slide 1
Nikolai Vasilyevich Gogol
The story "The Overcoat" Lesson - presentation of the teacher of the Russian language and literature of the State Educational Institution School No. 102 of St. Petersburg Porechina E.N.
slide 2
The story "Overcoat"
slide 3
Despite the fact that "The Overcoat" came out almost simultaneously with Gogol's central work " Dead Souls(1842), she did not remain in the shadows. The story made a strong impression on contemporaries. Belinsky, who apparently read The Overcoat while still in manuscript, said that it was "one of Gogol's most profound creations." Known catchphrase: "We all came out of Gogol's "Overcoat"." This phrase was recorded by the French writer Melchior de Vogüe from the words of a Russian writer. Unfortunately, Vogüet did not say who was his interlocutor. Most likely Dostoevsky, but it has been suggested that Turgenev could have said the same. One way or another, the phrase aphoristically accurately characterizes Gogol's influence on Russian literature, which mastered the theme of the "little man", deepening its humanistic pathos.
slide 4
Subject. Issues. Conflict
In "The Overcoat" the theme of the "little man" is raised - one of the constants in Russian literature. Pushkin is the first to touch on this topic. His little people are Samson Vyrin ("The Stationmaster"). Evgeny (" Bronze Horseman"). Like Pushkin, Gogol reveals in the most prosaic character the ability for love, self-denial, selfless defense of his ideal.
slide 5
In the story "The Overcoat" Gogol poses social and moral-philosophical problems. On the one hand, the writer sharply criticizes the society that turns a person into Akaky Akakiyevich, protesting against the world of those who "fought and sharpened enough" over "eternal titular advisers", over those whose salary does not exceed four hundred rubles a year . But on the other hand, Gogol's appeal to all mankind with a passionate appeal to pay attention to the "little people" who live next to us is much more significant. After all, Akaky Akakievich fell ill and died not only and not so much because his overcoat was stolen from him. The reason for his death was the fact that he did not find support and sympathy from people.
slide 6
The conflict of the little man with the world is caused by the fact that his only property is taken away from him. The stationmaster loses his daughter. Eugene - beloved. Akaki Akakievich - overcoat. Gogol intensifies the conflict: for Akaky Akakievich, the thing becomes the goal and meaning of life. However, the author not only lowers, but also elevates his hero.
Slide 7
Akaky Akakievich Bashmachkin
The portrait of Akaky Akakievich is drawn by Gogol as emphatically unfinished, incomplete, illusory; the integrity of Akaky Akakievich must be subsequently restored with the help of an overcoat. The birth of Akaky Akakievich builds a model of the illogical and grandiose-cosmic Gogol's world, where real time and space, but poetic eternity and man in the face of Fate. At the same time, this birth is a mystical mirror of the death of Akaky Akakievich: Gogol's mother, who had just given birth to Akaky Akakievich, is called the "deceased" and "old woman", Akaki Akakievich himself "made such a grimace", as if he had a presentiment that he would be "an eternal titular adviser"; the baptism of Akaky Akakievich, which takes place immediately after birth and at home, and not in the church, is more reminiscent of the funeral of the deceased than the christening of the baby; Akaky Akakiyevich's father also turns out to be, as it were, an eternal dead person (“The father was Akaki, so let the son be Akaki”).
Slide 8
The key to the image of Akaky Akakievich is Gogol's hidden opposition between the "outer" and "inner" man. “External” is a tongue-tied, nondescript, stupid copyist who is not even able to “change verbs from the first person to the third in some places”, slurps his cabbage soup with flies, “not noticing their taste at all”, dutifully endures bullying of officials pouring “on the head papers to him, calling it snow.” The “inner” man seems to say to the incorruptible: “I am your brother.” In the eternal world, Akaky Akakievich is an ascetic ascetic, a “silent man” and a martyr; secluded from temptations and sinful passions, he carries out the mission of personal salvation, as if he bears the sign of being chosen. In the world of letters, Akaky Akakievich finds happiness, pleasure, harmony, here he is completely satisfied with his lot, for he serves God: “Having written to his heart’s content, he went to bed smiling at the thought of tomorrow: will God send something to rewrite tomorrow?”
Slide 9
Slide 10
Petersburg northern frost becomes a diabolical temptation, which Akaky Akakievich is unable to overcome (the old overcoat, mockingly called the bonnet by officials, has leaked). The tailor Petrovich, flatly refusing to renew Akaky Akakievich's old overcoat, acts as a demon-tempter. The brand new overcoat, in which Akaky Akakievich puts on, symbolically means both the gospel “robe of salvation”, “bright clothes”, and the female hypostasis of his personality, making up for his incompleteness: the overcoat is “an eternal idea”, “friend of life”, “bright guest” . The ascetic and recluse Akakiy Akakievich is seized by love ardor and sinful fever. However, the overcoat turns out to be a lover for one night, forcing Akaky Akakievich to commit a series of irreparable fatal mistakes, pushing him out of a blissful state of closed happiness into an anxious external world, in the circle of officials and night streets. Akaky Akakievich, thus, betrays the "inner" person in himself, preferring the "outer", vain, subject to human passions and vicious inclinations.
slide 11
Work with text
slide 12
The pernicious thought of a warm overcoat and its acquisition dramatically change the whole way of life and character of Akaky Akakievich. He almost makes mistakes while rewriting. Breaking his habits, he agrees to go to a party with an official. In Akaky Akakievich, moreover, a womanizer wakes up, rushing in pursuit of a lady, "whose every part of her body was full of unusual movement." Akaki Akakievich drinks champagne, overeats "vinaigrette, cold veal, pate, pastry pies." He even betrays his beloved work, and retribution for betraying his career was not slow to overtake him: the robbers "removed his overcoat, gave him a kick with his knee, and he fell backwards in the snow and did not feel anything anymore." Akaki Akakievich loses all his quiet meekness, commits acts unusual for his character, he demands understanding and help from the world, actively advances, achieves his goal.
