One of the playwrights who paid attention to the world. Examples from the exam
Which of the Russian playwrights did not use pauses in their plays, and what was the innovation of Chekhov, who made a pause one of the most frequent remarks?
Forming the theoretical basis of your reasoning, refer to reference sources and establish that in Russian dramaturgy of the 18th-19th centuries there are no “pause” designations. In the plays of A.S. Griboedova, A.S. Pushkin, N.V. Gogol, A.N. Ostrovsky, I.S. Turgenev, instead of the remark “pause”, an individual, rather limited set of names is used to designate situations of plot-significant “non-speaking” of the characters (“silence”, “was silent”, “silent”, “thinking”, etc.).
Show that the appearance of the first pauses reflected the playwrights' desire to reduce the distance between the language of literature and the everyday norms of the character's speech behavior, and also to fix the affective states of the characters in the dramatic speech.
Note that A.P. Chekhov, one of the first Russian playwrights, begins to use the remark "pause" to indicate the semantic significance of silence. Explain the essence of the playwright's innovation. Show that Chekhov makes the remark of silence a psychological response to a speech fact or action.
In the conclusions, indicate that in the dramaturgy of A.P. Chekhov, a “pause” is used to switch attention from dialogue to a situation or action from the outside, change the topic of conversation, etc. Emphasize that "pause" is the most frequent of A.P. Chekhov's remarks.
October 30, 2017, 08:17OGE. 18th century literature
(Material on questions from the FIPI website). Part 3
Why do thoughts about Erast disturb and sadden Lisa?
Compare the fragment of the story by N.M. Karamzin "Poor Lisa" with a fragment of the novel by A.S. Pushkin "Eugene Onegin". In what ways does Tatyana resemble Liza, dreaming on the banks of the Moscow River?
What is the similarity of the characters and life principles of the characters participating in the dialogue?
STEP ONE
EVENT V
Mrs. Prostakova, Prostakov, Skotinin
Skotinin. Why can't I see my bride? Where is she? In the evening there will be already an agreement, so isn't it time for her to say that she is being married off?
Ms Prostakova. We'll make it, brother. If she is told this ahead of time, then she may still think that we are reporting to her. Although according to her husband, however,
I belong to her; And I love that strangers listen to me.
Prostakov (Skotinin). To tell the truth, we treated Sofyushka like a real orphan. After her father, she remained a baby. Tom, with six months, as her mother, and my fiancé, had a stroke ...
Mrs. Prostakova (shows that she is baptizing her heart). The power of the cross is with us.
Prostakov. From which she went into the next world. Her uncle, Mr. Starodum, went to Siberia; and since for several years now there has been no rumor or news about him, we consider him dead. We, seeing that she was left alone, took her
to our village and oversee her estate as if it were our own.
Ms Prostakova. Why are you so upset today, my father? Another brother might think that we took her to us for the sake of interest.
Prostakov. Well, mother, how can he think it? After all, Sofyushkino's real estate cannot be moved to us.
Skotinin. And although the movable has been put forward, I am not a petitioner. I don't like to bother and I'm afraid. No matter how much the neighbors offended me, no matter how much damage they did, I didn’t hit anyone with my forehead, and any loss, than to go after him, I’ll tear off my own peasants, and the ends are in the water.
Prostakov. That's true, brother: the whole neighborhood says that you are a masterful collector of dues.
Ms Prostakova. If only you would teach us, brother father; and we can't. Since we took away everything that the peasants had, we can no longer tear anything off. Such trouble!
Skotinin. If you please, sister, I will teach you, I will teach you, just marry me to Sofyushka.
Ms Prostakova. Do you really like this girl?
Prostakov. So in the neighborhood of her village?
Skotinin. And not villages, but the fact that it is found in villages and what my mortal hunt is.
Ms Prostakova. To what, brother?
Skotinin. I love pigs, sister, and we have such large pigs in our neighborhood that there is not a single one of them that, standing on its hind legs, would not be taller than each of us by a whole head.
Prostakov. It's strange, brother, how relatives can resemble relatives! Our Mitrofanushka is all like an uncle - and he has grown up to pigs as much a hunter as you are. How else was three years so, it used to be, when he saw a pig, he would tremble with joy.
Skotinin. This is truly a curiosity! Well, brother, Mitrofan loves pigs because he is my nephew. There is some resemblance here; why am I so addicted to pigs?
Prostakov. And there are some similarities. This is how I argue.
(D.I. Fonvizin. "Undergrowth")
In the work I read by D. I. Fonvizin “Undergrowth”, I met characters who share the same qualities, these are Skotinin, Mrs. Prostakova and Mitrofan. They all craved profit at the expense of others (Sophia), this can be cited by the following examples from the text:
“Mrs. Prostakova. Do you really like this girl?
Skotinin. No, I don't like a girl.
Prostakov. So in the neighborhood of her village?
Skotinin. And not villages, but the fact that in the villages it is found even before
what my mortal hunt."
“Ms. Prostakova (rushing to hug Sofya) Congratulations, Sofyushka!
Congratulations, my soul! I'm overjoyed! Now you need a groom.
I, I do not want the best bride and Mitrofanushka. That's uncle! That's a father! I myself still thought that God would protect him, that he still
hello."
They are also equally uneducated, uneducated and simply stupid people. This can be confirmed by the following. For example, Mrs. Prostakova is so uneducated and stupid that she is not able to read a letter from Starodum written by Sophia. Her son Mitrofan is no better. Three teachers came to him to teach at least something, but it was all in vain. He was a lazy and unlearnable student. And Skotinin just thought it was boring and pointless.” Skotinin. I never read anything, sister! God delivered me from this boredom.”
I draw a conclusion from what I have read. The author makes fun of the petty-bourgeois living life of some individuals.
What is the ironic meaning of the talk about pigs at the end of the scene?
Mocking, ironic meaning. ... The image of Skotinin is also satirically drawn, taking care of only pigs and revering his people worse than cattle. ... “Undergrowth” by Fonvizin is a multi-dark and multi-problem work.
Compare the fragment of the play by D.I. Fonvizin "Undergrowth" with a fragment of the novel by A.S. Pushkin "The Captain's Daughter" (letter from Masha Mironova to Grinev). In what way does the attitude of the Prostakovs and Skotinin towards Sophia echo the attitude of Shvabrin towards Masha?
What personality traits of Mitrofan appear in the above scene?
________________________________________
PHENOMENON II
Ms. Prostakova, Eremeevna, Trishka
Mrs. Prostakova (Trishke). And you, cattle, come closer. Didn't you say
I'm for you, thieves' mug, so that you let your caftan go wider. The child, the first, grows, the other, the child, and without a narrow caftan of delicate addition. Tell me, idiot, what's your excuse?
Trishka. Why, madame, I was self-taught. I then reported to you: well, if you please, give it to the tailor.
Ms Prostakova. So is it really necessary to be a tailor in order to be able to sew a caftan well. What a beastly argument!
Trishka. Why, ma'am, the tailor studied, but I didn't.
Ms Prostakova. He also argues. The tailor learned from another, another
from the third, but the first tailor, from whom did he study? Speak, cattle.
Trishka. Yes, the first tailor, perhaps, sewed worse than mine.
Mitrofan (runs in). Called my father. I dared to say: immediately.
Ms Prostakova. So go and get him out, if you don’t call for good.
Mitrofan. Yes, here is the father.
PHENOMENON III
The same and Prostakov
Ms Prostakova. What, what are you trying to hide from me? Here, sir, what I have lived with your indulgence. What is the son's new thing to his uncle's conspiracy? What caftan Trishka deigned to sew?
Prostakov (stammering from timidity). Me...a little baggy.
Ms Prostakova. You yourself are baggy, smart head.
Prostakov. Yes, I thought, mother, that you think so.
Ms Prostakova. Are you blind yourself?
Prostakov. With your eyes mine see nothing.
Ms Prostakova. This is the kind of hubby the Lord has rewarded me with: he doesn’t know how to make out what is wide and what is narrow.
Prostakov. In this I believed you, mother, and I believe.
Ms Prostakova. So believe the same and the fact that I do not intend to indulge the lackeys. Go, sir, and now punish...
EVENT IV
The same and Skotinin
Skotinin. Whom? for what? On the day of my collusion! I ask you, sister, for such a holiday to postpone the punishment until tomorrow; and tomorrow, if you please, I myself will gladly help. If it wasn't for me Taras Skotinin, if not all my fault is to blame. In this, sister, I have the same custom with you. Why are you so angry?
Mrs. Prostakova (Trishke). Get out, cattle. (Eremeevna.) Come on, Eremeevna, let the child have breakfast. After all, I have tea, soon the teachers will come.
Eremeevna. He already, mother, deigned to eat five buns.
Ms Prostakova. So you're sorry for the sixth, you bastard? What zeal! Feel free to watch.
Eremeevna. Hello, mother. After all, I said this for Mitrofan Terentyevich. Protoskoval until morning.
Ms Prostakova. Ah, Mother of God! What happened to you, Mitrofanushka?
Mitrofan. Yes, mother. Yesterday, after dinner, I had a seizure.
Skotinin. Yes, it is clear, brother, you had a hearty supper.
