Fate is a rather complex concept and has not yet been fully studied by anyone. Some believe that man himself is the arbiter of his own destiny, others believe that there is Someone - God, or Higher intelligence, which determines not only the duration of human life, but also the events occurring in it. However, to what category can we include predictions made by writers and poets on the pages of literary works? After all, it often happens that the author first described some event, and only years, or even centuries later, does it come true. It is still unknown how and why science fiction writers were able to “guess” and even, to some extent, predict many future events. An example is the novel “Futility,” written by Morgan Robertson, an author little known to a wide circle of science fiction fans. The novel takes place on board a ship called the Titan.

E readers. Those who thought of comparing the main characteristics of the ship were horrified: the length of the ship was 243 m (the Titanic had 269 m), it moved at a speed of 25 knots (like the Titanic), both ships - both the fictional and the real - there were 4 pipes and 3 screws. We won’t list the other characteristics of the ships: believe me, they are almost identical. According to the plot of the work, on a cold April night, the Titan ship, considered unsinkable, does not slow down. Hit an iceberg and drowned. 14 years after the publication of the novel, a ship with similar name- "Titanic". In April 1912, a disaster occurred: moving at night at high speed, the ship collided with an iceberg and died.
The amazing similarity of events did not end there: the writer also indicated the reason for the death of thousands of passengers who did not have enough lifeboats. So what is this - a simple coincidence or a prediction of events?
This story has a continuation. On an April night in 1935, seaman William Reeves stood watch at the bow of the English steamship Titanian, bound for Canada. It was deep midnight, Reeves, impressed by the novel Futility he had just read, suddenly realized that between the disaster of the Titanic and fictional event there is a shocking similarity. Then the thought flashed through the mind of the sailor that his ship was also in currently crosses the ocean where both the Titan and the Titanic found their eternal rest. Then Reeves remembered that his birthday was the same exact date The Titanic sank on April 14, 1912. At this thought, the sailor was seized with indescribable horror. It seemed to him that fate was preparing something unexpected for him.
Being under strong impression, Reeves gave a danger signal, and the steamship's engines immediately stopped. The crew members ran out onto the deck: everyone wanted to know the reason for such a sudden stop. Imagine the amazement of the sailors when they saw the ship stopping right in front of the iceberg emerging from the darkness of the night. This means that if Reeves had dismissed his thoughts, the ship would have repeated the fate of both ships discussed above. In 1866, British journalist E.W. Stead also wrote a story about the Majestic, which sank after hitting an iceberg in the North Atlantic. The name of its captain - E. Smith - coincided with the name of the real-life captain of the Titanic liner. It is interesting that Stead, who spent his entire life studying many phenomena, including the role of predictions on later life man, did not pay attention to his own prophecy. E. W. Stead, back in 1912, boarded the most unsinkable ship in the world, which found its icy grave in the Atlantic.

What about the work of the famous American science fiction writer Arthur C. Clarke? In 1947, he published his first literary creation - a story about landing a man on the moon. Moreover, the author accurately indicated geographical characteristics this celestial body. Not much time passed before the events described in A. Clark’s story came to life.

In the years Soviet power a unique prophetic work was under the greatest ban

A. Bogdanov “Red Star”, written by him in 1904.
In this book, which can be called a dystopia, the writer foresaw not only tragic events in Russia, but also the symbolism of the new state indicated in the title of the novel. And here is what F. M. Dostoevsky wrote in his “Diary of a Writer forty years before the tragic events in Russia: “A terrible, colossal ... revolution is expected, which will shake all countries by changing the face of the world. But this will require a hundred million heads. The whole world will be flooded with rivers of blood... The revolt will begin with atheism and the robbery of all wealth, they will begin to overthrow religion, destroy temples and turn them into stalls, they will flood the world with blood, and then they themselves will be afraid.”
Here the writer predicted the approximate number of victims of the coming revolution (100 million), and in “Demons” - its timing. Petenka Verkhovensky to the question: “When will it all start?” - answered: “In about fifty years... It will begin at Maslenitsa (February), end after the Intercession (October).”
The gift of foresight inherent in some writers is shrouded in a haze of mystery. Even centuries later, he continues to amaze and amaze scientists, who still cannot understand how geniuses artistic word managed to create works that are inherently prophetic.

Prophecies of Russian writers and poets about the future of Russia

We find a whole series of similar breakthroughs into the future and premonitions of it among Russian writers and poets. As in everyday life, these premonitions most often relate to disastrous, catastrophic events.

Almost a hundred years before the revolution and what followed it, Mikhail Lermontov wrote prophetic lines:
The year will come, Russia black year,
When the kings crown falls;
The mob will forget their former love for them,
And the food of many will be death and blood;
When children, when innocent wives
The overthrown will not be protected by the law...

This was written many years before the overthrow and murder of the last Russian emperor and his family, before the mass executions and camps.

The artistic insights of Russian writers about the events of the coming era are too numerous to be explained by mere coincidence. Among the brilliant insights are lines from some Russian poets about their own death.

Mikhail Lermontov wrote in his poem “Dream”:
In the midday heat in the valley of Dagestan
With lead in my chest I lay motionless;
The deep wound was still smoking,
Drop by drop my blood flowed.

Less than a year had passed since the poet died in a duel during his stay in the Caucasus. Nikolai Gumilyov “saw” in one of his poems a craftsman making a bullet intended for him.
The bullet cast by them will find my chest.

If you read his poems “The Death of a Poet” today, then every line in it clearly corresponds to the life fate of the author - who took the baton from the great Pushkin... “The poet died! - a slave of honor - fell slandered by rumors... He rebelled against the opinions of the world alone, as before,... and was killed!

In a letter to A.Ya. Bulgakov, P.A. Vyazemsky wrote on August 4, 1841: “...They shoot at our poetry more successfully... They don’t miss the second time. Sad! Yes. I feel sorry for Lermontov, especially after learning that he was killed so inhumanly. At least a French hand was aiming at Pushkin, but it was a sin for a Russian hand to aim at Lermontov..."

It is no coincidence that Boris Pasternak warned his contemporaries-poets against predicting their own death in poetry.
Let us recall Dostoevsky’s prophetic lines from his “Diary of a Writer” for 1877:
“A terrible, colossal spontaneous revolution is foreseen, which will shake all the kingdoms of the world by changing the face of the entire world. But this will require a hundred million heads. The whole world will be flooded with rivers of blood.”
“The revolt will begin with atheism and the robbery of all wealth. They will begin to overthrow religion, destroy temples and turn them into stalls, flood the world with blood, and then they themselves will be afraid..."

Moreover, these prophetic lines were written forty years before the events of 1917, when there seemed to be no the slightest sign impending national tragedy. It is not surprising that for the next seventy years the new rulers of Russia preferred not to refer to these lines.