slide 13
Slide 14
On the advice of officials, Akaki Akakievich goes to the "significant person." The clash with the general occurs just when Akaky Akakievich ceases to be an "inner" person. Immediately after the threatening cry of the "significant person" Akaky Akakievich was "carried out almost without movement." Departing from life, Bashmachkin rebels: he "badly slandered, uttering terrible words" that followed "directly after the word" Your Excellency "". After the death, Akaky Akakievich changes places with the "significant person" and, in turn, carries out the Last Judgment, where there is no place for ranks and ranks, and the general and titular adviser are equally accountable to the Supreme Judge. Akaky Akakievich appears at night as an ominous dead ghost "in the form of an official looking for some kind of dragged overcoat." The ghost of Akaky Akakievich calmed down and disappeared only when a “significant person” came under his arm, justice seemed to have triumphed, Akaki Akakievich seemed to carry out God’s terrible punishment, put on a general’s overcoat.
slide 15
The fantastic finale of the work is a utopian realization of the idea of justice. Instead of the submissive Akaky Akakievich, a formidable avenger appears, instead of a formidable "significant person" - a face that has become kinder and softened. But in fact, this ending is disappointing: there is a feeling that the world has been abandoned by God. The immortal soul is seized with a thirst for vengeance and is forced to create this vengeance itself.
slide 16
P.S. Famous small man Bashmachkin remained, in general, a mystery to the reader. The only thing known about him is that he is small. Not kind, not smart, not noble, Bashmachkin is just a representative of humanity. The most ordinary representative, a biological individual. And you can love and pity him only because he is also a man, “your brother,” as the author teaches. This "too" contained a discovery that Gogol's ardent admirers and followers often misinterpreted. They decided that Bashmachkin was good. That you need to love him because he is a victim. That in it you can discover a lot of virtues that Gogol forgot or did not have time to invest in Bashmachkin. But Gogol himself was not sure that the little man was an unconditionally positive hero. Therefore, he was not satisfied with the "Overcoat", but took up Chichikov ...
Slide 17
Questions and tasks for the story "The Overcoat" (1) 1. Prove that the narration in the story is on behalf of the narrator, who does not coincide with the author. What is the meaning of the change in the narrator's attitude towards Akaky Akakievich throughout the story? 2. Support with examples the idea that the protagonist the story is deprived of "face" from birth (name, surname, portrait, age, speech, etc.). 3. Prove that the image of Akaky Akakievich "lives" in two dimensions: in impersonal reality and in the infinite and eternal Universe. Why is it the hero's attempt to find his "face" that leads him to death?
Slide 18
Test 1. "A crooked eye and ripples all over the face" - this is about whom: a) about Akaky Akakievich; b) about Petrovich; c) about a "significant person". 2. The name Akaki Akakievich received: a) according to the holy calendar; b) the godfather insisted; c) mother gave. 3. The name of the "significant person": a) Grigory Petrovich; b) Ivan Ivanovich Eroshkin; c) either Ivan Abramovich or Stepan Varlamovich.
Slide 20
7. The story "The Overcoat": a) fantastic; b) lifelike; c) romantic. 8. Akaky Akakievich: a) synonymous with Pushkin's "little man"; b) it is a different species; c) it cannot be attributed to small people. 9. The main conclusion of the author: a) the "little man" is worthy of respect; b) he is the product of an inhuman state; c) he himself is to blame for his “smallness”.
slide 21
Questions and assignments for the story "The Overcoat" (2) 1. Once Gogol was told a story that one official passionately wanted to have a gun. With extraordinary savings and hard work, he saved up a considerable amount of 200 rubles for those times. That is how much the Lepage gun cost (Lepage was the most skilled gunsmith of that time), the envy of every hunter. The gun, carefully placed on the bow of the boat, disappeared. Obviously, he was pulled into the water by thick reeds, through which he had to swim. The search was in vain. The gun, from which not a single shot was fired, is forever buried at the bottom of the Gulf of Finland. The official fell ill with a fever (a detail preserved in the story). Colleagues took pity on him and pooled together bought him a new gun. Why did Gogol replace the gun with an overcoat and rethink the ending of the story? 2. Why does the author describe in such detail how the money for the overcoat was collected, how the cloth, lining, collar were bought, how it was sewn? 3. Tell us about the tailor Petrovich and the place of this character in the story. 4. How does the hero change, carried away by the dream of an overcoat? 5. How does Gogol feel about his hero, and when does this attitude begin to change? 6. Is Bashmachkin funny or pathetic? (Justify with quotes from the work.)
slide 22
Pick up quotes from the story "The Overcoat"
slide 1
Nikolai Vasilyevich Gogol
The story "Overcoat"
slide 2
Nikolai Vasilyevich Gogol
The story "Overcoat"
slide 3
Despite the fact that The Overcoat came out almost simultaneously with Gogol's central work Dead Souls (1842), it did not remain in the shadows. The story made a strong impression on contemporaries. Belinsky, who apparently read The Overcoat while still in manuscript, said that it was "one of Gogol's most profound creations." The catchphrase is known: "We all came out of Gogol's "Overcoat"". This phrase was recorded by the French writer Melchior de Vogüe from the words of a Russian writer. Unfortunately, Vogüet did not say who was his interlocutor. Most likely Dostoevsky, but it has been suggested that Turgenev could have said the same. One way or another, the phrase aphoristically accurately characterizes Gogol's influence on Russian literature, which mastered the theme of the "little man", deepening its humanistic pathos.
slide 4
Subject. Issues. Conflict
In "The Overcoat" the theme of the "little man" is raised - one of the constants in Russian literature. Pushkin is the first to touch on this topic. His little people are Samson Vyrin ("The Stationmaster"). Eugene ("The Bronze Horseman"). Like Pushkin, Gogol reveals in the most prosaic character the ability for love, self-denial, selfless defense of his ideal.
slide 5
In the story "The Overcoat" Gogol poses social and moral-philosophical problems. On the one hand, the writer sharply criticizes the society that turns a person into Akaky Akakiyevich, protesting against the world of those who "fought and sharpened enough" over "eternal titular advisers", over those whose salary does not exceed four hundred rubles a year . But on the other hand, Gogol's appeal to all mankind with a passionate appeal to pay attention to the "little people" who live next to us is much more significant. After all, Akaky Akakievich fell ill and died not only and not so much because his overcoat was stolen from him. The reason for his death was the fact that he did not find support and sympathy from people.
slide 6
The conflict of the little man with the world is caused by the fact that his only property is taken away from him. The stationmaster loses his daughter. Eugene - beloved. Akaki Akakievich - overcoat. Gogol intensifies the conflict: for Akaky Akakievich, the thing becomes the goal and meaning of life. However, the author not only lowers, but also elevates his hero.