Mitrofan. And I, uncle, hardly ate supper at all.
Prostakov. I remember, my friend, you deigned to eat something.
Mitrofan. What! Three slices of corned beef, yes hearth, I don’t remember, five, I don’t remember, six.
Eremeevna. At night every now and then he asked for a drink. The whole jug deigned to eat kvass.
Mitrofan. And now I'm walking like crazy. All night long such rubbish climbed into the eyes.
Ms Prostakova. What kind of rubbish, Mitrofanushka?
Mitrofan. Yes, then you, mother, then father.
Ms Prostakova. How is it?
Mitrofan. As soon as I begin to fall asleep, then I see that you, mother, deign to beat the father.
Prostakov (aside). Well! my trouble! dream in hand!
Mitrofan (relaxing). So I felt sorry.
Mme. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating the father.
Ms Prostakova. Embrace me, my friend of the heart! Here, son, is one of my consolations.
Skotinin. Well, Mitrofanushka! You, I see, are a mother's son, not a father's.
Prostakov. At least I love him as a parent should, this is a smart child, this is a sensible child, a funny man, an entertainer; sometimes I am beside myself with him, with joy I myself truly do not believe that he is my son, Skotinin. Only now our amusing fellow is frowning at something.
Ms Prostakova. Why not send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, so maybe either ...
Ms Prostakova. So maybe the Lord is merciful. Come, frolic, Mitrofanushka.
(D.I. Fonvizin. "Undergrowth")
Mitrofan Prostakov is one of the main characters in Fonvizin's comedy "Undergrowth". This is a spoiled, ill-mannered and uneducated young nobleman who treated everyone very disrespectfully. He was always surrounded by the care of his mother, who spoiled him. Mitrofanushka adopted from his loved ones the worst character traits: laziness, rudeness in dealing with all people, greed, self-interest. At the end of this work, Starodum said: “Here are worthy fruits of evil”, and this very accurately describes the situation in the family. Mitrofanushka does not show any desire and interest in studying, but only wants to frolic and drive pigeons. In any difficult situation, he hides behind his mother's back, but even in the last scene he shocks her with his boorish behavior. It seems to me that Fonvizin created Prostakov Mitrofan in order to focus on the problem of illiteracy of the young nobility and interclass relations in the serf Russian Empire.
Why D.I. Fonvizin recognized as a master of speech characteristics? Justify your answer based on the given scene.
The impression of Prostakova’s ignorance is created primarily by the inclusion in her lexicon of the words colloquial-vernacular, but neutral in an expressive sense: he, de, ba, to the article, dostalnye, where, nowhere, looking (“more”), I have tea, indulge, perhaps, intimidate, now, bye, sweat, look, if only, not a little. It is this vocabulary, devoid of expressive load, designed to emphasize the word in speech, to highlight it - this vocabulary creates a “common” background of speech characteristics. The swear words that sound against this background (snout, swindler, thief, thieves' mug, cattle, blockhead, beast, freak, deadhead, canal, mug, witch, countless fool) more sharply convey the rudeness, unbridledness, cruelty of Prostakova.
Ms. Prostakova (backstage). Rogues! The thieves! Fraudsters! I order everyone to be beaten to death!
Oh, I'm a dog's daughter! What have I done!
Insatiable soul! Kuteikin! What is it for?
Note, however, that in the dictionaries of the second half of the 18th century, not all of the indicated words are qualified as stylistically reduced. For example, words such as talker, fool, game, mug, mug, starve, stagger, gape, are not stylistically limited. Were quite common in colloquial speech and the forms of kuda, nowhere, dosty, robenok. The colloquial nature of these words is indicated by their absence in official letters, business documents; in Fonvizin (except for "Undergrowth") they are found in the comedy "The Brigadier", in translations of fables, in letters to relatives.
Prostakova's speech also reflects dialectal features: dialectal unions; use of the postpositive term.
Ms Prostakova. I'm sorry! Ah, father! . Well! Now I will let the canals open to my people. Now I'm going to take them all one by one. Now I'm trying to figure out who let her out of her hands. No, scammers! No, thieves! I will not forgive a century, I will not forgive this ridicule.
Not free! The nobleman, when he wants, and the servants are not free to flog; Yes, why have we been given a decree on the freedom of the nobility?
How about getting rid of debt? . Underpaid teachers...
Prostakova uses book expressions in her speech (“fair fiction”, “amorous letter”).
Most playwrights, reproducing the speech of servants, peasants, local nobles, created a kind of conditional language that differed from living everyday speech by a deliberate concentration of colloquial elements.
Unlike most of his contemporaries, Fonvizin creates the language of comic characters by means of the literary language, using elements of colloquial speech very accurately. By this, he achieves the full plausibility of the speech of Prostakova and other "low" comedy characters. The reader gets the impression that the speech of these heroes reflects the real speech practice of the provincial nobility, servants, and so on.
Obviously, it was this way of creating the speech characteristics of everyday, comic comedy characters that was fruitful - the use of the speech practice of the writer himself, the wide inclusion of colloquial vocabulary and phraseology used in the circle of educated people. Other comedians, contemporaries of Fonvizin, set themselves a similar task, but it was brilliantly resolved only by Fonvizin, who carried it out more fully and more decisively.
How does the reaction to Mitrofan's dream characterize the participants in the above scene?
Compare the fragment of the play under consideration with the following fragment of the novel by A.S. Pushkin "The Captain's Daughter" What are the similarities and differences in the attitude of Mitrofan and Pyotr Grinev towards people of the older generation?
The entire first chapter of The Captain's Daughter (Sergeant of the Guards) refers in no uncertain terms to Fonvizin's play. Therefore, the two named minors have a lot in common (by the way, Pyotr Grinev himself certifies himself with this word on the very first page of the story: "I lived as a minor, chasing pigeons and playing chaharda with yard boys") intentionally a lot.
Both are the children of provincial nobles, they grew up in rural estates with a very small difference in time: in 1781, when the play was written, Mitrofan was about 17 years old, and Grinev fought with Pugachev at the same age (the uprising took place in 1773-75). So these are people of the same era.
Both were brought up by a Russian servant (Grinev's "uncle" Savelyich, Prostakov's "mother" Eremeevna), a foreign teacher was discharged to replenish education at a certain age, both had an unusable one (a former coachman from Mitrofan, a former hairdresser from Peter). This feature is not at all accidental, it characterizes the attitude towards education in the environment in which both of these heroes grew up. About both, it can be said that they are poorly educated even in their time. Also, both are in love with their first youthful love, and this love is an important plot-forming moment in both works.
And then there are the big differences. Pushkin specifically gave Peter such a "Mitrofanov" childhood and adolescence in order to show how, under similar conditions, completely different people can develop. The epigraph of "The Captain's Daughter" - "Take care of honor from a young age" is a hint.
In Fonvizin's play, all positive characters are educated people. Fonvizin is a man brought up by the Enlightenment with his ideas of the beneficial effects of education on human nature.
Pushkin belongs to the next era. In his youth, he saw how the followers of Rousseau's high ideas acted in Russia like pure barbarians and were expelled (Pyotr Grinev himself was already a bit old by that time, but his sons were supposed to take part in the war of 1812).
Therefore, Pushkin, in some polemic with Fonvizin, shows that a poorly educated person, but an honest one, can have high spiritual and moral qualities. That nobility does not necessarily accompany education (low Shvabrin, compared to Grinev, is an educated, well-mannered person who grew up in the capital).
It is for this contrast that Pushkin, at the very beginning of his Petrusha Grinev, looks so much like Mitrofan Prostakov.
What ideals does G.R. Derzhavin in the poem "To the Rulers
and judges?
The famous poet G. R. Derzhavin also could not stay away from the problems of power and the monarchy. In his poem “To Rulers and Judges,” he tries to awaken conscience in rulers, to force them to perform their duties as they should.
Already the first lines of the poem seem to scream that it is impossible to live like this any longer, even the Almighty can no longer look at the reign of the current rulers:
Almighty God has arisen, let him judge
Earthly gods in their host ...
The native land is “shaken by villainy”, but government officials do not see this, the authorities are blind to the fate of the common people. Arbitrariness of officials reigns, laws are not observed:
Do not heed! They see - they do not know!
Hair covered with bribes:
Violence shakes the earth
Falsehood shakes the sky.
Derzhavin collected in his poem all the vices of state power. With words full of despair and disappointment, he addresses them:
Kings! I thought you gods are powerful,
No one is your judge
But you, like me, are passionate
And just as mortal as I am.
In the final lines of the poem, Derzhavin no longer appeals to the honor and conscience of "rulers and judges", he no longer believes in correcting the vices of power. The only way to save Russia is God's fair judgment:
Resurrect, God! God right!
Come, judge, punish the evil ones
And be one king of the earth!
Analysis of the poem "To the Rulers and Judges" by Derzhavin G.R.
History of creation. Derzhavin's unusually bold, resolute and independent character manifested itself in everything, including his poetic work. One of his poems almost became the cause of exile and disgrace. It was an ode to the Rulers and Judges, written in 1787, which the author called "an angry ode."