All these years, Alexander Bogdanov’s prophetic dystopia “Red Star” was also banned, in which back in 1904 he foresaw not only the features of the impending totalitarian rule, but even its symbolism, included in the title of the novel.

Among the prophecies and non-random coincidences, there are those when a Russian person does not know whether to cry or laugh. Half a century before the Bolshevik revolution, the satirist Saltykov-Shchedrin wrote the story “The History of a City,” where under the “city of Foolov” more than one generation of Russian readers recognized the country in which they lived. The tyrant governor, says Shchedrin, as soon as he assumed power over the unfortunate city, canceled all holidays, leaving only two. One was celebrated in the spring, the other in the fall. This is exactly what the Bolsheviks did in the first years of their reign, abolishing all traditional holidays. Of the holidays they introduced, one was celebrated in the spring (May 1), the other in the fall (November 7). The coincidences don't end there. For Shchedrin, the spring holiday “serves as preparation for upcoming disasters.” For the Bolsheviks, May 1 was always “the day of review of the fighting forces of the proletariat” and was accompanied by calls for intensifying the class struggle and for the overthrow of capitalism. In other words, he was focused on future disasters. Concerning autumn holiday, then, according to Shchedrin, it is dedicated to “memories of the disasters already experienced.” And as if on purpose or in mockery, November 7, a holiday established by the Bolsheviks, was dedicated to the memory of the bloodshed of the revolution.

Deadly prophecies often appeared against the will of the authors from random, inadvertently thrown words, explains Alexander Sergeevich. - But these words were recorded on paper and, therefore, took on an independent life. And the life of words has its own laws and consequences. First of all, these consequences concern those who uttered these words. See for yourself.

The most striking case is found in the poem by Nikolai RUBTSOV “I will die in the Epiphany frosts.” He died on January 19 - the very day when Orthodox Epiphany is celebrated.

Playwright Alexander VAMPILOV casually scribbled in his notebook: “I know - I will never be old”. And so it happened: he drowned in Lake Baikal a few days before his 35th birthday. Poet and musician Yuri VIZBOR wrote the song “In Memory of the Departed” in 1978, which contains the following line: “How I want to live another hundred years - well, maybe not a hundred, at least half.” It was as if Vizbor himself measured out his earthly term - he lived exactly 50 years.

Vladimir VYSOTSKY is not very good at one thing famous poem predicted the time of his death: “Life is an alphabet: I’m somewhere already in the “tse-che-she-shche” - I’ll leave this summer in a crimson cloak.” The poems were written in early 1980. This summer, on July 25, Vysotsky passed away.

When Valentin PIKUL passed away, his wife found in his library a book with a blind spine, and it contained a creative will that ended with the words: “This was written by Pikul Valentin Savich, Russian, born July 13, 1928, died July 13, 19... of the year". This was written in 1959, and he died on July 16, 1990, having made a mistake in the number by only three days.

Hints of untimely death are found in the works of Sergei YESENIN, Vladimir MAYAKOVSKY, Nikolai GUMILEV, Vsevolod BAGRITSKY, Vasily SHUKSHIN, Marcel PROUST, Heinrich IBSEN, Paul FLEMING.

For example, a flight of fancy allows a genius who sees a self-propelled carriage or balloon, immediately “predict” traffic jams on the roads of the world and space teeming with interplanetary travelers.

Another thing is predicting one's death. There is an opinion that creative people do not predict the future at all, but rather model it. After all, some of the poetic lines resemble spells like “I want to die young!” Mirra Lokhvitskaya. If we agree that the word is material and has powerful energy, then it is logical to assume that these dangerous phrases can attract troubles to the person who uttered them.

No wonder the wise Akhmatova warned her overly daring fellow writers: “Poets, do not predict your death - it will come true!”

Literary forecasts for the twentieth century...

Jonathan Swift

(1667 - 1745)

WHAT PRECISED

In the book " Trips Gulliver" (1726), astronomers of Laputa, the country where Gulliver ended up, discovered the presence of two satellites on the planet Mars. And in the chapter dedicated to the Great Academy of Lagado, there is a description of “a machine for the discovery of abstract truths.”

WHAT HAPPENED

The discovery of Phobos and Deimos occurred only one and a half hundred years after the publication of the novel. And in the description of the strange machine one can guess the invention of a “thinking device,” that is, a computer.

Vladimir Odoevsky

(1803 -1869)

WHAT PRECISED

The novel “Year 4338” (1835) tells that in the future the main means of transportation will be air and underground transport. This is how the hero describes his journey to Russia from China: “We flew through the Himalayan tunnel with the speed of lightning, but in the Caspian tunnel... we had to get out of the electric ship, magnificently illuminated by galvanic lamps.” The novel talks about the exploration of the Moon, which is “uninhabited and serves only as a source of supply for the Earth,” as well as about “electric conversations” that will replace correspondence.

WHAT HAPPENED

Tunnels and electric ships resemble the descriptions of the subway. By the way, the first experimental electric locomotive was built in Germany in 1879. And it was not easy to foresee the use of “galvanic lamps”: Lodygin’s carbon lamp was patented in 1874, Yablochkov’s “candle” in 1876, and Edison’s incandescent lamp in 1879. And the Caspian tunnel, through which the electric ship rushes from China, is laid under the bottom seas- also a very progressive thought for that time. The first practically usable telephone was patented only in 1876. Scientists started talking about using lunar rocks for the Earth’s energy supply only in the second half of the 20th century.

Jules Verne

(1828 - 1905)

WHAT PRECISED

In the novels “From the Earth to the Moon” (1865), “Around the Moon” (1870) and “Paris in the Twentieth Century” (1863), Verne’s heroes “overshot” the Moon and never landed on its surface, then safely circled the Earth’s satellite and returned to Earth. In the third book, the streets of Paris are filled with hydrogen-powered cars, and documents are transmitted using a device very reminiscent of a modern fax machine.

WHAT HAPPENED

In the first case, the plot is similar to the fate of the crew of the American ship Apollo 13, which exactly one hundred years later - in April 1970 - was unable to land on the Moon. But even more interesting are the parallels between Vernov’s spacecraft and Apollo 8, which in 1968 made the first manned flight around the Moon. Both devices - both literary and real - had a crew of three people. Their sizes and weights were approximately the same. Both started from the United States. Even the areas of the launch pads coincided! In addition, hydrogen cars are becoming a reality today. But faxes are becoming a thing of the past as unnecessary.

H.G. Wells

(1866 - 1946)

WHAT PRECISED

In his works, he “invented” biological weapons, artificial insemination, and a technique for introducing nutrients directly into the blood. Back in the 1910s he spoke of the enormous role nuclear energy in the life of mankind and predicted that in the future aviation high speeds will move to the swept wing. In The War of the Worlds (1898), Wells describes the action of a heat ray similar to a modern laser, and in When the Sleeper Awake (1899) - “strange technical devices, on the smooth surface of which bright colored pictures with moving figures appear.”