Slide 7
Akaky Akakievich Bashmachkin
The portrait of Akaky Akakievich is drawn by Gogol as emphatically unfinished, incomplete, illusory; the integrity of Akaky Akakievich must be subsequently restored with the help of an overcoat. The birth of Akaky Akakievich builds a model of an illogical and grandiose-cosmic Gogol's world, where not real time and space, but poetic eternity and man in the face of Fate, operate. At the same time, this birth is a mystical mirror of the death of Akaky Akakievich: Gogol's mother, who had just given birth to Akaky Akakievich, is called the "deceased" and "old woman", Akaki Akakievich himself "made such a grimace", as if he had a presentiment that he would be "an eternal titular adviser"; the baptism of Akaky Akakievich, which takes place immediately after birth and at home, and not in the church, is more reminiscent of the funeral of the deceased than the christening of the baby; Akaky Akakiyevich's father also turns out to be, as it were, an eternal dead person (“The father was Akaki, so let the son be Akaki”).
Slide 8
The key to the image of Akaky Akakievich is Gogol's hidden opposition between the "outer" and "inner" man. “External” is a tongue-tied, nondescript, stupid copyist who is not even able to “change verbs from the first person to the third in some places”, slurps his cabbage soup with flies, “not noticing their taste at all”, dutifully endures bullying of officials pouring “on the head papers to him, calling it snow.” The “inner” man seems to say to the incorruptible: “I am your brother.” In the eternal world, Akaky Akakievich is an ascetic ascetic, a “silent man” and a martyr; secluded from temptations and sinful passions, he carries out the mission of personal salvation, as if he bears the sign of being chosen. In the world of letters, Akaky Akakievich finds happiness, pleasure, harmony, here he is completely satisfied with his lot, for he serves God: “Having written to his heart’s content, he went to bed smiling at the thought of tomorrow: will God send something to rewrite tomorrow?”
Slide 9
Akaky Akakievich Bashmachkin
Slide 10
Petersburg northern frost becomes a diabolical temptation, which Akaky Akakievich is unable to overcome (the old overcoat, mockingly called the bonnet by officials, has leaked). The tailor Petrovich, flatly refusing to renew Akaky Akakievich's old overcoat, acts as a demon-tempter. The brand new overcoat, in which Akaky Akakievich puts on, symbolically means both the gospel “robe of salvation”, “bright clothes”, and the female hypostasis of his personality, making up for his incompleteness: the overcoat is “an eternal idea”, “friend of life”, “bright guest” . The ascetic and recluse Akakiy Akakievich is seized by love ardor and sinful fever. However, the overcoat turns out to be a lover for one night, forcing Akaky Akakievich to make a number of irreparable fatal mistakes, pushing him out of the blissful state of closed happiness into the disturbing outside world, into the circle of officials and the night street. Akaky Akakievich, thus, betrays the "inner" person in himself, preferring the "outer", vain, subject to human passions and vicious inclinations.
slide 11
Work with text
slide 12
The pernicious thought of a warm overcoat and its acquisition dramatically change the whole way of life and character of Akaky Akakievich. He almost makes mistakes while rewriting. Breaking his habits, he agrees to go to a party with an official. In Akaky Akakievich, moreover, a womanizer wakes up, rushing in pursuit of a lady, "whose every part of her body was full of unusual movement." Akaki Akakievich drinks champagne, overeats "vinaigrette, cold veal, pate, pastry pies." He even betrays his beloved work, and retribution for betraying his career was not slow to overtake him: the robbers "removed his overcoat, gave him a kick with his knee, and he fell backwards in the snow and did not feel anything anymore." Akaki Akakievich loses all his quiet meekness, commits acts unusual for his character, he demands understanding and help from the world, actively advances, achieves his goal.
slide 13
Work with text
Slide 14
On the advice of officials, Akaki Akakievich goes to the "significant person." The clash with the general occurs just when Akaky Akakievich ceases to be an "inner" person. Immediately after the threatening cry of the "significant person" Akaky Akakievich was "carried out almost without movement." Departing from life, Bashmachkin rebels: he "badly slandered, uttering terrible words" that followed "directly after the word" Your Excellency "". After the death, Akaky Akakievich changes places with the "significant person" and, in turn, carries out the Last Judgment, where there is no place for ranks and ranks, and the general and titular adviser are equally accountable to the Supreme Judge. Akaky Akakievich appears at night as an ominous dead ghost "in the form of an official looking for some kind of dragged overcoat." The ghost of Akaky Akakievich calmed down and disappeared only when a “significant person” came under his arm, justice seemed to have triumphed, Akaki Akakievich seemed to carry out God’s terrible punishment, put on a general’s overcoat.
slide 15
The fantastic finale of the work is a utopian realization of the idea of justice. Instead of the submissive Akaky Akakievich, a formidable avenger appears, instead of a formidable "significant person" - a face that has become kinder and softened. But in fact, this ending is disappointing: there is a feeling that the world has been abandoned by God. The immortal soul is seized with a thirst for vengeance and is forced to create this vengeance itself.
slide 16
P.S. The famous little man Bashmachkin remained, in general, a mystery to the reader. The only thing known about him is that he is small. Not kind, not smart, not noble, Bashmachkin is just a representative of humanity. The most ordinary representative, a biological individual. And you can love and pity him only because he is also a man, “your brother,” as the author teaches. This "too" contained a discovery that Gogol's ardent admirers and followers often misinterpreted. They decided that Bashmachkin was good. That you need to love him because he is a victim. That in it you can discover a lot of virtues that Gogol forgot or did not have time to invest in Bashmachkin. But Gogol himself was not sure that the little man was an unconditionally positive hero. Therefore, he was not satisfied with the "Overcoat", but took up Chichikov ...