Service in high government positions, including work as a governor, convinced Derzhavin that in Russian Empire Laws are constantly being broken. His struggle with this phenomenon as a high civil servant was not successful: he did not meet with support either in society or in the government. Violators of the law safely avoided well-deserved punishment. But at the same time, the poet firmly believed that Catherine herself was a virtuous monarch surrounded by evil dignitaries. Resentment and anger demanded an outlet. And then the poet decided to write an arrangement of the 81st psalm - this is how biblical hymns addressed to God were called in ancient times. Their author is the Old Testament King David, whose writings make up one of the most poetic books of the Old Testament - the Psalter.
The theme of this psalm turned out to be consonant with the spirit of the time. It is no coincidence that this 81st psalm during the French Revolution in Paris was paraphrased by the Jacobins, and the people sang it on the streets of the city, expressing indignation at King Louis XVI, who was subsequently executed.
Derzhavin made the first version of his transcription of Psalm 81 several years before its publication. He gave the poem to the Saint Petersburg Bulletin. But the publishers, frightened, cut it out of the already printed book of the magazine. In the new version, written five years later, the poet even strengthened the accusatory pathos of the poem. He managed to get it published. work under its own title "To the Lords and Judges".
Main themes and ideas. The content of Derzhavin's ode, based on the biblical text, is connected with the contemporary life of the poet Russian state. It is here that he sees the trampling of justice, the violation of laws, the oppression of the weak, the triumph of untruth and evil, the analogy of which he finds in the Old Testament history:
How long, rivers, how long will you be
Spare the unrighteous and evil?
The necessity of subordinating everyone to the single law of the highest truth and justice is affirmed by Derzhavin in this poem, as in many others;
Your duty is: to guard the laws,
Do not look at the faces of the strong,
Do not leave orphans and widows without help, without defense.
Your duty: to save the innocent from misfortunes, to give protection to the unfortunate;
Break the poor out of their fetters.
But in real life he sees the evasion of this higher law by those who are in power, who must first of all monitor the observance of laws:
Do not heed! They see and don't know!
Hair covered with bribes:
Atrocities shake the earth
Falsehood shakes the sky.
That is why the voice of the poet-denunciator of the "unrighteous and evil" sounds so angry. He affirms the inevitability of punishment for those "evil" rulers who do not obey the highest law of truth and justice - this is the main idea and the main idea Derzhavin's ode:
And you will fall like that.
How a withered leaf falls from the trees!
And you will die like this
How your last slave will die!
It is not surprising that the ode to "Rulers and Judges" was perceived not only by the court environment, but even by the empress, who was usually favorable to Derzhavin, as a revolutionary proclamation. After all, it is about the fact that an unrighteous power cannot be lasting, it will inevitably face the wrath of God and a fall. The poet seeks to warn the empress about this, in whose virtue he continued to believe. Otherwise, such “rulers and judges”, as the author claims in the final quatrain of the ode, will inevitably be replaced by those who will be guided by the ideals of goodness and justice:
Resurrect, God! God right!
And heed their prayer:
Come, judge, punish the evil ones
And be one king of the earth!
Artistic originality. An innovative poet, Derzhavin boldly goes to destroy the norms of classicism already familiar to his time and creates his own special poetic system. Reasoning about lyric poetry, or about the ode ”, where he sets out his theory of literature and the history of world lyrics, explains his creative method and style. It is here that he speaks in detail about those genre varieties of the ode that appear in his work starting with Felitsa. If the poet refers this work of his to a mixed ode, the author calls the poem “Lords and Judges” an angry ode. If we follow the tradition, then it would have to be attributed to the genre of spiritual ode, well developed by that time in Russian literature, because it is based on the biblical text. Moreover, in Derzhavin's ode, the vocabulary and many images really remind us of biblical poetry: in their host; covered with bribes of tow; listen to their prayer, etc. The solemn style of the ode is created not only due to the abundance of Slavicisms, but also with the help of special syntactic means: rhetorical exclamations, questions, appeals: “how long will you spare the unrighteous and evil?”; "Kings! I thought you gods are powerful...”; "Rise God! Good God!" In addition, the poet uses the anaphora technique and syntactic repetitions: “Your duty is: to preserve the laws ...”, “Your duty: to save the innocent from troubles ...”; “Do not heed! They see and don't know!
All this gives the poem an oratorical sound, which helps the author to maximize the attention of readers and listeners. After all, of course, what we have before us is not so much spiritual as, using the author’s definition, precisely an “angry” ode, that is, one that is designed to express the bitterness of the author, who sees the depravity of his contemporary life, and reflect the accusatory pathos of the poem, which should awaken in readers not only anger, but also the desire for purification and correction of vices.
The value of the work. We know that Derzhavin himself did not put a revolutionary meaning into his work, he was a monarchist in his political convictions, and such a vividly and emotionally expressed protest against the "unrighteous and evil" was perceived by many as a political proclamation. The author of "Felitsa", praising the "virtues" of the empress and sincerely believing in her wisdom and justice, in the ode "To the Rulers and Judges" appeared in a completely new guise: he became an angry denouncer of the vices of the rulers who trampled law and morality, and thereby opened in Russian literature is one of its most important tendencies. In the future, it received a brilliant development in the work of Pushkin, Lermontov and many other remarkable Russian writers of subsequent decades. But for a contemporary reader, this work may also turn out to be close and understandable: after all, the vices of an unrighteous government, its desire to act in its own, and not the national, state interests, trampling laws and justice, unfortunately, remain relevant today.
What role in the poem G.R. Derzhavin's "Lords and Judges" plays the technique of contrast?
Contrast is used to enhance the expressiveness of the statement of the main idea. Theses are contrasted: what should be performed and what is actually being performed.
Your duty is: to keep the laws,
Do not look at the faces of the strong,
No help, no defense
Do not leave orphans and widows.
Your duty is to save the innocent from harm.
Cover the unfortunate;
From the strong to protect the powerless,
Break the poor out of their fetters.
This is opposed to:
Do not heed! see - and do not know!
Hair covered with bribes:
Atrocities shake the earth
Falsehood shakes the sky.
Compare the poem by G.R. Derzhavin "To the Rulers and Judges" with the following fragment of the ode to A.S. Pushkin "Liberty". What goals do poets pursue when addressing rulers?
Why does Prostakova persuade her son to learn "for the sake of it"?
In Fonvizin's comedy "Undergrowth", the primitive and miserable world of the Prostakovs and Skotinins wants to break into the noble, high world of Starodum, Pravdin, appropriate his privileges, take possession of everything. Evil, disguised under the mask of education and nobility, wants to appropriate the good. Prostakova has a plan - to get into the world inaccessible to her through the marriage of her son to Sophia. This is the purpose of Prostakova when she persuades Mitrofanushka to study "for the sake of it."
What qualities of Mitrofan are shown in this fragment?
Characteristics of Mitrofan from the comedy "Undergrowth"
The author of the comedy "Undergrowth" in the image of Mitrofan, one of the main negative characters of the comedy, tried to show the ignorance and degradation of the Russian nobility. Mitrofan Terentyevich Prostakov is 16 years old, but he continues to live with his parents and is dearly loved by his mother, Mrs. Prostakova. The main character is the only child of his parents, his mother does not have a soul in him and pampers him in every possible way, allowing him to behave as he wants. Instead of serving in the army, he basks at home, does nothing, is lazy, the only thing he likes is to drive pigeons, have fun and frolic. Mrs. Prostakova was stupid and impudent, she did not take into account anyone's opinion except her own. She did not want to let go of her child and planned for her son to stay with her until the age of 26 and not start the service. The lady said this: “While Mitrofan is still undergrowth, while he is to be married; and there, in a dozen years, when he enters, God forbid, into the service, endure everything. The young nobleman enjoyed the undivided love of his mother, and skillfully used it to achieve his selfish goals and desires.
Mitrofanushka does not want to study, has no life goals, and gradually turned from a sissy into a cruel egoist and traitor. Mitrofan was extraordinarily cruel with the servants and with his nanny, Eremeevna. She raised and protected her ward as best she could, endured all his insults and disrespect. Despite this, the spoiled child constantly complained to his mother about his nanny, and the mother, always taking the side of her son, punished the poor woman and did not pay her for her work. The undergrowth treated his teachers with disdain, the mother was against tormenting the “child” with studies and hired teachers for him only because this was the custom in those days in noble families. He did not notice his father at all, because he did not consider his whims, and did not love his uncle and was rude to him in every possible way. Young Prostakov, at the age of 16, remained a careless and capricious child, he is impolite and stupid, and treats everyone around him disrespectfully. At his age, the only thing he learned was to eat well and complain to his mother that "his stomach grabbed from malnutrition."
The characterization of Mitrofan in the comedy "Undergrowth" will be incomplete if not to mention the sycophancy and duplicity to which he is accustomed from an early age. So, upon the arrival of Starodum, a complete stranger, endowed with money and power, the teenager, on the advice of his mother, rushes to kiss his hand. To which the guest indignantly declared: “This one catches kissing the hand. It can be seen that they are preparing a big soul into it. ”
The hero of Fonvizin betrays even his mother, through whose efforts he lived in idleness and comfort. When Mrs. Prostakova lost power and sought consolation from her son with the words: “You alone remained with me, my heartfelt friend, Mitrofanushka! ”, in response, she heard a heartless phrase: “Yes, get rid of you, mother, how you imposed yourself.”