WHAT HAPPENED

Wells was ahead scientific and technical progress for many decades. Aircraft designers arrived at the correct wing design only 20 years after the writer’s prediction. In the last century, lasers appeared, including combat ones. The author’s description of a TV and VCR from the end of the last century is very impressive.

Arthur Clarke

(b. 1917)

WHAT PRECISED

In 1945, he seriously talked about launching communications satellites into low-Earth orbit. He also claimed that man would land on the moon before the year 2000, and suggested the appearance of phones with a camera, teletext and opportunity create messages and an intercom built into a wristwatch.

WHAT HAPPENED

Less than half a century has passed since the Earth’s orbit was literally filled with such satellites. His other scientific “discoveries” have already come into use today.

Compared to these prophecies, the predictions of other authors look much paler. But let us still remember that sound recording devices appeared in Cyrano de BERGERAC’s “States and Empires of the Moon” (1655), the first robots- in Karel Czapek’s play “R.U.R.” (1920), the calculator is found in Isaac Asimov's "Foundation" (1951), the player is found in Ray BRADBURY's book "Fahrenheit 451" (1953).

...FOR THE COMING CENTURIES

By 2519, Europe will go wild

Having looked through literary works, you can try to look into the future

Wilhelm Küchelbecker in his “European Letters” (1820) assumed that by 2519 Europe would go wild: London and Paris would disappear from the face of the Earth, and Spain would be populated by certain Guerilasses, who would wander from valley to valley and rob merchants and travelers.

British humorist Jerome K. Jerome in his story “The New Utopia” (1891) looks all the way into the 29th century. There we will find a world in which Universal and Absolute Equality reigns - people are obliged to wear the same clothes, wash and eat at the same time. Names will be replaced by numbers (we also find a similar prediction in Yevgeny Zamyatin’s dystopia “We”, 1924), and if someone’s intelligence turns out to be above average, then the brain of such a person will be “averaged” by surgeons.

Concerning scientific discoveries And technical achievements- here are just a few predictions:

2023 - creation of a superintelligent robot (“Turing Option” by Robert Minsky and Harry Harrison).

2119 - the emergence of a universal cure for all diseases (Arkady and Boris Strugatsky, “Noon, XXII century”).

2122 - discovery of extraterrestrial life on Tagore’s planet, with whose population earthlings will establish contact in 2124 (Strugatsky, “Noon, XXII Century”).

XXIII century - the invention of the psychosynthesizer, a device for materializing images that arise in human brain(Grigory Temkin, “Bonfire”).

XXIV century - houses will be built on the basis of the “theory of four-dimensional cubes”. Here the interior will be updated by itself, and the rooms will move from floor to floor so that the owner does not get bored (Robert Heinlein, “The House That Teal Built”).

Science fiction writers also predict the invention of photographs that convey smell, sound and moving images (Joe Haldeman, “The Right to Earth”), the appearance of luminous implants that will be implanted into the human body instead of jewelry (Paul Di Filippo, “Problems of Survival”) and much more.

Bazarova Yana

Ancient measures in works of art. Historical reference. Ancient measures in proverbs and sayings.

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Ministry of Education and Science of the Republic of Belarus

Ivolginsky district

Municipal educational institution Suzhinskaya secondary school

Scientifically practical conference primary school students

"First steps"

Ancient measures in fiction.

Suzhinskaya secondary school of Ivolginsky district

Home address: With. Nurseleniya, 14 a

Phone: 89503825382

Supervisor: Tugutova Tuyana Leonidovna

Phone:89140526432

With. Suzha

2014

1. Introduction…………………………………………………………………………………...3 - 4

2. Main part. Ancient measures in works of art…4-9

2. 1. Ancient measures. Historical background…………………………...4

2.2. Ancient measures of length…………………………………4 -8

3. Conclusion………………………………………………………………………………9

3.1. Questionnaire “Do you know ancient measures?” for primary school students………………………………………………………8

3.2. Conclusions and results obtained…………………………………...8-9

4. List of sources and literature used………………….....10

5. Applications.

1. Introduction

A thousand years ago, the Russian people had not only their own system of measures, but also state control over the measures. By the end of the 18th century, this system had become the only national system of measures in the world.

When I was little and couldn’t read, the fairy tales and stories that I listened to from my mother and grandmother were always understandable. The time has come, I became a reader, and then it appeared great amount various questions.

Problem of my research work:

Not all the words I came across in the texts were familiar. Most of- These are ancient measurements of length, weight, volume. As it turned out later, understanding these measures causes difficulties for many children. IN modern language we hardly use them. Only when reading works of fiction do we come across these concepts. But, nevertheless, we must know the meanings of the measures. After all, this is our story. I was interested in this topic, and I decided to seriously study the units of measurement of length, weight, volume, as well as monetary units, based on works of different genres. It’s not without reason that the Russian folk proverb says: “You can’t weave a bast without measure.”

In my opinion, the relevance The chosen topic is that it is still possible to learn about ancient measures only from specialized literature or from old people. This is very inconvenient, because quite often these measuring units are found at Russian language olympiads, where it is necessary to reveal the meaning of this word, in mathematics competitions, difficulties arise when solving problems with such measurements. In addition, there is no single textbook or manual where ancient measures would be collected. Therefore, I decided to compile and print an illustrated dictionary of these words. This dictionary contains material that covers the meaning of the most commonly used units of measurement, as well as excerpts from works of fiction that I have read.

Target:

Explore the meaning and use of ancient units of length in works of art.

Tasks:

1. Study and analyze ancient units of measurement in various sources;
2. To trace how these dimensions or the words denoting them have been preserved in modern Russian;
3. Systematize the information received;
4. Compile a dictionary of ancient length measures.

I was prompted to do research work on the chosen topic by my acquaintance with proverbs, sayings, fairy tales, and original texts, which we work with in class, as well as outside of class.

The meaning of proverbs and sayings, texts in which these measures are found, remained unclear. I believe that ignorance of them would be a manifestation disrespectful attitude to the history of your country.

In our research work we refer to the following sources: explanatory dictionary of the Russian language, reference book on mathematics, encyclopedic Dictionary in mathematics, phraseological dictionary of the Russian language, works studied according to the program.

2. Main part. Ancient measures in works of art.

2. 1. Ancient measures. Historical reference.

Most of the old measures have been forgotten and fallen out of use, but many of them are in literary works, historical monuments. The Mers lived, sometimes grew old and died, sometimes were reborn to a new life. The history of measures is part of the history of mankind.

In Rus', improvised household utensils were used as a unit of volume measurement. Basic Russian measures of volume of liquids -bucket, bottle, mug, cup, scale, barrel.