slide 1
Nikolai Vasilyevich Gogol
The story "The Overcoat" Lesson - presentation of the teacher of the Russian language and literature of the State Educational Institution School No. 102 of St. Petersburg Porechina E.N.
slide 2
The story "Overcoat"
slide 3
Despite the fact that The Overcoat came out almost simultaneously with Gogol's central work Dead Souls (1842), it did not remain in the shadows. The story made a strong impression on contemporaries. Belinsky, who apparently read The Overcoat while still in manuscript, said that it was "one of Gogol's most profound creations." The catchphrase is known: "We all came out of Gogol's "Overcoat"". This phrase was recorded by the French writer Melchior de Vogüe from the words of a Russian writer. Unfortunately, Vogüet did not say who was his interlocutor. Most likely Dostoevsky, but it has been suggested that Turgenev could have said the same. One way or another, the phrase aphoristically accurately characterizes Gogol's influence on Russian literature, which mastered the theme of the "little man", deepening its humanistic pathos.
slide 4
Subject. Issues. Conflict
In "The Overcoat" the theme of the "little man" is raised - one of the constants in Russian literature. Pushkin is the first to touch on this topic. His little people are Samson Vyrin ("The Stationmaster"). Eugene ("The Bronze Horseman"). Like Pushkin, Gogol reveals in the most prosaic character the ability for love, self-denial, selfless defense of his ideal.
slide 5
In the story "The Overcoat" Gogol poses social and moral-philosophical problems. On the one hand, the writer sharply criticizes the society that turns a person into Akaky Akakiyevich, protesting against the world of those who "fought and sharpened enough" over "eternal titular advisers", over those whose salary does not exceed four hundred rubles a year . But on the other hand, Gogol's appeal to all mankind with a passionate appeal to pay attention to the "little people" who live next to us is much more significant. After all, Akaky Akakievich fell ill and died not only and not so much because his overcoat was stolen from him. The reason for his death was the fact that he did not find support and sympathy from people.
slide 6
The conflict of the little man with the world is caused by the fact that his only property is taken away from him. The stationmaster loses his daughter. Eugene - beloved. Akaki Akakievich - overcoat. Gogol intensifies the conflict: for Akaky Akakievich, the thing becomes the goal and meaning of life. However, the author not only lowers, but also elevates his hero.
Slide 7
Akaky Akakievich Bashmachkin
The portrait of Akaky Akakievich is drawn by Gogol as emphatically unfinished, incomplete, illusory; the integrity of Akaky Akakievich must be subsequently restored with the help of an overcoat. The birth of Akaky Akakievich builds a model of an illogical and grandiose-cosmic Gogol's world, where not real time and space, but poetic eternity and man in the face of Fate, operate. At the same time, this birth is a mystical mirror of the death of Akaky Akakievich: Gogol's mother, who had just given birth to Akaky Akakievich, is called the "deceased" and "old woman", Akaki Akakievich himself "made such a grimace", as if he had a presentiment that he would be "an eternal titular adviser"; the baptism of Akaky Akakievich, which takes place immediately after birth and at home, and not in the church, is more reminiscent of the funeral of the deceased than the christening of the baby; Akaky Akakiyevich's father also turns out to be, as it were, an eternal dead person (“The father was Akaki, so let the son be Akaki”).
Slide 8
The key to the image of Akaky Akakievich is Gogol's hidden opposition between the "outer" and "inner" man. “External” is a tongue-tied, nondescript, stupid copyist who is not even able to “change verbs from the first person to the third in some places”, slurps his cabbage soup with flies, “not noticing their taste at all”, dutifully endures bullying of officials pouring “on the head papers to him, calling it snow.” The “inner” man seems to say to the incorruptible: “I am your brother.” In the eternal world, Akaky Akakievich is an ascetic ascetic, a “silent man” and a martyr; secluded from temptations and sinful passions, he carries out the mission of personal salvation, as if he bears the sign of being chosen. In the world of letters, Akaky Akakievich finds happiness, pleasure, harmony, here he is completely satisfied with his lot, for he serves God: “Having written to his heart’s content, he went to bed smiling at the thought of tomorrow: will God send something to rewrite tomorrow?”
Slide 9
Slide 10
Petersburg northern frost becomes a diabolical temptation, which Akaky Akakievich is unable to overcome (the old overcoat, mockingly called the bonnet by officials, has leaked). The tailor Petrovich, flatly refusing to renew Akaky Akakievich's old overcoat, acts as a demon-tempter. The brand new overcoat, in which Akaky Akakievich puts on, symbolically means both the gospel “robe of salvation”, “bright clothes”, and the female hypostasis of his personality, making up for his incompleteness: the overcoat is “an eternal idea”, “friend of life”, “bright guest” . The ascetic and recluse Akakiy Akakievich is seized by love ardor and sinful fever. However, the overcoat turns out to be a lover for one night, forcing Akaky Akakievich to make a number of irreparable fatal mistakes, pushing him out of the blissful state of closed happiness into the disturbing outside world, into the circle of officials and the night street. Akaky Akakievich, thus, betrays the "inner" person in himself, preferring the "outer", vain, subject to human passions and vicious inclinations.
slide 11
Work with text
slide 12
The pernicious thought of a warm overcoat and its acquisition dramatically change the whole way of life and character of Akaky Akakievich. He almost makes mistakes while rewriting. Breaking his habits, he agrees to go to a party with an official. In Akaky Akakievich, moreover, a womanizer wakes up, rushing in pursuit of a lady, "whose every part of her body was full of unusual movement." Akaki Akakievich drinks champagne, overeats "vinaigrette, cold veal, pate, pastry pies." He even betrays his beloved work, and retribution for betraying his career was not slow to overtake him: the robbers "removed his overcoat, gave him a kick with his knee, and he fell backwards in the snow and did not feel anything anymore." Akaki Akakievich loses all his quiet meekness, commits acts unusual for his character, he demands understanding and help from the world, actively advances, achieves his goal.
