Arkhip the blacksmith in Dubrovsky's novel description. Chapter VI What prompted the peasants to join Dubrovsky? Why does the blacksmith Arkhip destroy clerks, but at the risk of his own life saves a cat?
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1 Summary of a literature lesson in 6th grade. Lesson topic: " Romantic story love between Vladimir Dubrovsky and Masha Troekurova. Plot. Composition. Preparing for an essay." Lesson objectives: to expand students’ understanding of historical era 19th century; consider the love story of the heroes; develop ideas about the composition and plot of the work; teach how to select material for an essay and characterize characters. Type: combined lesson. Type: formation of new knowledge. Lesson plan. 1. Organization moment (1 min.). 2. Check homework (15 minutes.). 3. Work on the topic of the lesson (20 min.). 4. Summing up the lesson (2 min.). 5. Home. ass with commentary on it (2 min.). During the classes. 1. Organization moment. Write down the topic of the lesson in your notebook. 2. Checking homework Vladimir Dubrovsky’s protest against lawlessness and injustice. Peasant revolt Conversation How did Troyekurov take the news of taking possession of the estate? Troekurov was embarrassed: “He was not selfish by nature, the desire for revenge lured him too far, his conscience grumbled. He knew the state of his opponent, the old comrade of his youth, and victory did not bring joy to his heart.” What opposite feelings did Troekurov experience? “Satisfied revenge and lust for power drowned out to some extent nobler feelings, but the latter finally triumphed.” Why was the reconciliation of former friends impossible? The repentance that Troekurov experienced came too late. Chapter V After the death of his father, Vladimir Dubrovsky felt spiritual grief. Pushkin writes that Vladimir’s face was scary, that he could neither cry nor pray. The author does not directly name the feelings that the young man experienced, but we can assume that he became embittered, that he felt a sense of wounded pride and a desire to avenge his father’s death. Christianity commands to forgive your enemies, but Vladimir Dubrovsky did not want to forgive Troekurov and therefore could not pray. Find and read the episode in which the feelings of Vladimir Dubrovsky are revealed. What technique does the author use to describe the hero’s state? Pushkin conveys Dubrovsky’s experiences by describing the thicket where he went after the funeral. Vladimir walked through the thicket, not making out the road, “...boughs constantly touched and scratched him, his legs constantly got stuck in the swamp, he did not notice anything.” Just as Dubrovsky could not make out the roads in the thicket, so he could not make out his confused feelings: “...thoughts, one darker than the other, were cramped in his soul... He strongly felt his loneliness.” In the passage describing Vladimir in the thicket of the forest, find the epithets. How do they help the reader understand the character's condition? (From the words: “He finally reached...” to “He felt his loneliness strongly.”) How do the judicial officials who came to “take possession” of Troekurov behave? Judicial officials, representatives of the law, who came to “take possession” of Troekurov, behave defiantly. They allow shameless statements about Dubrovsky, threaten his peasants, because they feel the strength and power behind them, backed up by Troekurov’s money. The anger and indignation of the peasants grows gradually, but the peasants experience particular indignation when the official insults Dubrovsky himself, the master and legal owner of the estate, and inspires the peasants that their master is Troekurov. First, the officials are answered by a voice from
2 crowds, then a murmur rises in the crowd, it intensifies and turns into the most terrible screams. The crowd begins to move. Find and read the remark of the “voice from the crowd”, the police officer’s response to it and the objection of the same voice. Why was the police officer so indignant at the peasant’s words? Why doesn’t Vladimir Dubrovsky give angry peasants the opportunity to deal with officials? Vladimir Dubrovsky does not allow angry peasants to deal with officials, because he does not want to become a toy in the hands of a crowd of peasants, does not want to become an accomplice in the massacre and hopes for the justice of the tsar. Chapter VI Vladimir Dubrovsky came to the decision to burn the “sad house” after he saw the portrait of his mother in a new way, read her letters to his father, where she talked about her little son, and heard the voices of clerks who demanded one thing or another, by their presence and behavior, desecrating the bright memory of Dubrovsky’s father and mother. Let's help schoolchildren see the antithesis in the second paragraph of the chapter: the “world of family happiness” into which Dubrovsky plunged while reading his mother’s letters is contrasted with the reality in which Vladimir Dubrovsky sees his father’s honor trampled upon and defiant behavior clerks What prompted the peasants to join Dubrovsky? The peasants joined Dubrovsky because they were outraged that they were going to be commanded and controlled not by natural nobles (whose right to own land and people they considered unshakable), but by clerks, people of ignoble origin. The archipelago blacksmith says: “...have you heard of the matter, the clerks are planning to own us, the clerks are driving our masters out of the lord’s courtyard...” The peasants perceived the insult inflicted on their master as their own insult. Why does the blacksmith Arkhip destroy clerks, but at the risk of death? own life saves a cat? The blacksmith Arkhip destroys the clerks, but at the risk of his life saves a cat from the roof of a burning barn. He says to the children who are laughing at the pitiful animal: “You are not afraid of God: God’s creation is perishing, and you are foolishly rejoicing...” Arkhip perceives the cat as God’s creature, saving which will be a matter pleasing to God, but he does not perceive