The Russian people used such weight measures aspood, half a pood, spool, steelyard, kad.

There were monetary measures in use:altyn, hryvnia, penny, half, nickel, half.

2.2. Ancient length measures.

Arshin - arshin measure came into use as a result of the development of trade with eastern peoples(from Persian arsh – elbow). It is equal to 71 cm 12 mm . He came to Rus' together with merchants from distant countries. Eastern merchants, measuring fabrics, did without any meters: they stretched the fabric over own hand, to the shoulder. That's what it was called measure by arshins.

Although the measure was very convenient, it had a significant drawback: unfortunately, everyone’s hands are different. The cunning merchants quickly realized that they needed to look for clerks with shorter arms: the same piece, but more arshins. But one day this came to an end. Selling “at your own yard” was strictly prohibited by the authorities. Only government-issued arshins were allowed to be consumed.

State arshin - a ruler, the length of someone’s hand, was made in Moscow, then copies were made from it and sent to all parts of Russia. To prevent the wooden arshin from being shortened, its ends were bound with iron and marked with a seal.

Tens of years are no longer measured in arshins, but this word has not been forgotten. We still find this measure of length in proverbs and sayings.

For example:

He sees three arshins into the ground! – about an attentive, perspicacious person from whom nothing can be hidden.

He measures to his own yardstick. Each merchant has his own arshin measures - about a person who judges everything one-sidedly, based on his own interests.

Arshin for a caftan, and two for patches.

Write about other people's sins arshin , and about our own - in lowercase letters.

Sits and walks as if arshin swallowed - about an unnaturally straightforward person.

On an arshin beard, but smart enough -about an adult but stupid person.

You write in arshin letters - very large.

A.S. Pushkin "The Tale of Tsar Saltan, of his glorious son and mighty hero Prince Guidon Saltanovich and Fr. beautiful princess Swans" -

Meanwhile how far away he is

It beats long and hard,

The time of birth is coming;

God gave them a son arshin.

On the back with two humps

Yes, with arshin ears.

F.I. Tyutchev -
You can't understand Russia with your mind,

Arshin cannot be measured.

To the poor animals;
There's less left underneath them arshin land wide...

Versta - Russian travel measure. Initially, the distance from one turn of the plow to another during plowing. Verst length 1060 m.
Kolomenskaya verst – "Big" - a very humorous name tall man. It dates back to the times of Tsar Alexei Mikhailovich, who reigned from 1645 to 1676

Mezhevaya verst existed in Rus' until the 18th century. To determine the distance between settlements and for land surveying (from the word boundary - the border of land holdings in the form of a narrow strip). The length of such a mile 1000 fathoms, or 2.13 km.

This measure is often found in works of different genres.

Moscow is a mile away far away, but close to my heart- this is how Russian people characterized their attitude towards the capital.

Love is not measured by miles. A hundred miles is not a detour for a young man - distance cannot be an obstacle to love.From word to deed - whole verst.

Verstoy closer - a nickel cheaper. A mile away if you fall behind, you'll catch up by ten- even a small lag is very difficult to overcome.

You can see him a mile away - a well-known person.

To lie - seven miles to the sky and all through the forest.
Seven miles away They were looking for a mosquito, but the mosquito was on their nose.
From thought to thought five thousand verst
Hunter seven miles away goes to sip jelly .

Stretch a mile , don't be simple.

Epics "Volga Svyatoslavovich" -

Here Volga turned into a bay aurochs with golden horns and ran towards the Indian kingdom: he made the first jump - for a mile away left, and disappeared with the second one from view.

Russian fairy tale "Fight on Kalinov Bridge» -

A six-headed snake rides out from Miracle Yudo,
how it breathes on all sides -
on three miles I burned everything with fire.

A.S. Pushkin " Winter road» -

No fire, no black house
Wilderness and snow meet me.
Only miles striped
Come across one.

N.A. Nekrasov “General Toptygin” -

And the horses are even more afraid -

We didn't take a break!

Verst fifteen at full speed

Poor guys got away!

P.P. Ershov “The Little Humpbacked Horse” -

The little hunchback flies like the wind,
And almost on the first evening
Verst waved away a hundred thousand,
And I didn’t rest anywhere.

Vershok - ancient Russian measure of length, equal to width two fingers (index and middle).

Vershok equaled1/16 arshin, 1/4 quarter. In modern terms - 4.44cm . The name "Vershok" comes from the word "top".

In the literature we often encounter this measure.

For example:

Two inches from the pot, and already a pointer - a young man who has no life experience, but arrogantly lecturing to everyone.

She has Saturday through Friday for two an inch came out - about a sloppy woman whose undershirt is longer than her skirt.

P.P. Ershov “The Little Humpbacked Horse” -

At the end of three days,
I will give you two horses -
Yes, the same as today
There was no trace of it,
Moreover, I have the face of a horse, only three tall inch
On the back with two humps and arshin ears

Fathom (from squat – to reach something, to reach) dates back to the 11th century.

In everyday life there were different fathoms - flywheel and oblique. So,

Flywheel – the distance between the arms outstretched in both directions along the ends of the outstretched middle fingers; 1 fly fathom – 1m 76 cm.

Oblique – from the heel of the right foot to the tips of the fingers of the left hand extended upward, i.e. near 248 cm.

Sometimes they say about a person:“There is a slant in the shoulders fathom ".

Here are examples of the use of this measure in works:

You are an inch away from the truth (from service), and it is only an inch away from you. fathom.

N.A. Nekrasov “Grandfather Mazai and the Hares” -

Every minute the water was rising
To the poor animals;
There is less than an arshin of land left under them in width,
less fathoms in length.

The epic "Alyosha Popovich and Tugarin" -

I saw Tugarin Zmeevich.

Is he, Tugarin, three tall? fathom.

There is a red-hot arrow between the eyes.

Span (or span) - an ancient measure of length equal to approximately a quarter of an arshin, that is, a fourth of 71.1 cm. Simple calculations show that in a span there were about 18 centimeters.

The Old Russian “span” goes back to the common Slavic verb “five” - to stretch. Therefore, the following expressions occur:

Don't give up an inch - not to give even the smallest amount.

Seven spans in the forehead - about a very smart person.

Elbow - the distance in a straight line from the elbow to the end of the extended middle finger.

The cubit was widely used in trade as a particularly convenient measure. IN retail trade canvas, cloth, linen - a cubit was the main measure. No wonder they said:"He's as big as a fingernail, and his beard is as big as elbow ".

3. Conclusion.

1. Questionnaire “Do you know the ancient measures?

23 students took part in the survey junior classes. The purpose of this work was to determine the level of awareness of the children on this issue, as well as to identify interest in the topic. The results of the work done are presented in the table, from which it can be seen that my peers do not know ancient measuring units well, so I would like to help them. I think that if you convince the guys that the importance of this topic is enormous and that it is interesting to work on it, then the next survey will show a different result.