The hero of the work stopped in his development and began to degrade, his character combines the features of a slave and a tyrant. The reason for this degradation was the wrong and disfiguring upbringing. From generation to generation, the ignorance and rudeness of the feelings of the Russian nobility progresses and the apogee of this is the appearance of such a person as Mitrofanushka. Mama's minion, whose fate is twisted by class vices, causes not so much laughter as laughter through tears. After all, in the hands of such representatives of the nobles were in those days the fate of thousands of ordinary people.
How is the main problem of comedy reflected in the teaching scene?
Fonvizin's comedy is called "Undergrowth". The dictionary gives two definitions for the word "Undergrowth". The first is “this is a young nobleman who has not reached the age of majority and has not entered the public service". The second is "stupid young man - half-educated." Both definitions fit the description of the main character Mitrofanushka. In the above scene we find confirmation of this. Mitrofanushka is an ignoramus, does not know elementary things, and at the same time does not feel inferior, because his interests are limited by the way of life that prevails in his mother's house. Prostakova has a plan - to get into the world inaccessible to her through the marriage of her son to Sophia. This is the purpose of Prostakova when she persuades Mitrofanushka to study "for the sake of it." We can observe the results of this teaching in the above passage.
For what purpose does the playwright draw our attention to the following detail: Prostakova sits down to knit a wallet for her son?
Mrs. Prostakova is sure that she will marry her Mitrofanushka to the rich Sophia. So for big money I need a new big wallet.
The fragment ends with Prostakova's dismissive remark about arithmetic. Compare her opinion with the point of view of the characters in the comedy A.S. Griboedov "Woe from Wit" on the teaching (below is a fragment of action 3 of phenomenon 21). How similar are the positions of the characters in these works?
Just as in "Undergrowth", in "Woe from Wit" two worlds, two ideologies conflict: "the present century" and "the past century". The world of the Prostakovs and Famusovs can be shaken if they learn to evaluate correctly, to distinguish between natural and feigned, true and false. In the enlightened age, this world will be shaken, and the Prostakovs and Famusovs do not want to give up their positions. That is why learning is so unprofitable for them, it is more convenient for them to live in darkness.
What role does the landscape play in this fragment?
Erast also wanted to say goodbye to Lisa's mother, who could not help crying, hearing that her affectionate, handsome master had to go to war. He forced her to take some money from him, saying: “I don’t want Liza to sell her work in my absence, which, by agreement, belongs to me.” The old woman showered him with blessings. “God grant,” she said, “so that you return to us safely and that I see you again in this life! Perhaps my Liza by that time will find a groom for her thoughts. How I would thank God if you came to our wedding! When Lisa has children, know, master, that you must baptize them! Oh! I would love to live to see it!” Lisa stood beside her mother and did not dare to look at her. The reader can easily imagine what she felt at that moment.
But what did she feel when Erast, embracing her in last time, pressing it to his heart for the last time, he said; “Forgive me, Liza!..” What a touching picture! The morning dawn, like a scarlet sea, spilled over the eastern sky. Erast stood under the branches of a tall oak, holding in his arms his poor, languid, sorrowful girlfriend, who, bidding farewell to him, said goodbye to her soul. All nature* was silent.
Liza sobbed - Erast cried - left her - she fell - knelt down, raised her hands to the sky and looked at Erast, who was moving away - further -
(N.M. Karamzin. "Poor Liza")
* Nature.
What is the role of nature in the fate of Liza and Erast The story "Poor Lisa" is the best work of N. M. Karamzin and one of the most perfect examples of Russian sentimental literature. It has many beautiful episodes that describe subtle emotional experiences. In the work there are pictures of nature, beautiful in their picturesqueness, which harmoniously complement the narrative. At first glance, they can be considered random episodes that are just a beautiful backdrop for the main action, but in fact everything is much more complicated. Landscapes in "Poor Lisa" are one of the main means of revealing the emotional experiences of the characters. At the very beginning of the story, the author describes Moscow and the "terrible mass of houses", and immediately after that he begins to paint a completely different picture. “Below… A bright river flows along the yellow sands, agitated by the light oars of fishing boats… On the other side of the river, an oak grove is visible, near which numerous herds graze; there, young shepherds, sitting under the shade of trees, sing simple, dull songs ... ” Karamzin immediately takes the position of everything beautiful and natural, the city is unpleasant to him, he is drawn to “nature”. Here the description of nature serves to express author's position. Further, most of the descriptions of nature are aimed at conveying the state of mind and feelings of the main character, because it is she, Lisa, who is the embodiment of everything natural and beautiful. “Even before the sun rose, Liza got up, went down to the banks of the Moskva River, sat down on the grass and looked at the white mists in a huff ... silence reigned everywhere, but soon the rising luminary of the day awakened all creation: groves, bushes came to life, the birds fluttered and sang, the flowers raised their heads to be nourished by the life-giving rays of light. Nature at this moment is beautiful, but Lisa is sad, because a new, hitherto unknown feeling is born in her soul. But despite the fact that the heroine is sad, her feeling is beautiful and natural, like the landscape around. A few minutes later, an explanation takes place between Lisa and Erast, they love each other, and her feeling immediately changes. "What a wonderful morning! How fun everything is in the field! Never did larks sing so well, never did the sun shine so brightly, never did flowers smell so pleasant! » Her experiences dissolve in the surrounding landscape, they are just as beautiful and pure. A wonderful romance begins between Erast and Lisa, their attitude is chaste, their embrace is "pure and immaculate." The surrounding landscape is just as clean and immaculate. “After this, Erast and Liza, afraid not to keep their word, saw each other every evening ... More often under the shade of centennial oaks ... - oaks that overshadow the deep, clean pond, still in ancient times fossilized. There, the often quiet moon, through the green branches, silvered Liza's blond hair with its rays, with which the marshmallows and the hand of a dear friend played. The time of an innocent relationship passes, Lisa and Erast become close, she feels like a sinner, a criminal, and the same changes take place in nature as in Liza’s soul: “... not a single star shone in the sky ... Meanwhile, lightning flashed and thunder struck ... » This picture reveals not only the state of mind of Lisa, but also portends tragic ending of this story. The heroes of the work part, but Lisa does not yet know that this is forever, she is unhappy, her heart is breaking, but a faint hope still glimmers in it. The morning dawn, which, like a "red sea", spills "over the eastern sky", conveys the pain, anxiety and confusion of the heroine and also testifies to an unkind ending. Lisa, having learned about Erast's betrayal, ended her miserable life, she threw herself into the very pond, near which she was once so happy, she was buried under the "gloomy oak", which is a witness to the happiest moments of her life. The examples given are quite enough to show how important the description of pictures of nature in a work of art is, how deeply they help to penetrate into the soul of the characters and their experiences. Consider the story "Poor Liza" and not take into account the landscape.
I would like to talk separately about the early dramaturgy of the writer, since this is a rather interesting and controversial issue in many respects. As already noted, until now, the science of Gorky has no works in which the problem of the genre of plays of 1902-1904. considered as central. However, scientists often expressed their versions and assumptions. It is also worth recalling that the genre is a multifaceted category; accordingly, one of the carriers of the genre could often become the subject of research. Even in the absence of definitive or insufficiently substantiated conclusions, such works provide valuable material for a researcher working in line with the historical-functional study of a literary work.
An analysis of the indicated works reveals a number of interesting trends. Of particular importance here is the understanding of those cardinal differences that occurred in the worldview of a European person in the 20th century and were expressed in a change in “pictures of the world”.
The “picture of the world”, or “the system of intuitions about reality”, is always “mediated by the cultural language spoken by this group". Its own "picture of the world" is formed in any socio-psychological unit, which can be both an individual and the whole of humanity, as well as any cultural phenomenon. Symbolism, acmeism, surrealism, postmodernism, etc. can distinguish their “pictures of the world”. And yet, as the culturologist V. Rudnev writes, the 20th century would not be a unity if it were not possible to at least outline its “picture of the world” as a whole.”
In fact, the "picture of the world" of the 19th century as a whole seems to be positivist, or materialistic: being is primary - consciousness is secondary. Of course, a big role in the nineteenth century. played idealistic and romantic performances, where everything was the opposite, but in general, the "picture of the world" of the nineteenth century. seems to be just that - positivist.
In the twentieth century the opposition of being and consciousness ceased to play a decisive role. The opposition between language and reality or text and reality came forward. Most important point in this dynamic becomes the problem of finding boundaries between text and reality. With regard to Gorky's dramaturgy, it can be argued that there are several tendencies (types) of perception that are formed precisely on the basis of different ideas about the world, different "pictures of the world". Differences can serve as the basis for their selection:
In the views of critics and scientists about the relationship between art and life, the artistic world and the real world (i.e. text and reality);
In the approach to understanding and interpreting the main tasks of art;
In the views of researchers on how to solve these problems.
When analyzing, the researcher accordingly speaks about the theme, idea (problematics), poetics of the work.