clerks as people, worthy of salvation: in his understanding, they violated the law established by God and the king. By helping Troekurov carry out an unjust trial, they violated God's commandments: they helped one person steal property from another, they lied and broke the oath by which they were obliged to tell the truth. Let's pay attention to speech characteristics Arkhip the blacksmith in his conversation with Egorovna: “Arkhipushka, Egorovna told him, save them, the damned, God will reward you. Why not, answered the blacksmith.” Where have we heard these words before? Let's look at the illustration by D. A. Shmarinov “Fire in the Dubrovsky estate” (p. 96 of the textbook). Make up an oral story based on this drawing. In the illustration by D. A. Shmarinov “Fire in Dubrovsky’s estate,” the young gentleman Vladimir Andreevich Dubrovsky is depicted in the center of the picture. It was as if he had just brought a splinter to the hay, which flared up brightly; “The flames shot up and lit up the whole house.” Dubrovsky took off his cap, saying goodbye to his home, and looks at the fire. To his left stands, leaning on his hand, the nanny Orina Egorovna Buzyreva, in a white scarf and apron, with her head sadly bowed. Behind her we recognize the figures of the Dubrovsky serfs: this is the coachman Anton with black hair and beard, the fair-haired Grisha, Yegorovna’s son, and behind the figure of Anton the blacksmith Arkhip, who locked the clerks, but at the risk of his life saved a cat from the roof of a burning barn. On the left we see the flames of the fire. The flames are reaching towards Dubrovsky. There are horses standing in the background, above a group of people, sparks from the fire flying towards the black sky. Dubrovsky's entire figure expresses pride and a sense of inner dignity. The figures of the serfs express a gloomy determination to follow their proud master: “... we will die, we will not leave you, we will go with you.” Conclusion: Vladimir Dubrovsky was forced to become a robber by the death of his father and lack of livelihood, but main reason is that he, knowing the greed and corruption of officials, lost hope in fair decision trial and did not even hope to find protection from the tsar, because this required money, and Dubrovsky did not have it. 3. Work on the topic of the lesson. Preparing for an essay.
3 1. Plot. Composition. Novel. * Plot is the sequence and connection of events in a work of fiction. (p. 156). - Why does the author violate the temporal sequence of events, i.e. the sequence of presentation of the plot? Pushkin breaks the temporal sequence of events in order to create mystery, intrigue, and arouse the intense interest of readers. We read the article in the textbook “Composition” (p. 155). Let's write down the definition of composition. * Composition is a construction work of art, location and relationship of all its parts, images, episodes. Let's tell the students that in the next lesson they will finish studying the first novel that is included in the school curriculum. Let's read the definition of a novel in the textbook (p. 156) and write it down in our notebook. * Roman is great narrative work, characterized by diversity characters and the branching of the plot. Indeed, the novel “Dubrovsky” depicts rich and poor nobles, judicial officials, a police officer and a station warden, courtyard peasants, a blacksmith, a coachman, a nanny and others. The novel shows two generations of life of the nobles (Troekurovs, Dubrovskys) and peasant families(Orina Buzyreva and Grishka), various significant events in a person’s life are described: wedding, death; There is love story and detective intrigue. Roman raises important problem: how can a person live in a world where injustice and lawlessness reign? Troekurov lived in the era of serfdom and by birth belonged to the noble landowners who owned hundreds of serfs. The consciousness of his power over the people around him, impunity, servility, the flattery of others, the habit of considering himself superior to other people and not taking into account anyone but himself, idleness, the ability to fulfill all his whims and caprices made him an egoist and a tyrant. 2. Romantic love story of Vladimir and Masha. Why did Dubrovsky look for an opportunity to live in Troekurov’s house and abandon plans for revenge? Remember how Masha treated Deforge at first. Why? What event made her change her attitude towards the teacher? How did she feel when she received the note from Deforge? How did Masha think through her behavior on a date? Was she able to behave the way she wanted? Find Dubrovsky’s words explaining the refusal to take revenge. “I realized that the house where you live is sacred, that not a single creature connected with you by blood ties is subject to my curse. I gave up revenge as if it were madness.” What promise did Marya Kirilovna give to Dubrovsky? Sixth graders may not immediately understand what a promise not to reject devotion means. Let's tell them about what's going on medieval Europe there was a tradition of knightly serving one's lady, demanding nothing from her other than that the lady accept the devotion of her knight. Dubrovsky understands that Marya Kirilovna cannot become his wife. He only wants to serve her and asks that she not reject his help. We now call this kind of love romantic. Why was Dubrovsky forced to flee Pokrovsky? How did Troekurov part with his guests? Let us ask the students to remember how Troekurov ordered the gates to be locked so that guests could not go home on the day of the temple holiday in Pokrovskoye. Let's compare this act with how Troekurov at eleven o'clock, being out of sorts, sent the guests home. Let us draw a conclusion about Troekurov’s despotism and tyranny. Rough plan essays. 1. Introduction. The time reflected in the novel. 2. Troekurov and A. Dubrovsky. 3. The problem of protecting human dignity 4. Who is to blame for the fact that Dubrovsky became a robber? 4. Summing up the lesson. 5. Home. ass with commentary on it. D.Z.: with (retelling), prepare for the essay.