1. Conclusions and results obtained.

In my work I:

• I found works where these measures are mentioned and cited excerpts from them;
• showed the basic relationships between ancient and modern measures;
• I found illustrations that reveal this topic in the most accessible and understandable way.

As a result, I came to the following conclusions:

• the materials collected in this dictionary will help children work on works of different genres for a more complete understanding of their content;
• I think that it would be right if in each grade, starting from the first, similar working dictionaries would be kept, where I would enter the measures found in the text, as well as excerpts from the work itself.

I want mine research attracted the attention of many inquisitive schoolchildren, and became a necessary kind assistant for students preparing for competitions, Olympiads, and working on projects. And those who show increased interest in mathematics, to literary reading, can find a lot of interesting and educational material here. This work brought me great pleasure.

List of sources and literature used:

1. A.I. Molotkov. Phraseological dictionary of the Russian language. M.: “Russian language”, 1986. 543 pp.
2. V. I. Dal. Explanatory dictionary of the Russian language. M.: Astrel, 2001
3. E.A. Bystrova. Educational phraseological dictionary of the Russian language. M.: "AST-LTD", 1997. 304 pp.
4. I. Depman. Measures and the metric system. - M.: Education, 1953
5. Ozhegov S.I., Shvedova N.Yu. Explanatory dictionary of the Russian language. M. Azbukovnik, 1997
6. A short encyclopedic reference book on mathematics. – M., 2003
7. Proverbs. Sayings. Puzzles. – M. Sovremennik, 1986

Traditionally in literary criticism it is customary to distinguish the following functions of things in literary text: cultural, characterological, plot-compositional. The thing may be a sign of the depicted era and environment. The cultural function of things is especially clear in travel novels, where they are presented in a synchronous section different worlds: national, class, geographical, etc. The cultural function of things in historical novel- a genre that was formed in the era of romanticism and strives to visually represent in its descriptions historical time and local color.

Things often become signs, symbols of a person’s experiences. Things also perform a symbolic function in everyday works. Gogol colorfully depicts the life of the Cossacks in “Evenings on a Farm near Dikanka.”

An item can serve as a sign of wealth or poverty. According to a tradition originating in Russian epic epic, where heroes competed with each other in wealth, striking with an abundance of decorations, precious metals and the stones become this undeniable symbol.

The characterological function of things is no less important. In the works of N.V. Gogol shows the “intimate connection of things” with their owners. No wonder Chichikov loved to look at the home of the next victim of his speculation. “He thought to find in it the properties of the owner himself, just as one can judge from a shell what kind of oyster or snail was sitting in it” (“Dead Souls” - vol. 2, chapter 3, early ed.) Costume and interior, personal belongings help determine not only the era and social status, but also the character, tastes, and habits of the character. It is difficult to imagine Gogol’s heroes without their uniform tailcoats, and Oblomov without his usual robe.

IN literary work the thing acts as an element of the conditional, art world. And in contrast to reality, the boundaries between things and humans, living and nonliving, here can be unsteady. However, the writers sensitively grasped another facet in the relationship between a person and a thing: material value the latter can overshadow a person; he is assessed by society by how much expensive things possesses.

Things can line up in a sequential row. IN " Dead souls“, for example, every chair shouted: “And I, too, Sobakevich!” But one detail can characterize a character. For example, a jar labeled "laceberry", prepared with caring hands Baubles (“Fathers and Sons” by Turgenev). Interiors are often depicted according to a contrasting principle - let us recall the description of the rooms of two debtors of the moneylender Gobsek: the countess and the “fairy of purity” seamstress Fanny (“Gobsek” by O. Balzac). Against this background literary tradition The absence of things can also become significant (the so-called minus device): it emphasizes the complexity of the hero’s character.

One of the common functions of things in a literary work is plot-compositional. Let us recall the ominous role of the scarf in the tragedy “Othello” by W. Shakespeare, the necklace from Leskov’s story of the same name, and the “queen’s slippers” from “The Night Before Christmas” by N.V. Gogol.

In addition to the three main functions of things described above, there are also more specific (private) functions described by A.P. Chudakov. We tried to present them briefly:

1. Things often serve as an introduction to the atmosphere of the work.

2. Things become a source of impressions, experiences, thoughts, and correlate with personal experiences and memory.

3. The thing becomes the subject of reflection and evaluation

4. Things become indirect signs of the character's evolution.

5. The item is capable of conveying the psychological state of the character.

6. Things in many ways appeal to an understanding of the very personal completeness of the character.

7. Things can act as a leitmotif.

Thus, a thing in a work of art performs three functions: cultural, characterological, plot-compositional. However, these functions should not be considered exhaustive and the only possible ones.

1) In which works of Leskov is the writer’s historicism manifested?

Leskov in his works shows historical eras In Russia, kings change, but the morals of society and the attitude towards ordinary people do not change. The writer was worried about the Russian people and the unfair treatment towards them.

The idea of ​​the tale "Lefty" show the talent of the Russian people, the originality of the masters who can solve any problem. The authorities praised everything foreign, without seeing the “pearls” under their noses. The author raises the topic of patriotism, faith, when ordinary people were the embodiment of hard work, skill and unrequited service to their Fatherland.

"Man on the Clock" - battalion commander Svinin is not tormented by remorse that a person who committed a feat is punished, and what is important to him is not only public opinion, which saves his face, but also the approval of others, he is pleased with himself, he has settled the matter. Postnikov’s feat becomes a duty, only because of the origin of a private .Hypocritically, the ruler turns the holy feeling of compassion, the salvation of life into the fact that holiness is characteristic only of God, and for common people it is only a duty. Behavior powerful of the world this, emphasizes the vices of that time, when tyrants were in power, headless military men carried out commands, the rank and file were weak-willed slaves, and the whole society as a whole had no right to think, but only to observe life indifferently.

Theme of the story by N.S. Leskov "The Enchanted Wanderer"-this is self-knowledge person, life path is a search for an answer to main question about the meaning of life, why a person lives on Earth. The story shows the life search of Ivan Severyanovich Flyagin, having gone through the “seven circles of hell”, he becomes a righteous man, finding the meaning of being in serving the people. Having received freedom, the former serf does not know what to do with it for a long time , wandering around the world, he is looking for his place in life.

2) What historical time do the characters in the story “The Old Genius” live in?

The historical time of the story is the second half of the 19th century. The actions take place in post-reform Russia, In Petersburg. Russia is in a severe crisis, the abolition of serfdom, the economy was undermined by the Crimean War. The legacy of Nicholas 1, the economy is in decline, the country is a backward power, the lack of reforms and prohibitions on progress.

3) What problems of society are addressed in the work.