slide 13
Slide 14
On the advice of officials, Akaki Akakievich goes to the "significant person." The clash with the general occurs just when Akaky Akakievich ceases to be an "inner" person. Immediately after the threatening cry of the "significant person" Akaky Akakievich was "carried out almost without movement." Departing from life, Bashmachkin rebels: he "badly slandered, uttering terrible words" that followed "directly after the word" Your Excellency "". After the death, Akaky Akakievich changes places with the "significant person" and, in turn, carries out the Last Judgment, where there is no place for ranks and ranks, and the general and titular adviser are equally accountable to the Supreme Judge. Akaky Akakievich appears at night as an ominous dead ghost "in the form of an official looking for some kind of dragged overcoat." The ghost of Akaky Akakievich calmed down and disappeared only when a “significant person” came under his arm, justice seemed to have triumphed, Akaki Akakievich seemed to carry out God’s terrible punishment, put on a general’s overcoat.
slide 15
The fantastic finale of the work is a utopian realization of the idea of justice. Instead of the submissive Akaky Akakievich, a formidable avenger appears, instead of a formidable "significant person" - a face that has become kinder and softened. But in fact, this ending is disappointing: there is a feeling that the world has been abandoned by God. The immortal soul is seized with a thirst for vengeance and is forced to create this vengeance itself.
slide 16
P.S. The famous little man Bashmachkin remained, in general, a mystery to the reader. The only thing known about him is that he is small. Not kind, not smart, not noble, Bashmachkin is just a representative of humanity. The most ordinary representative, a biological individual. And you can love and pity him only because he is also a man, “your brother,” as the author teaches. This "too" contained a discovery that Gogol's ardent admirers and followers often misinterpreted. They decided that Bashmachkin was good. That you need to love him because he is a victim. That in it you can discover a lot of virtues that Gogol forgot or did not have time to invest in Bashmachkin. But Gogol himself was not sure that the little man was an unconditionally positive hero. Therefore, he was not satisfied with the "Overcoat", but took up Chichikov ...
Slide 17
Questions and tasks for the story "The Overcoat" (1) 1. Prove that the narration in the story is on behalf of the narrator, who does not coincide with the author. What is the meaning of the change in the narrator's attitude towards Akaky Akakievich throughout the story? 2. Confirm with examples the idea that the main character of the story is deprived of a "face" from birth (name, surname, portrait, age, speech, etc.). 3. Prove that the image of Akaky Akakievich "lives" in two dimensions: in impersonal reality and in the infinite and eternal Universe. Why is it the hero's attempt to find his "face" that leads him to death?
Slide 18
Test 1. "A crooked eye and ripples all over the face" - this is about whom: a) about Akaky Akakievich; b) about Petrovich; c) about a "significant person". 2. The name Akaki Akakievich received: a) according to the holy calendar; b) the godfather insisted; c) mother gave. 3. The name of the "significant person": a) Grigory Petrovich; b) Ivan Ivanovich Eroshkin; c) either Ivan Abramovich or Stepan Varlamovich.
Slide 20
7. The story "The Overcoat": a) fantastic; b) lifelike; c) romantic. 8. Akaky Akakievich: a) synonymous with Pushkin's "little man"; b) it is a different species; c) it cannot be attributed to small people. 9. The main conclusion of the author: a) the "little man" is worthy of respect; b) he is the product of an inhuman state; c) he himself is to blame for his “smallness”.
slide 21
Questions and assignments for the story "The Overcoat" (2) 1. Once Gogol was told a story that one official passionately wanted to have a gun. With extraordinary savings and hard work, he saved up a considerable amount of 200 rubles for those times. That is how much the Lepage gun cost (Lepage was the most skilled gunsmith of that time), the envy of every hunter. The gun, carefully placed on the bow of the boat, disappeared. Obviously, he was pulled into the water by thick reeds, through which he had to swim. The search was in vain. The gun, from which not a single shot was fired, is forever buried at the bottom of the Gulf of Finland. The official fell ill with a fever (a detail preserved in the story). Colleagues took pity on him and pooled together bought him a new gun. Why did Gogol replace the gun with an overcoat and rethink the ending of the story? 2. Why does the author describe in such detail how the money for the overcoat was collected, how the cloth, lining, collar were bought, how it was sewn? 3. Tell us about the tailor Petrovich and the place of this character in the story. 4. How does the hero change, carried away by the dream of an overcoat? 5. How does Gogol feel about his hero, and when does this attitude begin to change? 6. Is Bashmachkin funny or pathetic? (Justify with quotes from the work.)
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Pick up quotes from the story "The Overcoat"
Nikolai Vasilyevich Gogol The story "The Overcoat"
Despite the fact that The Overcoat came out almost simultaneously with Gogol's central work Dead Souls (1842), it did not remain in the shadows. The story made a strong impression on contemporaries. Belinsky, who apparently read The Overcoat while still in manuscript, said that it was "one of Gogol's most profound creations." The catchphrase is known: "We all came out of Gogol's "Overcoat"". This phrase was recorded by the French writer Melchior de Vogüe from the words of a Russian writer. Unfortunately, Vogüet did not say who was his interlocutor. Most likely Dostoevsky, but it has been suggested that Turgenev could have said the same. One way or another, the phrase aphoristically accurately characterizes Gogol's influence on Russian literature, which mastered the theme of the "little man", deepening its humanistic pathos.
Subject. Issues. Conflict In "The Overcoat" the theme of the "little man" is raised - one of the constants in Russian literature. Pushkin is the first to touch on this topic. His little people are Samson Vyrin ("The Stationmaster"). Eugene ("The Bronze Horseman"). Like Pushkin, Gogol reveals in the most prosaic character the ability for love, self-denial, selfless defense of his ideal.