4 Summary of a literature lesson in 6th grade. Topic: “R.r. Class essay “Protection of the human personality in the novel “Dubrovsky.” Goals:. Lesson plan. 1. Organization moment (1 min.). 2. Writing a draft essay (20 min.). 3. Writing an essay in white paper (15 min.). 4. Summing up the lesson (2 min.). 5. Home. ass with commentary on it (2 min.). During the classes. 1. Organization moment. Write down the title of the essay and plan in a notebook. 2. Writing a draft essay. The teacher provides individual consultations to students. 3. Writing an essay in a white paper. Students independently rewrite the essay in a notebook. 4. Summing up the lesson. The teacher collects literature notebooks. 5. Home. ass with commentary on it. D.Z.: prepare for the final test on the creativity of A.S. Pushkin.
5 Protection of the human personality in A.S. Pushkin’s novel “Dubrovsky” At all times, there were people who resigned themselves to the force and inevitability of circumstances and were ready to accept fate as it is with their heads bowed. But at all times there have been people who were ready to fight for their happiness, people who did not want to tolerate injustice, people who had nothing to lose. We can meet such people on the pages of A.S. Pushkin’s novel “Dubrovsky”. This work is deep and interesting. It impressed me with its idea, plot twists, sad ending, and characters. Kirilla Petrovich Troekurov, Vladimir Dubrovsky, Masha Troekurov are all strong and extraordinary personalities. But the difference between them is that Troekurov was by nature a good person, he had good friendly relations with the poor landowner Dubrovsky, he was characterized by human impulses, but at the same time he was a despot and a tyrant. Troyekurov is a typical serf-owner, in whom a sense of his own superiority and permissiveness, depravity and ignorance is developed to the limit. Whereas Dubrovsky and Masha are noble, sincere, pure and honest in nature. The main problem The novel is the problem of protecting human dignity. But, one way or another, she is connected with all the characters in the work. First of all, this problem concerns the Dubrovsky family, which Troekurov deprived not only of the family estate, but also encroached on their noble honor and dignity. Andrei Gavrilovich was confident that he was right, cared little about the court case that Troekurov started against him, and therefore could not defend his rights. Andrei Gavrilovich Dubrovsky could not stand it unequal fight with a stronger opponent and died. Then Dubrovsky Jr. had to defend his own honor. By chance, he became the head of the peasant movement in order to “administrate his own justice.” But from the very beginning he did not agree with the methods of struggle against the landowners. His pure and sincere nature did not allow him to become a real cruel and merciless thug. He was fair and merciful, so Vladimir did not lead the peasants for long. The peasant revolt was spontaneous, their actions were often contradictory, so they submitted to Dubrovsky’s order, stopped the armed uprising and dispersed. “Terrible visits, fires and robberies have stopped. The roads have become clear." But why doesn’t Vladimir touch the property of his offender, the richest landowner in Troekurov’s district? As it turned out, Dubrovsky fell in love with Kirill Petrovich’s daughter, Masha, and for her sake forgave his blood enemy. Masha also fell in love with Vladimir. But these heroes could not be together. Kirill Petrovich forcibly married his daughter to the old Count Vereisky. Vladimir did not have time to save his beloved from a marriage with an unloved person. With such a plot twist, a sad ending, it seems to me that A.S. Pushkin shows that people in Russia are defenseless against evil and injustice. Neither the law nor society can protect him. He can only rely on his own strength. Therefore, I understand Vladimir Dubrovsky, who became a robber. What else could he do? Finding no protection from the law, he also decided to live by the unwritten rules of force and cruelty. But his noble, pure and sincere nature still limited the hero in this, making him a “noble robber.”
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DUBROVSKY
DUBROVSKY Vladimir Andreevich - main character unfinished novel, " noble robber».
Dubrovsky - what's in artistic system Pushkin's rarity - yes real prototypes. In 1832, the Kozlovsky district court heard the case “On the improper possession by lieutenant Ivan Yakovlev, son Muratov, of the estate belonging to the guard, Lieutenant Colonel Semyon Petrov, son Kryukov<…>village of Novopanskoe. The clerk's copy of this case (with the replacement of Muratov by Dubrovsky, Kryukov by Troekurov) is included in the text of the 2nd chapter. Apparently, both the Pskov legend about the revolt of the peasants of the landowner Dubrovsky (1737) and the story of P.V. Nashchokin about the fate of the Belarusian landowner Ostrovsky, who was left without land and became a robber, were used; in plans and drafts the hero is called either Ostrovsky or Zubrovsky.
The novel (and therefore its hero) is equally focused on Russian reality - and on literary tradition. Pushkin is looking for a point of intersection social role“a reluctant robber” and the “romantic” role of a noble robber. (He directly refers the reader to A. Mickiewicz’s poem “Conrad Wallenrod” and the “mass” novel by H. A. Vulpius “Rinaldo Rinaldini, Leader of the Robbers” (Russian translation - 1802–1803); he counts on a parallel with Schiller’s Karl Moor, but also refers to the opposition gentleman/robber, going back to Bulwer-Lythgon's novel "Palham, or the Adventures of a Gentleman", the "robber" theme of the novels by W. Scott "Rob Roy" and C. Nodier "Sbogar"; all this is complicated by social analysis in spirit newest novels J. Sand and O. de Balzac (see: N. N. Petrunina). At this point, the image of Vladimir Dubrovsky is focused - at the same time very conventional and very real.