There are three most obvious trends in the perception of Gorky's early dramaturgy in the 20th century:
- "realistic";
- "ethical-psychological";
- symbolist.
It should be noted right away that none of these definitions is derived directly from consonant literary and artistic movements of the 19th-20th centuries. "Realists", "ethics", "symbolists" in this context are called critics and scientists who asserted the appropriate understanding of Gorky's dramaturgy.
The "realistic" direction could be professed (or attributed to other writers) by fans of both the "natural school" and critical realism, and even symbolism. The trend itself could be given another name - "social", "everyday", "natural", etc. However, each of these definitions marks only some part of the scientific-critical works united in it.
Meanwhile, the "realistic" direction is characterized by a distinct integrity. First of all - thanks to the attitude (conviction) of critics and studies that the artist depicts life as it is, in "the forms of life itself." Thus, the epistemological approach to art that dominated in the 19th century (“art is a reflection of reality”), which is based on the belief in the cognizability of the world (gnosticism), becomes the basis for many works of the “realistic” direction.
When analyzing a work of art, the problem of fidelity of the artist's depiction of the surrounding world comes to the fore accordingly. The characters are socially typified, the conflict arises during the clash between these characters for ideological or some other reasons. Spatio-temporal characteristics are a kind of “addition” to the emotional experiences of the characters, the events described, without playing a significant role in the interpretation of the work.
Scientists - "realists" either do not accept all kinds of artistic delights, considering them to be meaningless "form-creation", devoid of substantive (or rather, ideological) value, or they simply do not notice. When analyzing a work of art, scientists of the "realistic" direction, as a rule, appeal to a simple technique formed by the previous culture. Many of them at various times argued that all of Gorky's dramaturgy is realistic dramaturgy, creatively inheriting and developing the traditions of critical realism of the 19th century.
Most often, when referring to the studies of Gorky's dramaturgy in this direction, we will encounter such genre definitions of his plays as social drama, social drama, and somewhat less often - socio-psychological drama.
The belief that the action of Gorky's plays is driven by the author's desire to prove this or that idea, a philosophical doctrine, gives reason to critics and scientists of the "realistic" direction to assert that all of Gorky's early dramaturgy is represented by a genre variety of "philosophical drama". Characters become a means of expressing this philosopheme, and only some of them are recognized as ideological heroes. As a rule, these are heroes who should express the author's point of view: Nil, Marya Lvovna, Vlas, Satin, etc. The tragic beginning is leveled or obscured. The position of the author himself is extremely clear, leaves no doubt.
The second type of perception can be designated as "ethical-psychological". Like the "realistic", "ethico-psychological" approach suggests that "art is a reflection of reality." However, social reality, generally empirical, ceases to play a decisive role here.
Comes to the fore spiritual world of a person, and the real world for "ethics" is, first of all, the world of "the depth of the human soul", in the words of F. Dostoevsky, with all its feelings, experiences, thoughts, conjectures, ideas, doubts, insights. Important life position man, his "ethics".
Therefore, attention is focused not on the external attributes of human existence, but on the internal motives of his behavior and actions. The most important topic for scientists - "ethics" is the problem of the moral self-sufficiency of a person, little or no concern for scientists - "realists". Under the influence of a push from the outside, the inner world of each of the characters, as it were, wakes up from hibernation, begins to move, and begins to “roam”. This spiritual "fermentation" of the characters, who in the finale must come to the discovery of one or another "truth" for themselves, is the plot of each play.
The “ethical-psychological” type of perception can be called the result of a deep-rooted conviction in the Russian mind in the educational role of literature. To a certain degree research for each of the scientists of this direction - a means of expressing their own views on the world and man.
Hence the heightened emotionality, pronounced subjectivity, sometimes even partiality, often present in the works of this direction. Hence - attention to the heroes "with an ideal", the desire to bring them to the center artistic narrative. It is characteristic that most of the critics and scientists of this trend in the plays "At the Bottom" put Luka - a man with a pronounced humanistic philosophy, devoid of Bubnov's satin cynicism or nihilism. A work of art here becomes a means of expressing certain ideas and concepts that have not only the function of reflecting life, but also educational and pedagogical tasks. The concept of " philosophical drama” in relation to Gorky’s early plays, it ceases to be declarative, Gorky’s dramaturgy acquires the character of “ideological” in the sense of worldview.
The idea of the poetics of Gorky's plays is changing. Gorky drama in this sense can no longer be imagined as just a “bright picture of everyday life pre-revolutionary Russia”, almost a naturalistic “cast from reality” (such extremes are possible in a “realistic” interpretation). It acquires the character of a psychological, socio-psychological, moral and ethical drama or drama-parable.
Fundamentally different from both tendencies of perception is the third type - "symbolist". On the one hand, he somehow synthesizes the previous two types, on the other hand, he opposes himself to them. Synthesizes - announcing that in each Gorky play there are two planes - everyday, real and "ethical", spiritual. Contrasts - arguing that none of them can be recognized as true definitively.
The name of the trend refers to the influential artistic movement of the beginning of the century, with whose ideological and artistic system it really has a lot in common. First of all, it is necessary to pay attention to the principle of "dual unity" in art system symbolism. Searching for the highest reality, values that are beyond sensory perception, the Symbolists perceive art as a means of intuitive comprehension of world unity, the discovery of symbolic analogies between the earthly and transcendent worlds. The “symbolist” direction of perception also proceeds in its basis from the principle of the dual unity of the world - the world as an external, cognizable by sensory experience, and the world as a representation of it. The work of art here is no longer a reflection of the existing reality. It is her recreation. The main task of the playwright is to penetrate the innermost secrets of being, to understand the motives of its movement, change, and the mysteries of existence.
The idea of depicting personality with its complex emotional experiences fades into the background. Action is driven by ideas, thoughts (always in the plural), which are milestones on the path to the search for true reality. Each character is, first of all, not a character, a psychologically reliable type, but a thinking hero, reasoner, hero-ideologist, bearer of a certain worldview. It was this quality of Gorky's images that, for example, B. Zingerman had in mind when he wrote about "Gorky's predilection for clever heroes":
“Gorky’s plays come across and not very smart people. But they are depicted at the only moment in their lives when their intellectual powers are extremely strained, when even these people are visited by revelations of unusual sharpness and clarity. As a rule, Gorky's characters are people of an extremely strong and original mind. Everyone is a philosopher” Zingerman, B. I. Gorky School / B. I. Zingerman. Theater. -1957, -№8. -WITH. 47-52..
At the same time, none of the presented points of view can now be recognized as final, not a single hero can be the only one “right” or become the center of action. Therefore, Gorky's plays always have an "open ending" in this sense.
Of particular importance - often one of the determining factors in the interpretation of a work of art - in the "symbolist" interpretation are spatio-temporal characteristics, becoming a symbolic expression of the author's idea of the world. Almost always, critics and scholars are "symbolists" in their designations of the genre or genre variety of Gorky's plays, they dwelled on the definition of "philosophical drama".
The three indicated tendencies, developing and changing, have managed to exist in domestic science up to the present time. Internally, each of them is characterized by a wide range of interpretations and interpretations. Each type of perception has its own fate in the history of literature of the twentieth century.
As a rule, the dominance of one type did not mean the complete oblivion of the other: in different periods and eras, each of the identified trends had its fans and researchers. However, periods of dominance of each of them can be distinguished. So, for example, until the second half of the 50s, the “realistic” approach dominated in Soviet science, over the next two decades, the “ethical-psychological” approach, and finally, from the mid-80s. - symbolist.
The 1900s are characterized by such a wealth of artistic life that it is difficult to immediately understand whose position “outweighed” during this period. variegation literary life, the variety of forms of creativity, the inconsistency of literary searches and the sharpness of the ideological struggle - the first thing that catches your eye when you get acquainted with art late nineteenth- the beginning of the twentieth century. During this period, there was a renewal of all types artistic creativity, but at the same time, the traditions of art of the previous century were also alive. Critics evaluated new works either from the standpoint of traditional art, or from the standpoint of avant-garde art.
"Realist" critics argue that Gorky's dramas "do not require any work from the artists, except for the" photographic image ". Alexander Blok argues that Gorky's "Petty Bourgeois" and S. Naidenov's play "Children of Vanyushin", written purely in a realistic, and somewhere even in a naturalistic vein, seem to "continue each other, can almost be read as one play in eight acts ".
At the same time, Dmitry Merezhkovsky is convinced that the “social attributes” in Gorky’s plays are “just an external vestment”, in reality, “Gorky’s tramp is the same Chekhovian intellectual, naked and from these last veils of some mental and moral conventions, completely” naked man." “What Gorky has is “At the bottom”, then Dostoevsky has “Underground”: both of them are, first of all, not an external, socio-economic situation, but an internal, psychological state.” A. Kugel wrote that Luke in the play "At the Bottom" should have been played "transcendentally, as a kind of image of kindness ripening everywhere and healing." In 1912, the author of a brief reporter's note in the magazine Rampa and Life drew attention to the "somewhat infernal realism" of the same play. Vogüet de E.M. Maksim Gorky. His personality and works. Critical essay / E.M. de Vogüet. M.: Ed. bookseller M.V., Klyukin, 1903.-112 p.