In the story "The Overcoat" Gogol poses social and moral-philosophical problems. On the one hand, the writer sharply criticizes the society that turns a person into Akaky Akakiyevich, protesting against the world of those who “fought and sharpened enough” over “eternal titular advisers”, over those whose salary does not exceed four hundred rubles a year . But on the other hand, Gogol's appeal to all mankind with a passionate appeal to pay attention to the "little people" who live next to us is much more significant. After all, Akaky Akakievich fell ill and died not only and not so much because his overcoat was stolen from him. The reason for his death was the fact that he did not find support and sympathy from people.
The conflict of the little man with the world is caused by the fact that his only property is taken away from him. The stationmaster loses his daughter. Eugene - beloved. Akaki Akakievich - overcoat. Gogol intensifies the conflict: for Akaky Akakievich, the thing becomes the goal and meaning of life. However, the author not only lowers, but also elevates his hero.
Akaky Akakievich Bashmachkin The portrait of Akaky Akakievich is drawn by Gogol as emphatically unfinished, incomplete, illusory; the integrity of Akaky Akakievich must be subsequently restored with the help of an overcoat. The birth of Akaky Akakievich builds a model of an illogical and grandiose-cosmic Gogol's world, where not real time and space, but poetic eternity and man in the face of Fate, operate. At the same time, this birth is a mystical mirror of the death of Akaky Akakievich: Gogol's mother, who had just given birth to Akaky Akakievich, is called the "deceased" and "old woman", Akaki Akakievich himself "made such a grimace", as if he had a presentiment that he would be "an eternal titular adviser"; the baptism of Akaky Akakievich, which takes place immediately after birth and at home, and not in the church, is more reminiscent of the funeral of the deceased than the christening of the baby; Akaky Akakiyevich's father also turns out to be, as it were, an eternal dead person (“The father was Akaki, so let the son be Akaki”).
The key to the image of Akaky Akakievich is Gogol's hidden opposition between the "outer" and "inner" man. “External” is a tongue-tied, nondescript, stupid copyist who is not even able to “change verbs from the first person to the third in some places”, slurps his cabbage soup with flies, “not noticing their taste at all”, dutifully endures bullying of officials pouring “on the head papers to him, calling it snow.” The “inner” man seems to say to the incorruptible: “I am your brother.” In the eternal world, Akaky Akakievich is an ascetic ascetic, a “silent man” and a martyr; secluded from temptations and sinful passions, he carries out the mission of personal salvation, as if he bears the sign of being chosen. In the world of letters, Akaky Akakievich finds happiness, pleasure, harmony, here he is completely satisfied with his lot, for he serves God: “Having written to his heart’s content, he went to bed smiling at the thought of tomorrow: will God send something to rewrite tomorrow?”
Akaky Akakievich Bashmachkin
Petersburg northern frost becomes a diabolical temptation, which Akaky Akakievich is unable to overcome (the old overcoat, mockingly called the bonnet by officials, has leaked). The tailor Petrovich, flatly refusing to renew Akaky Akakievich's old overcoat, acts as a demon-tempter. The brand new overcoat, in which Akaky Akakievich puts on, symbolically means both the gospel “robe of salvation”, “bright clothes”, and the female hypostasis of his personality, making up for his incompleteness: the overcoat is “an eternal idea”, “friend of life”, “bright guest” . The ascetic and recluse Akakiy Akakievich is seized by love ardor and sinful fever. However, the overcoat turns out to be a lover for one night, forcing Akaky Akakievich to make a number of irreparable fatal mistakes, pushing him out of the blissful state of closed happiness into the disturbing outside world, into the circle of officials and the night street. Akaky Akakievich, thus, betrays the "inner" person in himself, preferring the "outer", vain, subject to human passions and vicious inclinations.
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The pernicious thought of a warm overcoat and its acquisition dramatically change the whole way of life and character of Akaky Akakievich. He almost makes mistakes while rewriting. Breaking his habits, he agrees to go to a party with an official. In Akaky Akakievich, moreover, a womanizer wakes up, rushing in pursuit of a lady, "whose every part of her body was full of unusual movement." Akaki Akakievich drinks champagne, overeats "vinaigrette, cold veal, pate, pastry pies." He even betrays his beloved work, and retribution for betraying his career was not slow to overtake him: the robbers "removed his overcoat, gave him a kick with his knee, and he fell backwards in the snow and did not feel anything anymore." Akaki Akakievich loses all his quiet meekness, commits acts unusual for his character, he demands understanding and help from the world, actively advances, achieves his goal.
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On the advice of officials, Akaki Akakievich goes to the "significant person." The clash with the general occurs just when Akaky Akakievich ceases to be an "inner" person. Immediately after the threatening cry of the "significant person" Akaky Akakievich was "carried out almost without movement." Departing from life, Bashmachkin rebels: he "badly slandered, uttering terrible words" that followed "directly after the word" Your Excellency "". After the death, Akaky Akakievich changes places with the "significant person" and, in turn, carries out the Last Judgment, where there is no place for ranks and ranks, and the general and titular adviser are equally accountable to the Supreme Judge. Akaky Akakievich appears at night as an ominous dead ghost "in the form of an official looking for some kind of dragged overcoat." The ghost of Akaky Akakievich calmed down and disappeared only when a “significant person” came under his arm, justice seemed to have triumphed, Akaki Akakievich seemed to carry out God’s terrible punishment, put on a general’s overcoat.
The fantastic finale of the work is a utopian realization of the idea of justice. Instead of the submissive Akaky Akakievich, a formidable avenger appears, instead of a formidable "significant person" - a face that has become kinder and softened. But in fact, this ending is disappointing: there is a feeling that the world has been abandoned by God. The immortal soul is seized with a thirst for vengeance and is forced to create this vengeance itself.
P.S. The famous little man Bashmachkin remained, in general, a mystery to the reader. The only thing known about him is that he is small. Not kind, not smart, not noble, Bashmachkin is just a representative of humanity. The most ordinary representative, a biological individual. And you can love and pity him only because he is also a man, “your brother,” as the author teaches. This "too" contained a discovery that Gogol's ardent admirers and followers often misinterpreted. They decided that Bashmachkin was good. That you need to love him because he is a victim. That in it you can discover a lot of virtues that Gogol forgot or did not have time to invest in Bashmachkin. But Gogol himself was not sure that the little man was an unconditionally positive hero. Therefore, he was not satisfied with the "Overcoat", but took up Chichikov ...