The hero’s “backstory” is quite literary; the set of biographical details is typical. From the age of 8, Dubrovsky was brought up in the St. Petersburg Cadet Corps; “My father spared nothing for his decent maintenance.” “Being wasteful and ambitious,” he carouses, plays cards, gets into debt and dreams of a rich bride. Having received news of the illness of his father, Andrei Gavrilovich, and most importantly, of the lawless taking of Kistenevka’s only estate in favor of his wealthy tyrant neighbor Kirila Petrovich Troekurov, Dubrovsky goes home. Driving past Troekurov’s estate, he fondly recalls his childhood friendship with the “villain’s” daughter, Marya Kirilovna; At home he finds his father dying.
The situations in which Dubrovsky will now have to act are also romantically traditional.
At first, without even going out on the threshold (which is important; this will subsequently allow him to remain unrecognized), Dubrovsky breaks off relations with Troekurov, who came to reconcile:
“- Tell Kiril Petrovich to get out quickly before I order him to be kicked out of the yard... go!<…>Egorovna left.
There was no one in the hallway; all the people ran out into the courtyard to look at Kiril Petrovich. She went out onto the porch - and heard the answer of the servant, reporting on behalf of the young master. Kirila Petrovich listened to him while sitting on the droshky. His face became gloomier than the night, he smiled with contempt, looked menacingly at the servants and walked at a pace near the yard.<…>».
Then, after his father’s funeral, Vladimir orders the house, which was given to the enemy by court, to be set on fire, and together with the peasants he goes to his native Kistenev grove to rob the unrighteous landowners. (The very name of Dubrovsky’s estate, hinting at the bandit’s brush, seems to presuppose such a turn of events.) From now on it seems to cease to be real person, a small landed nobleman Dubrovsky, and turns into a character in the legend of Rob Roy. He is completely separated from his real face. Therefore, the landowner Anna Savishna Globova, who tells Troekurov’s guests about Dubrovsky, who came to her under the guise of a general and exposed the thief-clerk, is not at all embarrassed that her guest had black hair, like a hero Patriotic War General Kulnev, and looked 35 years old, while the “real” Dubrovsky was fair-haired and young - he was 23 years old. What is immediately reported by the police officer, who reads out Dubrovsky’s signs; The technique of “splitting” the image used in “Boris Godunov” is repeated.
“All eyes turned to Anna Savishna Globova, a rather simple widow, beloved by everyone for her kind and cheerful disposition. Everyone prepared to hear her story with curiosity.
<…>Some general asks to see me: you are welcome; A man of about thirty-five, dark-skinned, black-haired, with a mustache and beard, a real portrait of Kulnev, comes up to me<…> „<…>Know that Dubrovsky himself was a guards officer, he will not want to offend his comrade.” I guessed who His Excellency was<…>
Everyone listened in silence to Anna Savishna's story, especially the young lady. Many of them secretly wished him well, seeing him as a hero of a romantic novel.<…>
And you, Anna Savishna, believe that you had Dubrovsky himself,” asked Kirila Petrovich. - You were very mistaken.<…>I don’t know if his hair turned black, but<…>he was a curly blond boy,<…>he is not thirty-five, but about twenty-three.
“Exactly so, Your Excellency,” the police officer proclaimed, “I have in my pocket the signs of Vladimir Dubrovsky<…>
The police officer took a rather soiled sheet of paper out of his pocket, unfolded it with importance and began to read in a sing-song voice:
<…>23 years old, average height, clean face, shaves his beard, has brown eyes, light brown hair, straight nose. There are special signs: there were none.” (“Dubrovsky”).
Bailiff
Who's smart here?
Gregory (steps forward)
I'm literate.
“The unworthy monk Gregory, from the Otrepiev family, of the Miracle Monastery, fell into heresy and, taught by the devil, dared to disturb the holy brethren with all sorts of temptations and iniquities.”<…>
<…>And his thief Grishka is old (looks at Varlaam) over 50. And he is of average height, has a bald forehead, a gray beard, a thick belly...
Varlaam (tearing out the paper)
<…> “And he’s 20 years old....” - What, brother? where is 50? do you see? 20.
While reading, Gregory stands with his head down, with his hand in his bosom.
Varlaam (continues)
“And he is small in stature, his chest is wide, one arm is shorter than the other, his eyes are blue, his hair is red, there is a wart on his cheek, another on his forehead.” ("Boris Godunov").
By this point, the reader should already have guessed that Dubrovsky is sitting among the guests, for he made his way into Troekurov’s house under the guise of the French teacher Deforge, who had been hired for little Sasha, half-brother of Marya Kirilovna. (For more information about the “scene with the bear”, in which “Deforge”, who has just arrived at Troekurov’s house, shows heroic composure and “falls” Masha in love with him, see the article about her). Naturally, all the plot possibilities of this situation were used. The landowner Spitsyn spends the night in Deforge's room, whose perjury allowed Troyekurov to rob the Dubrovskys; the imaginary teacher cannot resist revenge and robs Spitsyn, which is why he is forced to flee a few days later. Of course, before disappearing, Deforge-Dubrovsky talks to Marya Kirilovna, and here the reader learns a detail that completely turns the situation around and fills the recognizable “moves” of the adventure novel with new meaning. The reader had to assume that the robber Dubrovsky made his way into Troekurov’s house to kill the culprit of all his misfortunes, and only sudden love for Masha stopped him. But no; it turns out that he bought documents from the “real” Deforge (by the way, for 10,000 banknotes) only in order to be next to Marya Kirilovna; For her sake, he long ago forgave his destroyer; his dream of family happiness (which awakens in the hero’s heart when reading letters from his late mother to his father) is much stronger than the thirst for revenge.