Leskov touches on the problems of the callousness of officials who cause the old lady suffering. The author denounces the bureaucratic system, which relies on ranks and titles. Nobody wants to get involved with the rich and powerful, except for the “old genius”. Ivan Ivanovich solves the old lady’s problem, he returns her debt, but he does it at the call of the Russian soul, huge and omnipotent. The people themselves, the craftsmen of the Russian land, stand up for the elderly man, who make the impossible possible. Leskov condemns bribes, the old woman tried to “grease up” the officials, but the amount is insignificant for them, the problem of bribes has always been acute in Russia. The author also touches on the gullibility of the Russian people, out of the kindness of her heart, taking her word for it, the old woman lends an unbearable amount and this almost leads to tragedy. The author shows the problem of taking her word for it as a national trait.

During the classes

I. Organizational moment.

II. Checking homework.

1. Reading and reviewing essays (stories): “to akim I saw Pugachev in the novel by A. S. Pushkin.”

2.Working with cards.

Card 1.

What Russian event is it about? history is coming speech in this passage? What is the name of this work and who is its author? From whose perspective is the story told?

“I will not describe our campaign and the end of the war. I will say briefly that the disaster reached the extreme. We passed through villages devastated by the rebels, and involuntarily took from the poor residents what they managed to save. The rule was stopped everywhere: the landowners took refuge in the forests. gangs of robbers were committing crimes everywhere; the commanders of individual detachments autocratically punished and pardoned; The condition of the entire vast region, where the fire was raging, was terrible... God forbid that we see a Russian rebellion, senseless and merciless!”

(We are talking about the peasant revolt of 1772–1774 led by Emelyan Pugachev, who proclaimed himself tsar Peter III. The excerpt is taken from the novel by A. S. Pushkin “The Captain's Daughter”. The main character, Pyotr Andreevich Grinev, talks about the events of his life.)

Card 2.

Read Grinev's dream. When did the hero dream of him? Why is this dream interesting? Why did A.S. Pushkin include a dream in the story?

(Petrusha Grinev had this dream during a steppe snowstorm, when an unexpected counselor undertook to show the way to housing. It predicts future terrible events of a popular revolt, because the man from the dream is a counselor, and in the future Emelyan Pugachev is the leader Cossack army, self-proclaimed king. This is why it is important: it not only outstrips historical events, but also predicts the future nature of the relationship between the young officer and the people's leader.)

Card 3.

In connection with what and who is telling Kalmyk fairy tale? How do you understand its allegorical meaning? How does the attitude towards the idea of ​​a fairy tale characterize the narrator and his listener?

(The tale of the eagle and the raven is told by Pugachev on the way to the Belogorsk fortress during a conversation about his affairs and a bleak future. The tale has an allegorical meaning: it is about two possible elections life path - quiet, measured, not rich in external events and others: bright, eventful, but short. The heroes of the fairy tale also play a symbolic role: the eagle is a free bird, loving heights, space, a royal bird; The raven is a wise bird, but prosaic, earthly, and ugly.

Thanks to this story, Pugachev and Grinev express their attitude to life. For Pugachev, a short but bright path, reminiscent of the life of an eagle, is better. Grinev is disgusted by robbery and villainy; it is not for nothing that he calls the riot senseless and merciless; it was created for peaceful family life among dear people.)

Card 4.

Why does Grinev, calling Pugachev an impostor, a robber, a villain, still sympathize with his friend, does not want him to die, and comes to say goodbye on the day of his execution?

(Grinev cannot call Pugachev anything else, since the rebel and the officer of the imperial army are enemies, in addition, Grinev remembers the massacre of the commandant Belogorsk fortress, the death of Vasilisa Egorovna and other tragic events. But human relations the two heroes stand outside their official relationship; Pugachev not only saves the life of his friend, but also ensures his happiness, while showing nobility and tolerance, respecting Grinev for his loyalty to his word and kindness. with sympathy young hero- not only gratitude for good deeds, but sincere human feeling, although at first (as in the dream) Grinev is slightly offended that his benefactor is a “man.”)

Card 5.

Read the description. What artistic means does the author use? What role does this passage play in the story?

“The driver galloped; but kept looking to the east. The horses ran together. Meanwhile, the wind became stronger hour by hour. The cloud turned into a white cloud, which rose heavily, grew and gradually covered the sky. It began to snow lightly and suddenly began to fall in flakes. The wind howled; there was a snowstorm. In an instant, the dark sky mixed with the snowy sea. Everything has disappeared. “Well, master,” the coachman shouted, “trouble: a snowstorm!”...

I looked out of the wagon: everything was darkness and whirlwind. The wind howled with such ferocious expressiveness that it seemed animated; the snow covered me and Savelich; the horses walked at a pace - and soon stopped. “Why aren’t you going?” – I asked the driver impatiently. “Why go? - he answered, getting off the bench, - God knows where we ended up: there is no road, and there is darkness all around.

(The main thing in this description is action, dynamics. The state of nature changes instantly: wind, snow, blizzard, blizzard, haze. Pushkin uses very modest epithets; only two contrasting colors: dark sky - snowy sea (previously - a white cloud). There are only two metaphors: the wind howled (an animal howls), the snowy sea (infinity of a snowy moving mass, similar to sea ​​element). Pushkin is a master of landscape. But his landscape is not static, frozen, but changing, moving, as in life. The description of the snowstorm in the novel has several meanings:

A) compositional– thanks to the snowstorm, the heroes (Pugachev and Grinev) not only meet, but also develop sympathy for each other;

b) allegorical- blizzard, rampant elements - symbolizes future events, rampant rebellion, which, like the blizzard, poses a threat to the hero’s life;

V) realistic– blizzards are still found in the steppes, so the description of the blizzard gives the story the authenticity of what is actually happening.)

Card 6.

What is an epigraph? What are epigraphs for? Which epigraph does Pushkin choose for his novel “The Captain's Daughter”?

(Epigraph is a short text (quote, saying, saying, etc.), prefaced by a work of art, placed before the text. An epigraph often expresses the author’s main thought, idea or mood of the work, contains the author’s assessment of the events presented. Pushkin’s “The Captain’s Daughter” is preceded with the epigraph “Take care of your honor from a young age.” This proverb not only defines the code of conduct of a young man, but also characterizes the hero and explains him. moral choice in difficult moments of testing.)

3.Conversation on issues.

– We have already noted how confidently Pushkin introduced his novel with the epigraph “Take care of honor from a young age.” Remember the epigraphs that precede other chapters. What are they? Why?

(Epigraphs to other chapters of “The Captain’s Daughter” are the lines folk songs, proverbs and excerpts from the works of writers of the 18th century (Knyazhnin and Kheraskov). This selection of epigraphs is not accidental. It helps convey the flavor of the era (18th century), creates a special lyrical mood, adds lyricism to the narrative, creating the illusion of the author’s assessment of the hero’s story. There is another meaning in this selection of epigraphs: in works of oral folk art the centuries-old experience of the people, their ideas about the ideal are concentrated, therefore the epigraphs contain the people’s assessment of the heroes and events.)