Questions and tasks for the story "The Overcoat" (1) 1. Prove that the narration in the story is on behalf of the narrator, who does not coincide with the author. What is the meaning of the change in the narrator's attitude towards Akaky Akakievich throughout the story? 2. Confirm with examples the idea that the main character of the story is deprived of a "face" from birth (name, surname, portrait, age, speech, etc.). 3. Prove that the image of Akaky Akakievich "lives" in two dimensions: in impersonal reality and in the infinite and eternal Universe. Why is it the hero's attempt to find his "face" that leads him to death?
Test 1. "A crooked eye and ripples all over the face" - this is about whom: a) about Akaky Akakievich; b) about Petrovich; c) about a "significant person". 2. The name Akaki Akakievich received: a) according to the holy calendar; b) the godfather insisted; c) mother gave. 3. The name of the "significant person": a) Grigory Petrovich; b) Ivan Ivanovich Eroshkin; c) either Ivan Abramovich or Stepan Varlamovich.
4. Akaki Akakievich: a) positive hero; b) villain; c) contradictory character. 5. Landscape: a) plays important role; b) does not play a special role; c) he is not here. 6. Overcoat: a) artistic detail; b) a symbol; c) an image.
7. The story "The Overcoat": a) fantastic; b) lifelike; c) romantic. 8. Akaky Akakievich: a) synonymous with Pushkin's "little man"; b) it is a different species; c) it cannot be attributed to small people. 9. The main conclusion of the author: a) the "little man" is worthy of respect; b) he is the product of an inhuman state; c) he himself is to blame for his “smallness”.
Questions and assignments for the story "The Overcoat" (2) 1. Once Gogol was told a story that one official passionately wanted to have a gun. With extraordinary savings and hard work, he saved up a considerable amount of 200 rubles for those times. That is how much the Lepage gun cost (Lepage was the most skilled gunsmith of that time), the envy of every hunter. The gun, carefully placed on the bow of the boat, disappeared. Obviously, he was pulled into the water by thick reeds, through which he had to swim. The search was in vain. The gun, from which not a single shot was fired, is forever buried at the bottom of the Gulf of Finland. The official fell ill with a fever (a detail preserved in the story). Colleagues took pity on him and pooled together bought him a new gun. Why did Gogol replace the gun with an overcoat and rethink the ending of the story? 2. Why does the author describe in such detail how the money for the overcoat was collected, how the cloth, lining, collar were bought, how it was sewn? 3. Tell us about the tailor Petrovich and the place of this character in the story. 4. How does the hero change, carried away by the dream of an overcoat? 5. How does Gogol feel about his hero, and when does this attitude begin to change? 6. Is Bashmachkin funny or pathetic? (Justify with quotes from the work.)
1 2 Pick up quotes from the story "The Overcoat"
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Target:
Show the tragedy of the fate of the "little man" on the example of the image of Bashmachkin; reveal author's position and his own to this problem.
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“the most mysterious figure in Russian literature”
“If you want to know something about Russia, if you are eager to understand why the chilled Germans lost their blitz (war with the USSR), if you are interested in “ideas”, “facts”, “trends”, do not touch Gogol. Hard labor in learning the Russian language, necessary in order to read it, will not be paid for with the usual coin. Don't touch him, don't touch him. He has nothing to tell you. Don't go near the rails. There's high voltage." V. Nabokov
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Epigraph
The whole world is against me: How great I am! ... M.Yu. Lermontov "We all came out of Gogol's "Overcoat"" F.M. Dostoevsky
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Why depict poverty ... and the imperfections of our life, digging people out of life, from the remote corners of the state? ... no, there is a time when otherwise it is impossible to aspire society and even a generation to the beautiful, until you show the full depth of its real abomination to N.V. Gogol
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"ON THE WAY TO A LIVING SOUL".
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Parable about a man
On a hot summer day, the ancient Athenians saw Demosthenes in the square with a burning lantern in his hands. “What are you looking for?” they asked. “I am looking for a man,” Demosthenes answered, and continued on his way. After a while, the Athenians again turned to Demosthenes: - So what are you looking for, Demosthenes? -I'm looking for a person... -Whom: him, me..? - I'm looking for Che-lo-ve-ka!
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So what does it mean to be human? How is a person different from a thing? Nikolai Vasilyevich Gogol and his story "The Overcoat" will help us answer these and other questions.
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As through the story "The Overcoat" the writer was looking for a way to the living soul.
Can a soul be dead? No, the soul is immortal. - Well, if it is “dead”, then it is closed to light, love, goodness. Such "stillborn" characters inhabit Gogol's poem. The writer did not find a counterweight to them in life, and therefore burned the second volume of Dead Souls. The realization of this drove Gogol to madness. The thought of a person whose soul was breathed into by God, and whose fate is often determined by the devil, apparently did not leave Gogol. This topic, in fact, is devoted to "Petersburg Tales".
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"Petersburg Tales"
a new step in the development of Russian realism. This cycle includes the stories: “Nevsky Prospekt”, “The Nose”, “Portrait”, “Carriage”, “Notes of a Madman” and “Overcoat”. The writer works on the cycle between 1835 and 1842. The stories are united according to the common place of events - Petersburg. Petersburg, however, is not only a scene of action, but also a kind of hero of these stories, in which Gogol draws life in its various manifestations. Usually writers, talking about life in St. Petersburg, covered the life and characters of the nobility, the top of the capital's society. Gogol was attracted by petty officials, craftsmen (the tailor Petrovich), impoverished artists, “little people”, unsettled by life. Instead of palaces and rich houses, the reader in Gogol's stories sees city shacks in which the poor huddle.
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"small man"
This is a humiliated, defenseless, lonely, disenfranchised, forgotten (and, by all, and, if I may say so, fate), pitiful person. - in literary encyclopedic dictionary we find the following definition: “little man” in literature is a designation for rather heterogeneous heroes, united by the fact that they occupy one of the lowest places in the social hierarchy and that this circumstance determines their psychology and social behavior (humiliation, combined with a sense of injustice, wounded by pride ".