The noble robber turns into an unhappy lover; unhappy in any outcome of events - marriage with a forest ataman does not promise the beloved anything but anxiety, trials and - in a sense - shame. His happiness is tantamount to her misfortune, and vice versa, and they cannot imagine life without each other. That is why, when Marya Kirilovna, wooed to the refined and voluptuous middle-aged (in her eyes, “old”) Prince Vereisky, asks to kidnap her (“No, no,” she repeated in despair, “it’s better to die, it’s better to go to a monastery...” ), Dubrovsky - whose dream is coming true! - covers his eyes with his hands and seems to be choking on invisible tears. The situation is terrible and insoluble. But there is still “no place for hatred” in his heart; According to his self-perception, he is not an ataman, not a people’s avenger, he is a nobleman, he is a man. A social life, which dooms him, is inhuman.
This is the true tragedy of Dubrovsky, this is the true guilt of Troekurov, that an honest Russian nobleman, romantically attached to his father, to his home, cherishing the dream of a family, is placed in a position from which there is no way out. (Kistenevskaya Grove is a departure, but not a way out.) Hopeless poverty is tantamount to social suicide; submission to Troekurov’s tyranny is tantamount to the loss of noble (aka human) dignity; rebellion, firstly, deprives hope of happiness, and secondly, it cannot be completely noble. Dubrovsky's first order - to set fire to the house, but to open the front door so that the clerks could escape - was not carried out; Archip the blacksmith locks them, the “cursed”, in secret from the master. Not out of personal, spiritual malice (he immediately climbs in, risking himself, to save a cat from the fire), it’s just that a terrible instinct of a rebel awakens in him, over which the will of the master, the “leader of the gang,” no longer has power. If it were not for Dubrovsky, there would not have been a rebellion that awakens this terrible instinct.
No wonder in final scene, when Masha is already hopelessly lost for Dubrovsky (the robbers were late, she is married to Vereisky and will be faithful to him), and the first attack of government troops has been repulsed, the wounded Dubrovsky disbands his Kistenevites. And although in parting he tells them: “... you are all swindlers and probably will not want to leave your craft,” nevertheless, soon after Dubrovsky leaves, the robberies stop, the roads become clear for travel.
As for the leader of the gang himself, Pushkin was originally going to send his hero to St. Petersburg, where Dubrovsky would be exposed. Guilty without guilt; a noble robber who promotes a violent rebellion; a victim of violence who becomes its instrument; nobleman who left society to preserve inner freedom and became a hostage to his own social role... The social thought of the author of “Dubrovsky” is pessimistic; the last sentence in the novel's manuscript reads like this: “<…>Dubrovsky fled abroad.” The hero's departure abroad is not only a sign of his personal defeat, but also a sign of Russia's defeat. Dubrovsky, as a tragic consequence, is forced out of its borders; the reasons are fully preserved.
The projection of the image of Dubrovsky onto another class-cultural soil is obvious in the image of the robber Pugachev in “ The captain's daughter" N.V. Gogol (apparently familiar with the plot of the unpublished novel) when creating “ Dead souls“half-parodically repeated the features of Dubrovsky in “The Tale of Captain Kopeikin,” a legless officer-nobleman, hero of the Patriotic War (see the comparison of Dubrovsky with Kulnev in Globova’s story), who, out of hopelessness of the situation, joined a bandit gang.
Pushkin tried to develop the image of a noble robber-gentleman in his unfinished novel of 1834–1835. “Russian Pelam” (images of Pelymov, F. Orlov).
From the book All works school curriculum on literature in summary. 5-11 grade author Panteleeva E. V.“Dubrovsky” (Novel) Retelling Volume One Chapter I The book opens with a story about Kiril Petrovich Troekurov and his enormous power. Next, the author proceeds to describe the quarrel between Troekurov and Andrei Gavrilovich Dubrovsky, who was insulted by one of the servants of the “old Russian
From the book Life and Works of Pushkin [ Best biography poet] author Annenkov Pavel Vasilievich From the book Heroes of Pushkin author Arkhangelsky Alexander Nikolaevich«<Дубровский>» Novel (novel, 1832–1833; fully published - 1841; title given
From the book Literature 6th grade. A textbook-reader for schools with in-depth study of literature. Part 2 author Team of authorsDUBROVSKY DUBROVSKY Vladimir Andreevich is the main character of the unfinished novel, a “noble robber.” Dubrovsky - which is rare in Pushkin’s artistic system - has real prototypes. In 1832, the Kozlovsky district court heard the case “On improper possession
From the author's bookDubrovsky Now you have to get acquainted with the prose of the greatest of Russian writers, who was previously known to you only as a poet. This prose is perfect and amazing. The fact is that A.S. Pushkin uses epithets very sparingly and almost does not resort to tropes. Speech
The problem of good and evil has been and remains very relevant in the history of Russian literature. This topic begins its development with oral folk poetry - fairy tales, epics, legends. In many works of folklore good hero fights or grapples with an evil rival or enemy and always wins, good always triumphs. A. S. Pushkin in his novel “Dubrovsky” (1832-1833) complicates this problem. And in this work we wanted to show how ambiguously the author solves this problem. And although the work is based on a case that was quite typical for relations between landowners and for judicial arbitrariness that existed at a time when, using his influence, a strong and rich landowner could always oppress a poor neighbor and even take away his property legally belonging to him, no in the novel there is a purely good and a purely evil character. This is what we will try to prove.