Whether the playwright Gorky was a “realist” or a “symbolist” was debated not only in Russia. A. Kugel on the pages of his magazine "Theater and Art" in 1903 testified: "The performer of the role of Luka in" At the bottom "of M. Gorky on the stage of the Polish theater in Krakow turned to the editorial office of "Theater and Art" with a request to explain the nature of the role of Luka .
According to the artist, local newspapers reproached him for playing the role of Luca for real, while de Luca is a symbolic, “transcendental” image, according to Satin’s favorite expression.
Many critics - "realists" propagated the point of view according to which in their dramatic experiments "Maxim Gorky is anything - a preacher, a modern novelist (Caricature of the Gadfly from the Dragonfly magazine" - 1902), a thinker, but not an artist ". At the beginning of the century, the leading critic and publicist of the Russky Vestnik magazine wrote that, “feeling that the set of conversations that he (Gorky) throws onto the stage cannot be attributed to tragedy, drama, or comedy, he called "Petty Bourgeois" a dramatic sketch.
“They don’t need to say more than two words about Gorky as an artist,” Merezhkovsky argues in the article “Chekhov and Gorky” (1906). Here Merezhkovsky declares that “there is no art in Gorky’s works, but they contain something that is almost less valuable than the highest art: life, the most truthful original of life, a piece torn out of life with body and blood ...” . Merezhkovsky D.S. Coming Ham. Chekhov and Gorky. - M., 1906.
The concept of the non-staging of Gorky's plays was widespread during this period. The caption under one of the cartoons of the same time (Gorky is depicted in deep thought) read: “Gorky reflects after writing “Petty Bourgeois” - is he a playwright now or is he not a playwright?” After "The Petty Bourgeois": Maxim Gorky reflects: is he a playwright or not? ("Our Time") Not one critic of the beginning of the century refused to consider Gorky's new work "from the point of view of its literary and artistic merits", but "only as an illustration of life."
Gorky was also called "the least skillful of playwrights" in the foreign press, whose digests were published by Russian newspapers and magazines. About "At the bottom" they wrote, for example, the following. "There is no worse drama, no more impossible literary work!" ("Der Tag"). “In the conventional sense, these scenes (...) cannot be called a dramatic work” (“Magdeburg Zeit”). “Gorky is not a playwright ...” (“Berl. Neueste Nachrichten. In 1903, Dillon’s book “Maxim Gorky, his life and work” was published in England (Dillon E.J. Maxim Gorky, his Life and Writings. London, 1903 A review of it was published in the journal Literaturny Vestnik, the author of which quoted, in particular, Dillon's statements that all Gorky's heroes "sin against artistic truth. Because of them, the author himself unceremoniously speaks out, making them heralds of his ideas " Therefore, Gorky, "beginning like a poet, continues like an essayist and ends like a pamphleteer."
Batiushkov did not doubt Gorky's "bright artistic talent" and at the same time found in him a predominance of "journalism", and therefore he considered the "purely aesthetic" assessments with which one should approach Chekhov's work to be inapplicable to Gorky. A similar opinion was expressed in another discussion. Chekhov, it is said in one article, depicted the intelligentsia with even blacker colors than Gorky, but this was not striking, because Chekhov creates objective pictures of life, and Gorky - in contrast to him - is always more inclined to portray the "spiritual moods of individuals", respectively "Demands of my soul." Even when both writers have the same attitude towards a number of phenomena, the subjectivity of Gorky's talent leads to the fact that what others have covered up "sounds like a pamphlet" with him.
Naturally, these statements could not but play their role in shaping the assessment of Gorky's dramaturgy in Russia as a whole. In the "realistic" direction, Gorky's plays were indeed perceived most often within the boundaries of the pamphlet genre.
In the articles of precisely these critics, in those years, the idea of publicism as the leading beginning of Gorky's plays was formed.
Their authors wrote that Gorky in dramaturgy was attracted mainly by the opportunity to "visually express ideas." “Gorky doesn’t like to tell terribly, he always proves something,” writes K. Chukovsky - Chukovsky K. Inheritance and heirs: [On the 15th anniversary] // Lit. gas. - 1947. - November 15 .. Such a solution to the issue, in essence, was able to reconcile both enemies and admirers of the Petrel - both of them were many among those who professed a "realistic" interpretation of his plays.
For many of them, the value of a work was often determined precisely by the affirmed idea of a socio-political nature. E. Anichkov saw in Luka "a representative of an advanced, independent search for truth among the people."
In general, the drama "At the Bottom", according to one of the critics, was "to some extent an educational force and organically enters into the general process of democratization of life." “Gorky understands philistinism metaphorically, as a religion of narrow selfishness, selfishness in the literal sense of the word. But this is not the egoism of self-preservation, this is the pretension of a dogma that has lost its content. Any form that has completed its evolution must gradually disintegrate, give way to a new one. This is inevitable, life is movement, an endless change of forms,” N. Nikolaev noted.
Comparing the opinions and assessments of different authors, however, one comes to the conclusion not so much about the ideological filling of the Gorky plays themselves, but about the oversaturation with the ideas of the society in the era of whose existence they happened to be born. Moreover, with ideas of all kinds - from frankly opportunistic political, from ideological to scientific and philosophical.
It is not surprising, therefore, that critics of almost all three directions associated Gorky's plays with the genre variety of the "philosophical drama". Already at the first appearance of "At the Bottom" they began to compare Luka with the elder Zosima from the novel "The Brothers Karamazov" by F. Dostoevsky and Akim from the play "The Power of Darkness" by L. Tolstoy.
Some considered the characters of Dostoevsky and Tolstoy to be the prototypes of Luke, others gave definitions - "unsuccessful imitation" or "parody". In general, as K. Chukovsky noted, “Gorky does not have a single hero who would not philosophize. Each one will appear on its pages a little, and so begins to express his philosophy. Everyone speaks in aphorisms; no one lives on his own, but only for aphorisms. They live and move not for movement, not for life, but to philosophize. This feature caused a lot of admiration and ridicule, but not everyone saw this convention as an artistic device.
The conviction that Gorky was a publicist in his dramatic experiments led to confidence in the firmness, certainty of the author's position in his works, the author's mood, and the integrity of his worldview. Among those who adhere to this point of view on Gorky's dramaturgy are both "realist" and "symbolist" critics. On this occasion, K. Chukovsky sneered at the supposedly obvious position of the author: “I can’t understand one thing: why does Gorky never have several ideas in his head at once, why does he have only one idea, very good, but only one? - and it was not always that I was upset in him that he had this idea, but that he had no others. I consider this his main and most important sin ”Chukovsky K. Inheritance and heirs: [On the 15th anniversary] // Lit. gas. - 1947. - 15 Nov.
At the same time, it caused bewilderment and irritation - again, is it true? - the intention of the author to disguise his own thoughts and assessments.
“Wishing to disguise his true thought (in “At the Bottom”), Gorky got confused and lost,” wrote the “realist” Starodum. Among the shortcomings of the plays “Children of the Sun” and “Barbarians”, the “symbolist” A. Kugel attributed “that more witty than artistic hide-and-seek game between the author and the reader, which turns the author’s main idea into some kind of two-sided charade.” Still, some critics admitted to the impossibility of understanding which side the playwright is really on?
Yu. Belyaev asked: “Who emerges from this struggle of“ two truths ”of two generations as winners and who are defeated - you will not understand this in Gorky. (...) The "children of Bessemenov" with their new views are less clear to me than the "children of Vanyushin". What they want, these children, and what they are, (...) is not entirely clear.”
The dispute about the two central figures of the next Gorky play "At the Bottom" Luka and Satin - which of them is actually the author's voice in the play? - arose as a result of the same apparent clarity, but in reality not such a simple authorial position of Gorky in the drama. And if in the future the disputes about "Summer Residents" were less stormy, the inconsistency of the central images of the plays "Children of the Sun" (primarily the image of Protasov) and "Barbara" (Nadezhda Monakhova) again threw many into confusion.
Before the defeat of the first Russian revolution of 1905-1907. Critics actively affirm - each in their own way - the existence of a certain "iron" idea in the author's concept, tried to present the conflict as solvable, completed, having a clear, definite ending. To this end, very often the characters in each of the plays were divided into two opposing camps. The political priorities of the critics became quite obvious, but nevertheless, such a division was by no means always determined only by considerations of an ideological and political nature.
Foreign interpreters, evaluating Gorky's plays, also noted, on the one hand, their tendentiousness, on the other hand, they admired the "vitality" of the created images and special pathos. Dillon (if Russian publishers are to be believed) described Gorky's characters as "creations of astounding power".
Paul Goldman was surprised: "Each character passes in front of the viewer, as if alive." Russian critics were less unanimous in their assessment of Gorky's portrayal of his characters. The author of Odesskiye Novosti wrote, for example, that the protagonists of the same "Meschans" "do not live even in the imagination of their creator." As if objecting to him, the reviewer of "Courier" stated: "Her whole life (of the play" Petty Bourgeois ") is in characters and in dialogue." And right there, both critics notice that "there is too little movement in Gorky's play," that it "does not breathe, does not move." All this only strengthened the perception of Gorky's early plays as close to the pamphlet genre.