– Why do you think the story about the Pugachev rebellion is called “The Captain’s Daughter”? Who is the main character?

(Indeed, the main characters in the novel are Pyotr Grinev and Emelyan Pugachev. Against the background of the formidable events of the Pugachev rebellion, the story of the relationship between Masha - Grinev - Shvabrin develops. Modest and shy Masha at the decisive moment shows extraordinary strength of character and courage. She does not want to get married without her parent's blessing , is ready to die, but not to become the wife of an unloved one; finally, defending the honor and freedom of her fiancé, she decides to travel to the capital to see the queen herself. Purity and selflessness give her image a heroic aura.

Perhaps, by calling his work “The Captain's Daughter,” Pushkin wanted to emphasize that he was primarily interested in human relationships. Even a historical figure is presented from an unexpected and even more remarkable side: the organizer of the fate of the enemy, who is humanly closer than his companions.)

III. State the topic and purpose of the lesson.

– What are they, people of the “past century”? Is the epigraph of Chapter III of “The Captain’s Daughter” true: “old people”? What does it mean?

We will try to answer these and many other questions in today's lesson.

IV. Studying a new topic.

1. The teacher's word.

So, “old people”! what does it mean? And why did Pushkin take this phrase from Fonvizin’s “Minor”? Is it possible that the author of “The Captain’s Daughter” remembers Prostakova and Skotinin? or maybe Starodum and Pravdin? Of course, the surnames are expressive, “talking,” and quite clearly “represent” the characters in Fonvizin’s comedy. “Pravdin” does not need any comments: the meaning of the surname is completely clear. But “Starodum”... It’s as if he is not from the age of the Prostakovs - from a long, “ancient” time, however, not very long ago. Just from the Peter the Great, from the Lomonosov era! Still the same 18th century! So is Pushkin's epigraph successful? What did he reveal to you?

2. What is your feeling of “Belogorsk”, “ancient” life? Let's reread these pages (p. 123).

“Nobody met me. I went into the hallway and opened the door to the hallway. An old invalid, sitting on a table, was sewing a blue patch onto the elbow of his green uniform. I told him to report me. “Come in, father,” answered the disabled man, “our houses.”

Isn't it hard to resist smiling? But this smile is sympathetic, full of tenderness. No respect either for the uniform, which could well be decorated with a patch of a different color (and that will do!), or for the army chain of command: what kind of “report” is that! “Our houses!” - and that’s it! But is there any contrast? Of course, Ivan Ignatich with his “interrogation” of Grinev, styled in the style of an old campaigner ( With. 124:“I dare to ask”, “why did you deign to transfer from the guard to the garrison”, “acts indecent for a guard officer”). But Vasilisa Yegorovna immediately interrupts him: “It’s enough to lie about nonsense...” (p. 124, 1st paragraph). But where are the words that capture the “old times”, its kindness? “Vasilisa Egorovna received us easily and cordially and treated me as if she had known her forever.” (p. 126, 3rd paragraph).

That's how it is treated! But who is this “us”? It is clear, not only Grinev, but also Savelich. Whose voice, whose intonation do you hear? Undoubtedly, not only Grinev, but also the Author. After all, it was he who prompted Grinev to sit down with his memories. And to be completely precise, he wrote them for him! With his tongue! But also to yours! Did you feel the style? Pushkin's prose? Haven't you noticed Pushkin's attitude to parts of speech?

Needless to say, he prefers nouns and verbs and is very reserved in the use of adjectives.

Pushkin the prose writer is clear and precise in word and phrase, simple in syntax, preferring a simple sentence, without much complexity. In which of the prose writers can we notice this same property of “Pushkin’s” prose?

Yes, from Chekhov! But this will happen much later. And not without the influence of Pushkin’s prose.

But let's return again to Pushkin's novel. Are there changes taking place in him, in his “world” itself, in his intonation?

Indeed, a calm, even narrative is replaced by rapidly bursting events, and with them intonations: anxiety, almost confusion and even “horror” (we have already talked to you about Pugachev’s siege of the fortress, its capture, the execution of its defenders). What do you think, could Captain Mironov, Ivan Ignatich and Vasilisa Egorovna have avoided death? Why did they suffer a different fate - “to perish from an escaped convict,” as Vasilisa Yegorovna would say, having paid for these words with her life? What especially amazed you about them? How did Pushkin write the scene of the massacre of the officers of the Belogorsk fortress? Why is this terrible page so short?

But who unexpectedly intervened in this scene? Yes, Savelich! It turns out that the circle of “old people” in Pushkin’s novel is not limited to the inhabitants of the Belogorsk fortress: and Savelich among them is also one of the “old people”!

Are there still “old people”? Yes, and the Grinevs are of the same family and tribe: “old people”! Why? Doesn't our conversation require a comparison of old Grinev with the Belogorsk officers? Of course, not only Andrei Petrovich Grinev would certainly repeat the feat of Captain Mironov, but Petrusha Grinev also worthily represents her father, faithful to his order: “Serve faithfully to whom you swear allegiance...”

And again - an antithesis. Do you think Shvabrin is also one of the “old people”? oh nonsense: “the latest” in baseness and dexterity!

And now let’s return to Chapter III, to the epigraph, but different.

Why is there a juxtaposition of “soldier’s song” and “old people” here?

What does the “soldier’s song” bring to mind?

Suvorov’s pages of national history, which were carried out by “old people”, the artistic meaning of Pushkin’s novel overcomes the boundaries of the plot (“Pugachevism” and the fate of Petrusha Grinev) and absorbs the trials of Russia - trials of loyalty - and examples of its best fellow citizens, regardless of the class to which they belonged to: “old people”!

And who do you classify Masha Mironova as?

So, the 2nd part of our lesson will be devoted to the young heroine, after whom the novel is named.

3.The image of Masha Mironova.

What is she like, Masha Mironova?

If her portrait were transferred to a drawing, how would you paint her? (Examination and discussion of drawings-portraits of Masha Mironova.)

Let's remember what impression Masha made on Grinev (read, p. 126, 3rd paragraph).

“At first glance... I didn’t really like it.” And you? Is Grinev’s attitude towards Masha changing? Why?

How did you deal with Masha’s shyness, even to the point of “tearing” her?

Why do we need these details of the heroine’s character? Don't remember anyone? “Blush, she apologized, / because, supposedly, she came to visit them...” Pushkin princess! Do we need this parallel? Why are Pushkin’s heroines so similar, and in completely different works?