At first glance, the “villain” in the novel is the landowner Kirill Petrovich Troekurov. There can be no doubt that Troekurov is the personification of all vices: gluttony, drunkenness and fornication, idleness, pride and anger, rancor and stubbornness thoroughly corrupted his soul. He started a low and dark business: he decided to take away the estate from his former friend Andrei Gavrilovich Dubrovsky because he demanded an apology from the huntsman Paramoshka for insulting him and for not following Troekurov’s order to return immediately. Troekurov considered himself insulted by the fact that they were demanding an apology from him. “In the first minute of anger, he wanted to launch an attack on Kistenevkur with all his servants, destroy it to the ground and besiege the landowner himself in his estate - such feats were not unusual for him.” But then he chooses the lowest method. Why is he doing this? He did not pursue selfish goals when he wanted to take possession of Kistenevka. He wanted to create such conditions for his former friend that he would become dependent on him, humiliate himself in front of him, he wanted to break his pride, trample human dignity. By the way, it should be noted that the serfs were a match for their landowner. “Troyekurov treated the peasants and servants strictly and capriciously, but they were vain about the wealth and glory of their master and, in turn, allowed themselves a lot in relation to their neighbors, hoping for his strong patronage.” Suffice it to remember that it was the huntsman Paramoshka who turned out to be the culprit in the quarrel between Troekurov and Dubrovsky.
When the court ruled in favor of Troekurov, the “villain” should have only rejoiced at the victory, but the opposite happens: “Dubrovsky’s sudden madness had a strong effect on his imagination and poisoned his triumph.” Why does Troekurov react this way? Having analyzed his image, we find in him the makings of nobility and generosity. Despite the difference in wealth, he respects and loves his old comrade Dubrovsky, expresses his intention to marry his daughter Masha to Dubrovsky’s son Vladimir, plans to make amends for his injustice and return the taken away estate to old Dubrovsky. Thus, we see that he is characterized by human impulses. Pushkin writes: “He was not selfish by nature, the desire for revenge lured him too far, his conscience grumbled. He knew the state of his opponent, the old comrade of his youth, and victory did not bring joy to his heart.” In Troekurov’s soul there is a struggle between base and nobler feelings. “Satisfied revenge and lust for power” struggled with attachment to an old comrade. The latter won, and Troekurov headed to Kistenevka with the “good intention” of making peace with his old neighbor, “destroying even traces of the quarrel, returning his property. Unfortunately, he did not have time to do this. The sick Dubrovsky died at the sight of his friend.
We see that Troekurov had good inclinations, but they all perish in the atmosphere in which he lives: everyone indulges his whims, he never encounters resistance from anyone. “Spoiled by everything that surrounded him,” says Pushkin, “he was accustomed to giving full rein to all the impulses of his character and all the ideas of his rather limited mind.” He acquired this power over people thanks to his wealth. And this unlimited power over the people who belong to him turns him into a despot, a tyrant.
Pushkin seeks to show that wealth does not make people better. Impunity makes Troekurov a vengeful, cruel and soulless person. And Troekurov’s best human traits take on ugly forms. He destroys Dubrovsky only because he dared to contradict him; Despite all his love for his daughter, he, on his whim, gives her in marriage to the old Prince Vereisky. Troekurov is a typical serf-owner, vicious and ignorant.
There is a lot of evil on him, but this time it was not he who struck the match.
The antithesis of Troekurov in the novel is the “kind” landowner, old man Dubrovsky. The same noble breed is evident in him, only in different forms. Poverty (relative, of course) not only does not reduce, but also exacerbates noble pride. However, we see that in a clash with Troekurov, in essence, he is the attacking party, since the first one hurt him: the hunter himself, “he could not resist some envy at the sight of this magnificent establishment” of his rich neighbor and told him a taunt.
Dubrovsky, who according to the scheme should have been completely virtuous, in fact was himself in many ways the same as Troekurov, with whom “they were somewhat similar in character and inclinations.” Without deluding himself at all about his hero, Pushkin is extremely frank with the reader about the motivation for his behavior. Dubrovsky’s small fortune did not allow him to keep many dogs, for which he was a great hunter, and therefore he “could not resist some envy” at the sight of Troekurov’s kennel. His “severe” answer is not dictated by directness of character or sympathy for Troekurov’s serfs, but by banal envy and the desire to at least somehow belittle Troekurov’s superiority over himself.