Those who criticized Gorky and his play took as an axiom the adequacy of the image created by the writer to his idea, did not express doubts on this score, they looked for flaws in the hero himself, in his character and worldview.
Others remarked: “They wanted to assure us that Neil from the Petty Bourgeois was a normal person for Gorky. (...) Neil would not have been such a dumbass at Gorky's then. In my opinion, all these Artems, Nilovs and Gordeevs should be taken, as they are given, cum grano salis (“With intelligence, with irony” (lat.))”. Arguing even then with the conviction that the image of the Nile was politically oriented, another reviewer wrote with conviction: “Do not look for any social ideals from the Nile, except for the instinctive desire for life, for personal happiness.”
Conclusion: First, the plays of Maxim Gorky early period"resist" their interpretation in line with the "realistic" type. Although this does not mean that this perception is fundamentally wrong, however, it noticeably narrows the range of interpretations of the dramas “Petty bourgeois”, “At the bottom”, “Summer residents”, as a rule, introducing it into the framework of the exclusively genre of social drama or comedy.
Secondly, Gorky's early dramaturgy was born and developed under the strong influence of the artistic phenomenon of the "new drama" at the turn of the 19th-20th centuries, absorbing its achievements in the field of poetics and at the same time trying to argue with its ideology.
On the one hand, the tragedy of everyday life discovered by the “new drama” is also inherent in Gorky’s dramaturgy, but Gorky approached this problem from a different point of view, which became the basis for the emergence of tragicomic conflict in his works for the theater.
On the other hand, many of the artistic principles of the "new drama", assimilated by Gorky, made it possible to interpret his dramaturgy through the prism of many genres and genre varieties, originating precisely in this phenomenon of the beginning of the century - up to interpretation in line with the "theatre of the absurd".
Finally, the obvious tendency of M. Gorky's plays of the early period to interpret them in line with the tragicomic genre can also be considered a consequence of the closeness to the aesthetics of the "new drama". This trend manifested itself so clearly in the history of the functioning of the plays “Petty Bourgeois”, “At the Bottom” and “Summer Residents” in the 20th century that additional analysis was needed to confirm the correctness of preliminary observations. It can be concluded that in the history of Russian literature, Gorky's plays of the early period represent the genre of tragicomedy.
In the process of this analysis, another conclusion was also made: Gorky's dramaturgy is also an intellectual theater. This is what explains, on the one hand, the long periods of coolness in theaters towards her, and on the other hand, her popularity in the crisis periods of history, which are characterized by increased intellectuality.
Here we can immediately stipulate that this definition of a genre variety does not cancel the concept of "philosophical drama" in relation to Gorky's plays.
However, if the latter refers to a greater extent to the content of these works, then the concept of "intellectual drama" characterizes, first of all, the poetics of the play, its form, which, due to its versatility, multidimensionality, multilayeredness, is capable of endlessly incrementing the meanings of an artistic creation.
Consequently, when interpreting Gorky's plays, it is through understanding the high intellectualization of their form that the path to new interpretations of Gorky's dramaturgy lies.
TYPES OF ERRORS MADE WHEN USING HOMOGENEOUS MEMBERS
7.6.1 Homogeneous predicates have the same dependent object.
Rule: With a normal, correct sentence structure, ONE is put from each of the two homogeneous predicates (first and second). GENERAL question to the general addition For example:
Guys addicted to (what?) and doing (what?) sports; Heroes of the story remember (about what?) and share their impressions (about what?) about the years of youth.
An error occurs if each of the predicates asks a DIFFERENT question to the GENERAL addition.
Example 1: I love (who? what?) and admire (who? what) my father.
The predicates “I love” and “I admire” have one dependent word “father”, which is in the instrumental case. It turned out that the addition of “father” correctly obeyed only the second predicate, since the verb “love” requires an accusative from the addition (I love whom? What? Father), therefore, this sentence is constructed incorrectly. To correctly express a thought, you need to change the sentence so that each predicate has a separate, case-appropriate addition, for example, like this: I love my father and admire him.
Example 2: The hero of the story believed (in what? what?) and strove (for what?) to his dream. Each of the verbs requires its own form of complement, it is impossible to pick up a common word, so we change the sentence again so that each predicate has a separate complement that matches the case, for example, like this: The hero of the story believed in his dream and strove for it.
Note for teachers: This type of error refers to control errors. In written work, such a mistake is usually made by students due to inattention: the first predicate is simply overlooked, and the mistake (when pointing to it) is easily corrected. A much more serious problem arises where the student does not realize that this or that case question cannot be raised from a given verb in principle.
7.6.2 Homogeneous members are connected by double unions not only ..., but also ...; if not ... then ... and others
.Rule 1 In such proposals, attention should be paid to that parts of a double union must connect homogeneous members of the same series, For example: We were inspired not so much colorful places of this quiet city, How many the spirit of its inhabitants. Let's make a proposal: not so much ABOUT , How many ABOUT . The first part of the double union: not so much, is before the first EP, subject to “places” (we do not take into account the word “colorful”), the second part How many stands before the second subject "soulfulness".
Now let's break the sentence. Us not so much inspired by the colorful places of this quiet city, How many the spirit of its inhabitants. The first part of the union now refers to the predicate, and the second to the subject. This is where this type of error lies.
Let's look at some more examples:
Example 1: It can be argued that the mood was the main Not only for the creator of the poem, but also for his readers. That's right: each part comes before the OC, in this example, before the additions. Compare with an incorrectly constructed sentence: It can be argued that the mood was Not only the main thing for the creator of the poem, but also for his readers. The parts of the union are connected not by homogeneous members, but by the predicate and the addition.
Rule 2 It must also be remembered that the parts of a double union are permanent, they cannot be replaced by other words. Yes, the suggestion would be wrong. Merchants Stroganovs Not only boiled salt, and , since the union not only.. but also No. The union "not only" has the second part "but" and not "also". The correct version of this sentence would be: Merchants Stroganovs Not only boiled salt, but also mined iron and copper in their lands
This is how you can: (variants of the second part are given in brackets).
1) not only ... but also (and and; but even; and yet; and besides); not only not ... but (but rather, rather; on the contrary, on the contrary); not only; 2) not that ... but (a; simply; even, not even); even ... not that; not even ... not that; not even ... especially not;
3) moreover ... also; not only that ... also; little of; moreover, more than that; worse than that; and even.
7.6.3 In sentences with homogeneous members there is a generalizing word.
It must be taken into account that all homogeneous members must be in the same case as the generalizing word.
The grammatically correct sentence would be: I forgot about everything: about anxieties and sorrows, about sleepless nights, about sadness and longing. . The word [about] "everything" is generalizing, it is in the prepositional case. All OCs are in the same case.
Failure to comply with this rule is gross violation syntactic norm: gifts:crossbows, sables and ornaments.
In this sentence, the generalizing word “gifts” is in the form of the genitive case, and all homogeneous members (“crossbows, sable and decorations”) are in the form of the nominative case. Therefore, this sentence is incorrect. Correct option: Soon the nobleman began to inspect the brought gifts: crossbows, sables and ornaments.
7.6.5 Using different syntactic elements of a sentence as homogeneous members
.There is a strict grammatical rule that prescribes which elements can and cannot be combined into homogeneous members.
We list the cases in which this rule is violated.
If the proposal is combined into homogeneous
- noun form and indefinite form verb: I love chess and swimming, I like to embroider and needlework, I'm afraid of the dark and being alone and similar;
- different forms of the nominal part of the predicate: sister was upset and worried, she was younger and kinder and similar;
- participle turnover and subordinate clause : The main characters of the story are people who are not afraid of difficulties and who are always true to their word.; I do not like people who change their attitude and who do not hide it. and similar;
Involved and participial turnover: Loving their work and striving to do it well, the builders have achieved excellent results. and similar;
that is - grammar mistake. Note that such violations are very common in written work, therefore, like the entire task 7, this part is of great practical importance.
The following types of errors occurred in assignments prior to 2015.
7.6.4 Different prepositions may be used for homogeneous terms.
In one row of OC, when listing, it is possible to use prepositions, for example: V theatre, and on exhibition VDNKh, and onRed Square. As you can see, this sentence uses prepositions V And on, and that's right. It would be a mistake to use the same preposition for all the words in this series: During my three stays in Moscow, I visited and V theater, and exhibition VDNH, and Red Square. You can't be "in VDNKh" and "in Red Square." So the rule is: you cannot use a common preposition for all members of the series if, in terms of meaning, this preposition does not fit at least one of the SPs.
Example with an error: Crowds of people were everywhere: on the streets, squares, squares. Before the word "squares" it is necessary to add the preposition "in," since this word is not used with the preposition "on". Correct option: Crowds of people were everywhere: in the streets, squares, squares.
7.6.6 Connection in one row of specific and generic concepts
For example, in a sentence: The package contained oranges, juice, bananas, fruits a logical error has been made. "Oranges" and "bananas" are specific concepts in relation to the word "fruit" (that is, common), therefore, they cannot stand with it in the same row of homogeneous members. Correct option: The package contained juice and fruits: bananas, oranges.