But in Pushkin’s novel, next to Masha, another heroine will appear, on whom the happiness of Masha and Grinev will depend, a charming court lady, in whom we recognize... the empress!

Before we turn again to the novel, to our beloved heroine, and re-read the brilliant lines, let’s take a look into the writer’s creative laboratory.

The following “Anecdote” was published in the magazine “Children’s Reading for the Heart and Mind” (Part VII, M., 1786):

“Joseph II, the current Roman emperor, was walking one evening as usual, saw a girl who was bursting into tears, asked her what she was crying about, and learned that she was the daughter of a captain who was killed in the war, and that she was left without food with his mother, who has been sick for a long time.

“Why don’t you ask the emperor for help?” - he asked.

The girl replied that they did not have a patron who would inform the sovereign about their poverty.

“I serve at court,” said the monarch, “and I can do this for you.” Just come to the palace tomorrow and ask Lieutenant B.

At the appointed time, the girl came to the palace. As soon as she pronounced B.’s name, they took her to a room where she saw the officer who spoke to her yesterday and recognized him as her sovereign. She was beside herself with surprise and fear. But the emperor, taking her hand, said to her very affectionately: “Here are three hundred ducats for your mother and another five hundred for your tenderness towards her and for your trust in me. In addition, I am assigning you an annual pension of 500 thalers.”

What scenes from The Captain's Daughter does this anecdote remind you of (in the old days, an anecdote was a short, condensed story about a remarkable, funny incident)? Some literary scholars believe that Pushkin used it when creating his story. If so, how did he transform the anecdote into vivid and impressive scenes?

By the way, the censor P. A. Korsakov was so captivated by the verisimilitude of the last scenes of the story that he even turned to Pushkin with the question: “... did the maiden Mironov exist and did the late empress really have one?”

If we skip a little of the text of “The Captain’s Daughter” and turn to Marya Ivanovna’s heroic trip to the court of Catherine II, we will see how closely these pages come into contact with the author’s unforgettable youth, with that “place of upbringing” about which a friendly conversation was to take place in the evening of the same day , when the white paper of the novel was completed.

Having arrived in Tsarskoe Selo the day before, “early the next morning Marya Ivanovna woke up, got dressed and quietly went into the garden. The morning was beautiful, the sun illuminated the tops of the linden trees, which had already turned yellow under the fresh breath of autumn. The wide lake shone motionless. The awakened swans swam importantly from under the bushes that shaded the shore. Marya Ivanovna walked near the beautiful meadow, where a monument had just been erected in honor of the recent victories of Count Pyotr Aleksandrovich Rumyantsev...” What a wonderful air of youth, even almost childhood, Pushkin apparently breathed, copying out these lines with his light pen in the fall of 1836 . What a smell of Tsarskoye Selo autumn coolness must have wafted upon him in stuffy St. Petersburg, sparingly measuring out the last breaths of air released to the suffocating poet. Precisely because the memories of Tsarskoe Selo came flooding back to him, he marked the white autograph of the novel on October 19, probably without thinking at all that his descendants would guess his mood from this mark.”

(“The last year of Pushkin’s life.

Correspondence. Memories. Diaries")

– Read excerpts from Pushkin’s poems and try to determine what impressions of the poet’s youth were reflected in the description of the Tsarskoye Selo garden in “The Captain’s Daughter.”

Memories in Tsarskoe Selo

The pall of gloomy night hangs over

On the vault of slumbering heavens;

The valleys and groves rested in silent silence,

In the gray fog there is a distant forest;

You can barely hear a stream running into the shadow of the oak grove,

The breeze barely breathes, asleep on the sheets,

And the quiet moon, like a majestic swan,

Floating in silvery clouds.

Floats - and with pale rays

Objects were illuminated around.

The alleys of ancient linden trees opened before our eyes.

Both the hill and the meadow appeared;

Here, I see, a young willow intertwined with a poplar

And was reflected in the crystal of the shaky waters;

The lily is proud as a queen among the fields

Blooms in luxurious beauty...

In the shade of thick, gloomy pine trees

A simple monument was erected.

Oh, how vilified it is for you, the Cahul coast!

And glory to the homeland! 1 (See Note.)

You are immortal forever, O Russian giants.

Brought up in battles in the midst of harsh weather!

About you, companions, friends of Catherine,

Word will spread from generation to generation...

1814

Tsarskoe Selo

Memory, draw before me

Magical places where my soul lives...

Lead, lead me under the linden canopy,

Always kind to my free laziness,

To the shore of the lake, to the quiet slope of the hills!..

May I see carpets of dense meadows again

And a decrepit bunch of trees, and a bright valley,

And a familiar picture of the lush shores,

And in a quiet lake among the shining swells

A proud village of calm swans.

1823

Memories in Tsarskoe Selo

Confused by memories,

Filled with sweet melancholy.

The gardens are beautiful, under the dusk your sacred

I enter with my head hanging...

In the heat of fleeting delights,

In a barren whirlwind of vanity,

Oh, I have squandered many treasures of my heart

For unattainable dreams.

And for a long time I wandered, and often, tired,

With repentance of grief, anticipating troubles,

I thought about you, blessed limit,

I imagined these gardens.

I imagine a happy day

When the lyceum arose among you,

And I hear our games again, the playful noise

And I see my family of friends again.

Once again a gentle youth, now ardent, now lazy,

Vague dreams melt in my chest,

Wandering through meadows, through silent groves,

So I forget myself.

And I see it before me

Proud traces of days gone by.

Still completed great wife 2 (see note)

Her favorite gardens

They are inhabited by palaces, gates,

Pillars, towers, idols of the gods

And marble glory, and copper praises

Catherine's Eagles.

The ghosts of heroes sit down

At the pillars dedicated to them.

Look: here is a hero, a constrainer of military formations,

Perun on the Kagul shores.

Behold, here is the mighty leader of the midnight flag,

Before whom the fire melted and flew the seas.

Here is his faithful brother, the hero of the Archipelago,

Here's Navarino's Hannibal 3 (see note)...

Expressive reading episode of Masha's meeting with the Empress (pp. 208–209).

Look at the illustrations for the novel (S. Gerasimov “Grinev and Masha Mironova”, 1951 (p. 142), P. Sokolov “The Captain’s Daughter” (p. 210). Describe the portraits of the characters.

Why do you think Masha Mironova and the Empress ended up next to each other on Pushkin’s pages?

V. Summing up the lesson.

The magic of the name: Masha! What does this name bring to mind? Of course, another Masha - Troekurova!

Is the name coincidence? Let's try to compare our favorite heroines. Who is closer to you?

I hope that Pushkin’s “old people” will remain with you forever.

Homework: prepare a performance of Pushkin’s favorite page from “The Captain’s Daughter” and explain your choice; draw up quotation plan for an essay on the topic “Grinev in the Belogorsk Fortress.”

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