This is how this scene is described in the novel. “Why are you frowning, brother,” Kirila Petrovich asked him, “or don’t you like my kennel?” “No,” he answered sternly, it’s a wonderful kennel, it’s unlikely that your people will live the same as your dogs.” Pushkin repeatedly emphasizes that Dubrovsky and Troekurov were old friends, which means that Andrei Gavrilovich knew his comrade well, knew his wayward character, could imagine where this would lead, but, nevertheless, could not resist harsh words. Thus, it was he who provoked the quarrel.
The final break between friends followed when it was Dubrovsky, true to his firm noble rules, who demanded that Troekurov’s huntsman be sent to him to punish him for his daring answer (“We, thanks to God and the master, don’t complain about our lives, and what’s true is true, It would not be a bad thing for another nobleman to exchange his estate for any local kennel. He would have more food and warmth").
The quarrel that arises from trifles grows and ultimately leads to dire consequences, both for the old man Dubrovsky himself and for the young heroes of the story - Vladimir and Masha. But, with all the compassion for his position as a destitute and robbed man, it is still impossible not to note that it was not despair and grief that darkened his mind, but uncontrollable anger. Suffice it to recall his behavior at the trial. : he “stamped his foot, pushed the secretary with such force that he fell, and, grabbing an inkwell, threw it at the assessor.”
And the main character of the work, Vladimir Dubrovsky, is an ambiguous and complex personality. In St. Petersburg, he lived as most of his fellow officers lived: he played cards, allowed himself “luxurious whims,” and did not think about how his father managed to send him more money than he could have expected. But at the same time, Vladimir loves his father (“the thought of losing his father painfully tormented his heart”). Having received news of his father’s illness, he, without hesitation, hurries to Kistenevka.
Because of Troekurov, Vladimir lost his father, lost his home, estate, and livelihood, so he could not return to the regiment. Then Dubrovsky plotted to take revenge on his enemy (and revenge was never positive feature character). He became the ataman of the peasants, who were afraid of the tyranny of the new master: “he sometimes has a bad time with his own people, but if they get strangers, he will not only tear off their skin, but also their meat.” He provided military leadership and maintained discipline. And the peasants supported the young master, because only in him they hoped to find at least some kind of protection. “We don’t need anyone but you, our breadwinner. Don’t give us away, and we’ll stand for you.” It is characteristic that in the depiction of Pushkin, the more humane and generous master and peasants are better, more humane, they have more self-esteem and independence.
They become robbers, but exactly the kind of robbers that are sung about in folk songs: they do not kill anyone, but only rob the rich, and the sympathy of the people is on their side. So far they see no other way out for their protest and anger. Robbery for them is the only possible path.
From the description of the bandit camp, you understand that the ordinary nature of their activities and peaceful life indicate that Pushkin did not seek to show a “nest of villains”; the fortress, surrounded by a moat and a rampart on which a guard sits next to a small cannon, suggests that Dubrovsky used his knowledge of military affairs and trained his accomplices in combat.
Like-minded people of Dubrovsky also sympathized with the personal fate of their young leader: the loss of his father, sudden poverty, unhappy love. Let us remember that Vladimir and his accomplices took money and property only from the rich, that he did not shed a single drop of blood, and did not offend anyone in vain. The landowner Globova spoke about the nobility of the “robber” Dubrovsky, who “attacks not just anyone, but famous rich people, but even here he shares with them, and does not rob completely.”
Vladimir Dubrovsky, proud, who valued his noble honor just like his father, repeatedly proved capable of a noble act: because of his love for Masha Troekurova, he refused revenge, and showed generosity when he ordered his accomplices not to touch Vereisky.
Very important place occupies the penultimate chapter in the novel. Thanks to this chapter, the triumph of good over evil, not accomplished in the plot, is accomplished in the souls of readers. Before us is Pushkin’s beloved female image- a pure, meek soul, weak in its defenselessness and strong in its virtue. It is easy to offend her, to cause harm, but it is impossible to force her to pay for her happiness with someone else's misfortune. She will endure any torment, except the torment of conscience. “For God’s sake,” Masha implores Dubrovsky from the crime against the prince, “don’t touch him, don’t dare touch him. I don’t want to be the cause of some horror.” And his promise reflects her moral height: “Never will a crime be committed in your name. You must be pure even in my crimes.”
But Vladimir Dubrovsky is a nobleman, brought up in noble prejudices, therefore, in his attitude towards the members of the gang, at times there is a lordly disdain, similar to contempt. This is especially evident in his last speech addressed to his accomplices: “but you are all swindlers and probably will not want to leave your craft.” The author seems to be telling us: Vladimir was mistaken in believing that his “comrades” would not give up robbery. It can be assumed that most of them were sincerely attached to Dubrovsky, so they will do as he tells them, as the last lines of the story tell us.
Thus, we see that Vladimir is not an ideally “evil” or ideally “good” character.
