked with cotton wool. Well then! Go! Where? Away from the present, deeper into the past, to beloved Greece - and anywhere, as long as away from reality, to the real, such a terrible and incomprehensible life.
No, this is not a horror movie hero or a hired secret agent. This is the teacher, the hero of Chekhov's story “The Man in a Case.” This man has already buried himself alive in his little cases and cases, in an impenetrable shell that he created for himself.
Well, God is with him, he lives as he wants, and it would be his personal business if he lived in a hole, like the wise minnow, who “lived - trembled and died - trembled.” But Belikov, trembling himself, has been making the entire gymnasium tremble for fifteen years - both students and teachers. He reduces points for behavior to students, demanding the exclusion of those who are undesirable, and hints to his colleagues that there are “higher authorities.” The whole city is trembling: “they are afraid to speak loudly, send letters, make new acquaintances, read books and are afraid to help the poor, teach literacy...” Those who are afraid see double, that’s why they tolerate Belikov, seeing in him no longer an ordinary teacher - little person, but a greater threat. And Belikov really poses a threat. Here he goes up to teacher Kovalenko. To “ease the soul,” as a well-wisher and senior comrade, warn: “You are riding a bicycle, and this fun is completely indecent for a teacher of youth.” It’s not about the bike, but about the attitude in life: “You need to behave very, very carefully.”
Suddenly, Kovalenko takes off the sheep’s clothing from the wolf: “I don’t love, for the first time in my life Belikov heard the truth about himself. For the first time they were not afraid of him, but he of someone.
This was enough for Belikov’s face to show horror. But fear and horror are also the driving springs of meanness, which turned a well-wisher into an informer who considers it his noble duty to “add money to Mr. Director.” Kovalenko only had to “shove” Belikov so that he would “roll down the steps, rattling his galoshes.” As he fell down the steps, he fell in his own eyes. He was sliding down from the heights to which he had raised himself, maintaining his importance with fear, which he infected everyone with, like a terrible infection.
“Pushing” out of the normal human environment was entirely enough for him to push Belikov out of life. The gallery of images of “little people” begun by Pushkin and Gogol found a similar continuation in the image of Belikov. We sympathize with Bashmachkin who died of grief, Chervyakova who died of fear, we neglect the wise minnow. But none of them interfered with others - they lived by the principle: “My house is on the edge.” Belikov moved his house into someone else’s life, shamelessly and mercilessly destroying it. After death, his face, relieved of fear, was finally cheerful and gentle. In the coffin, Belikov looked human.
That is why, as Chekhov writes, “burying people like Belikov is a great satisfaction.” His death is a hint, a faint hope for another, free life, and even this is enough for the soul to receive wings. But... "how many more such people are left in the case... and how many more will there be..."
No, not funny, but scary Belikov and others like him. Belikov is white. Not pure, like the first snow or the betrothed’s veil, but devoid of color, an albino bleached from birth - but not externally, but internally none.
He buried himself alive in a permanent black case, since a coffin is a lifetime case, and any case is a coffin during life.
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