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The theme of human suffering, predetermined by the way of life; the theme of the "little man".
N. M. Karamzin Poor Lisa”- in the center of the story is a simple, uneducated peasant girl; we are inspired with the idea that “peasant women know how to love!”. A. S. Pushkin “The Stationmaster” - a poor official of the fourteenth grade Samson Vyrin has no rights in life, and even the only meaning of his existence - his beloved daughter - is taken away from him powers of the world this. A. S. Pushkin “The Bronze Horseman” - the main character is the unfortunate, destitute Eugene, in whom poverty destroyed both character and mind, made thoughts and dreams insignificant. All these works are full of love and sympathy of the authors for their heroes. Gogol develops the traditions of the great Russian writers in the depiction of the “little man”).
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The plot of the story N.V. Gogol's "Overcoat".
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What is the main theme of the story "The Overcoat"?
The theme of human suffering, predetermined by the way of life; the theme of the "little man".
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And the hero is of a small rank, “short in stature, somewhat pockmarked, somewhat reddish, even somewhat blind-sighted, with a small bald spot on his forehead.”
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How is the typical character and situation emphasized?
“... served in one department”, “... when and at what time he entered the department ... no one could remember this”, “one official ...” - all these phrases show not the exclusivity, unusualness of the situation and the hero, but their typicality. Akaky Akakievich is one of many; there were thousands like him - useless officials.
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What is the personality before us? Describe the main character.
The name “Akaky” in Greek means “gentle”, and the hero has the same patronymic, that is, the fate of this person was already predetermined: such was his father, grandfather, etc. He lives without prospects, does not recognize himself as a person, sees the meaning of life in rewriting papers ...
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There was no respect for him in the department, and the young officials laughed and joked at him, poured small pieces of torn papers on his head ... And once the joke was too unbearable, he said: “Leave me, why are you offending me?” And something strange lay in the words and in the voice in which they were uttered. In these penetrating words others rang out: “I am your brother!” And since then, as if everything had changed in front of me and seemed to me in a different form, often in the midst of the most cheerful moments I imagined a short official with a bald spot on his forehead with his penetrating words: “Leave me, why are you offending me?” ...
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What was the acquisition of an overcoat for Bashmachkin? What is he going to do for this?
An overcoat for Akaky Akakievich is not a luxury, but a hard-won necessity. The acquisition of an overcoat colors his life with new colors. This, it would seem, humiliates him, but what he goes to for this, changes the entire familiar “coordinate system” in our minds. From every “ruble he spent, he put aside a penny in a small box”, in addition to this saving, he stopped drinking tea and lighting candles in the evenings, and, walking along the pavement, he stepped on tiptoe, “so as not to abrade the soles” ... He also, coming home, I immediately took off my underwear so that it would not wear out, and sat in a shabby dressing gown. We can say that he LIVED a dream of a new overcoat.
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No one in this world wanted to help him, did not support the protest against injustice
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What is the purpose of Gogol's introduction of a fantastic finale?
Bashmachkin dies not because of the theft of his overcoat, he dies because of the rudeness, indifference and cynicism of the world around him. The ghost of Akaky Akakievich acts as an avenger for his unlucky life. This is a rebellion, although it can be called a "kneeling rebellion." The author seeks to evoke in the reader a feeling of protest against the absurd living conditions and a feeling of pain for the humiliation of human dignity. Gogol does not want to give a consoling denouement, he does not want to appease the reader's conscience.
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If a writer had punished a Significant Person, a boring moralizing tale would have come out; would force to be reborn - a lie would come out; and he perfectly chose the fantastic form of the moment when vulgarity for a moment saw the light ...
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Gogol appeals to a living soul, because most often there are pork snouts around, as in a nightmare of the hero of the comedy "The Government Inspector". Scary from dead souls. Words from Chekhov's story "Gooseberries": "It is necessary that behind the door of each happy person someone stood with a gavel and reminded us of the unfortunate and destitute, of the vulgarity in our lives, of the “little people”.
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The story would have produced the most hopeless impression, if it were not for the light emanating from the most miserable, worn out, insignificant. How not to remember the Gospel: “Blessed are the poor in spirit, for theirs is the Kingdom of Heaven. Blessed are those who mourn, for they will be comforted. Blessed are the meek, for they shall inherit the earth. Blessed are the merciful, for they shall receive mercy. Blessed are the pure in heart, for they shall see God.”
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Christ is on the cross, and below is an infinite number of people, partly not even discharged. A huge number of heads-balls, such a human caviar. Here Akaky Akakievich is the human caviar, the basis future life. Before our eyes, Gogol grows a man from an egg. For Bashmachkin, the new overcoat became Vera. He was pleased with his ramshackle hood. Well, yes, I’ve worn out, I’ve lost weight, but you can also patch it up. That is, he wanted to keep himself in old faith. But he had a Teacher, a tailor Petrovich. And Petrovich was firm: the old should not be patched up, but the new should be created. And he forced Akaky Akakievich to reconsider his beliefs. And only the brave can do it. He went to incredible hardships to build Something New. Bashmachkin does not just put on an overcoat, he enters it, as if into a Temple. And becomes a different person. He walks down the street in a different way, goes to visit ... But he was killed. The people living next to him were killed. Not only a Significant Person, but also colleagues who mock his love for the beauty of letters. And he told them: “I am your brother!”. As in the Bible: “Love your neighbor as yourself!”, “So in everything you want people to do to you, do the same to them!”.
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What to talk about? Not a bad way. Everyone as one forgot about heaven. Whoever loves is not up to sin. And we sin. Not loved yet. Hieromonk Roman
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cinquain
Line 1: Who? What? (1 n.) Line 2: Which one? (2 adj.) Line 3: What does it do? (3 verbs) Line 4: What does the author think about the topic? (phrase of 4 words) Line 5: Who? What? (New theme sound) (1 n.)
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Homework
Written answer to the question "What moral issues raises Gogol in the story "The Overcoat"?
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