The complexity and depth of the theme of good and evil in the novel can also be traced by analyzing individual images of peasants. One of the most living images among the peasants is the blacksmith Arkhip. The spirit of rebellion and rebellion awakens in him first; he acts independently of Vladimir, not young Dubrovsky, but it is Arkhip who speaks out against the unfair verdict of the court and he is the first to take up the ax. Arkhip locks the clerks in during a fire, and they die through his fault. This cruelty is generated by the long-accumulated resentment of the people. And, it is characteristic that already in the next episode Pushkin shows the humanity and spiritual beauty of this Russian peasant: at the risk of his life, the blacksmith Arkhip saves a cat that found itself on a burning roof: “Why are you laughing, you little devils,” the blacksmith said angrily to the boys. “You are not afraid of God: God’s creation is perishing, and you are foolishly rejoicing,” and, placing the ladder on the fire roof, he climbed after the cat.”
Conclusion.
Having analyzed the character traits of the main characters of the novel from the point of view of the manifestation of good and evil in their actions, we determined that all the characters are very complex individuals. Each of the characters bears signs of their social affiliation and is depicted in the novel with the greatest artistic perfection. Thanks to this, the story gives a broad social picture, written with deep realism.
Thus, from all that has been said above, we can conclude that the problem of good and evil, posed and solved in the novel “Dubrovsky”, is artistic device in the depiction of the characters of the novel, which helps to imagine the life of Russia in the mid-nineteenth century in all its diversity.
Life was not easy for the peasants during the time described by A. S. Pushkin in the story “Dubrovsky” - the time of serfdom. Very often the landowners treated them cruelly and unfairly.
It was especially hard for the serfs of landowners like Troekurov. Wealth and noble family Troekurov gave him enormous power over people and the opportunity to satisfy any desires. People for this spoiled and uneducated man were toys, having neither a soul nor of one's own will(and not only serfs). He kept the maids under lock and key, who were supposed to do needlework, and forcibly married them off at his discretion. At the same time, the landowner's dogs lived better than people. Kirila Petrovich treated the peasants and servants “strictly and morally”; they were afraid of the master, but hoped for his protection in relations with their neighbors.
Troekurov’s neighbor, Andrei Gavrilovich Dubrovsky, had a completely different relationship with the serfs. The peasants loved and respected their master, they sincerely worried about his illness and looked forward to the arrival of Andrei Gavrilovich’s son, young Vladimir Dubrovsky.
It so happened that a quarrel between former friends- Dubrovsky and Troekurov - led to the transfer of the property of the first (together with the house and serfs) to Troekurov. Ultimately, Andrei Gavrilovich, who had a hard time surviving the insult of a neighbor and an unfair court decision, dies.
The peasants of Dubrovsky are very attached to their owners and are determined not to allow themselves to be handed over to the power of the cruel Troekurov. The serfs are ready to defend their masters and, having learned about the court decision and the death of the old master, they rebel. Dubrovsky stood up in time for the clerks who came to explain the state of affairs after the transfer of property. The peasants had already gathered to tie up the police officer and deputy of the zemstvo court, Shabashkin, shouting: “Guys! down with them!” when the young master stopped them, explaining that by their actions the peasants could harm both themselves and him.
The clerks made a mistake by staying overnight in Dubrovsky’s house, because although the people were quiet, they did not forgive the injustice. When the young master walked around the house at night, he met Arkhip with an ax, who at first explained that he “came... to see if everyone was at home,” but then honestly admitted his deepest desire: “everyone at once, so ends in water."
Dubrovsky understands that the matter has gone too far, he himself is put in a hopeless situation, deprived of his estate and lost his father due to the tyranny of his neighbor, but he is also sure that “it is not the clerks who are to blame.”
Dubrovsky decided to burn his house so that strangers would not get it, and ordered his nanny and the other people remaining in the house, except the clerks, to be taken out into the courtyard.
When the servants, on the master's orders, set the house on fire. Vladimir became worried about the clerks: it seemed to him that he had locked the door to their room, and they would not be able to get out of the fire. He asks Arkhip to go check if the door is open, with instructions to unlock it if it is closed. However, Arkhip has his own opinion on this matter. He blames the people who brought the evil news for what is happening, and firmly locks the door. Orderly ones are doomed to death. This act may characterize the blacksmith Arkhip as a cruel and ruthless person, but it is he who climbs onto the roof after a while, not afraid of fire, in order to save the cat, distraught with fear. It is he who reproaches the boys who are enjoying unexpected fun: “You are not afraid of God: God’s creature is dying, and you are foolishly rejoicing.”
Blacksmith Arkhip - strong man, but he lacks the education to understand the full depth and seriousness of the current situation. Material from the site
Not all serfs had the determination and courage to complete the work they started. Only a few people disappeared from Kistenevka after the fire: the blacksmith Arkhip, the nanny Egorovna, the blacksmith Anton and the yard man Grigory. And, of course, Vladimir Dubrovsky, who wanted to restore justice and saw no other way out for himself.
In the surrounding area, instilling fear in the landowners, robbers appeared who robbed the landowners' houses and burned them. Dubrovsky became the leader of the robbers; he was “famous for his intelligence, courage and some kind of generosity.” Guilty peasants and serfs, tortured by the cruelty of their masters, fled into the forest and also joined the detachment of “people's avengers.”
Thus, Troekurov’s quarrel with old Dubrovsky served only as a match that managed to ignite the flame of popular discontent with the injustice and tyranny of the landowners, forcing the peasants to enter into an irreconcilable struggle with their oppressors.
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