Another error example: For a meeting with famous artist adults, children and schoolchildren came. The words "children" and "schoolchildren" cannot be made homogeneous.
7.6.7 The use of logically incompatible concepts in one series of homogeneous terms
For example, in a sentence The mourners walked with bags and sad faces a mistake is felt: “faces” and “bags” cannot be homogeneous.
Such intentional violation can act as a stylistic device: Only Masha, heating and winter did not sleep(K. G. Paustovsky). When the frost and mother allowed him to stick his nose out of the house, Nikita went to wander around the yard alone.(A.N. Tolstoy). Only if this is acceptable for a work of art of the level of Tolstoy or Chekhov (they are not on the exam, they can joke, play with words!), then such humor will not be appreciated either in written works or in task 7.
B) the violation of the connection between the subject and the predicate in sentence 4 is that if the subject is expressed by the pronouns who, what, nobody, nothing, someone, someone, then the predicate is put in the singular
Here is the correct spelling: Everyone who has studied the process of language development is aware of various historical changes at the level of phonetics and grammar.
Rule 7.3.1 paragraph
7.3. Agreement of the predicate with the subject
INTRODUCTION
Subject - the main member of the sentence, which is consistent with its predicate according to the laws of grammar.
The subject and predicate usually have the same grammatical forms of number, gender, person, for example: Clouds are rushing, clouds are winding; Invisible moon Illuminates the flying snow; The sky is cloudy, the night is cloudy.
In such cases, we can talk about the agreement of the predicate with the subject. However, the correspondence of the grammatical forms of the main members of the sentence is not necessary, there may be an incomplete correspondence of the grammatical forms of the main members: My whole life has been a guarantee of a faithful date with you.- correspondence of number forms, but different forms of gender; Your destiny is endless chores- inconsistency of number forms.
The grammatical connection of the main members of the sentence is considered as coordination. This grammatical connection is wider and freer than agreement. It can be entered different words, their morphological properties do not have to match each other.
When coordinating the main members of the sentence, the problem arises of choosing the forms of the number of the predicate, when the gender / number of the subject is difficult to determine. This section of the "Reference" is devoted to consideration of these issues.
7.3.1. In a complex sentence, pronouns act as subjects
If in a sentence (and not necessarily in NGN!) a pronoun is used as a subject, then you need to know a number of rules that prescribe how to correctly coordinate the predicate with it.
A) If the subject is expressed by the pronouns WHO, WHAT, NOBODY, NOTHING, SOMEONE, SOMEONE, WHOEVER, then the predicate is put in the singular form: For example: [Those ( who neglect the opinions of others) risk being left alone].
EXAMPLE 1 (Whoever comes), [everyone will know].
EXAMPLE 2 [No one knew (that the lesson was postponed).]
EXAMPLE 1 (Whoever comes, [everyone will know].
EXAMPLE 2 [No one knew (that the lesson was postponed).]
B) If the subject is expressed by the plural pronoun TE, ALL, the predicate is put in the plural form. If the subject is expressed by the singular pronouns TOT, TA, TO, the predicate is put in the singular form. For example: [ THOSE (who graduated with honors) are more likely to enter a university free of charge].
This proposal is built on the following model:
[Those (who + the predicate), ... the predicate ...]. And this is the most common model in which it is proposed to find an error. Let's analyze the structure of a complex sentence: in the main sentence, the pronoun “those” is the subject, pl. h; "have" -predicate, pl. This is in line with rule B.
Now attention to the subordinate clause: “who” is the subject, “finished” is the predicate in the singular. This is in accordance with rule A.
Consider sentences with a grammatical error:
EXAMPLE 1 [Everyone (who purchased tickets at the box office) must independently check in for the flight].
EXAMPLE 2. [Those (who have seen the northern lights at least once) will no longer be able to forget this extraordinary phenomenon].
EXAMPLE 3. [Those (who are planning a vacation for the summer) buy tickets in the spring].
Here are the corrected versions:
EXAMPLE 1 [Everyone (who purchased tickets at the box office) MUST check in for the flight on their own].
EXAMPLE 2. [Those (who have seen the northern lights at least once) will no longer be able to forget this extraordinary phenomenon].
In examples 1 and 2, the error is easy to see: it is enough to throw out the subordinate clause. In the following example, the error often goes unnoticed.
EXAMPLE 3. [Those ( who are planning a vacation for the summer) buy tickets in the spring].
C) If the subject is expressed by the phrase ONE OF .., EACH OF ..., NONE OF .. then the predicate is put in the singular form. If the subject is expressed by the phrase MANY FROM ..., SOME FROM ..., ALL FROM .. then the predicate is put in the plural form. For example: [None of those (who won a prize) wanted to go to the republican competition].
Consider sentences with a grammatical error:
EXAMPLE 4 [Many of those (who have been to Mikhailovsky Park) were amazed at the size of the old estate trees].
EXAMPLE 5 [Each of us (who has been in a similar situation) certainly thought about ways out of it].
EXAMPLE 6 [Each of the parties (which presented its project) defended its advantages over other projects].
Here are the corrected versions:
EXAMPLE 4 [Many of those (who have been to Mikhailovsky Park) were amazed at the size of the old manor trees].
EXAMPLE 5 [Each of us (who has been in a similar situation) certainly thought about ways out of it].
EXAMPLE 6 [Each side, (who presented her project), defended its advantages over other projects].
D) If the sentence contains a turnover of WHO, HOW NOT .., the predicate is put in the singular masculine form. For example: Who, if not parents, SHOULD teach children the ability to communicate?
This turnover can be considered as clarifying, see other examples in clause 7.3.3, part B.
Consider sentences with a grammatical error:
EXAMPLE 7 Who, if not we, should worry about the cleanliness of our cities?
EXAMPLE 8 Who, if not your mother, taught you a model of endurance and love of life?
Here are the corrected versions:
EXAMPLE 7 Who, if not us, should worry about the cleanliness of their cities?
EXAMPLE 8 Who, if not your mother, taught you a model of endurance and love of life?
7.3.2 Predicate coordination with subject, expressed word or combination of words with the meaning of quantity
When coordinating the main members of the sentence, the problem arises of choosing the forms of the number of the predicate, when the subject points to many objects, but appears in the singular.
A) The role of the subject is the collective name of nouns and words close to them in meaning.
Collective nouns denote a set of homogeneous objects or living beings as an indivisible whole: FOLIAGE, DUBNYAK, ASPEN, CHILDREN, STUDENTS, TEACHER, PROFESSORIES, PEASANTS. They have the form of only the singular, do not combine with quantitative numbers and with words denoting units of measure, but can be combined with the words a lot / little or how much: LITTLE RELATIONS, A LITTLE LEAVES, A LOT OF MOSHKORA.
The words PEOPLE, PACK, ARMY, GROUP, CROWD can also be attributed to them in terms of the meaning of collectiveness; THOUSAND, MILLION, HUNDRED; TROIKA, PAIR; DARKNESS, DEEP, LOTS AND OTHERS
The subject, expressed by a collective noun, requires the predicate to be set only in the singular form:
For example: The children frolicked in the courtyard of the house; young people often take the initiative.
The subject expressed by a noun like GROUP, CROWD also requires setting the predicate only in the singular form:
For example: A group of festival participants shared their impressions; a trio of horses rushed under the windows
Consider sentences with a grammatical error:
EXAMPLE 1. Over the past three years, the leadership of the Central and regional markets have repeatedly filed complaints with higher organizations.
EXAMPLE 3. A couple of lovers were sitting on a bench.
Here are the corrected versions:
EXAMPLE 1. Over the past three years, the leadership of the Central and regional markets have repeatedly filed complaints with higher organizations.
EXAMPLE 3. A couple of lovers were sitting on a bench.
B) The subject is a collective noun with a quantitative meaning
The nouns MOST, MINORITY, PLENTY, SERIES, PART, despite the grammatical form of the singular, denote not one object, but many, and therefore the predicate can take not only the form of the singular, but also the plural. For example: On this pond ... an innumerable number of ducks were hatched and kept; Many hands are knocking on all the windows from the street, and someone is breaking on the door. Which form would you prefer?
The subject, which has in its composition the collective nouns MOST, MINORITY, Plenty, ROW, PART, requires the predicate to be set only in the singular form, if:
A) there are no dependent words from the collective noun
Part went on vacation, and part remained; many scatteredAxis, a minority remainedAxis
b) the collective noun has a singular dependent word
With a subject that has in its composition the words MOST, MINORITY, PLENTY, SERIES, PART, you can put the predicate both in the plural form and in the plural, if the noun has a dependent word in the plural:
Most students passed the test; a number of participants demonstrated excellent knowledge.
Some of the books were purchased for the library; a number of objects delivered ahead of schedule
The plural of the predicate in such constructions usually indicates the activity of the actors.
Consider the cases in which the use of the plural of the predicate is allowed and permissible.
| The predicate is put | |
| in the singular, if | plural, if |
| The activity of animated persons is not emphasized: Part of the conference participants did not accept participation in the discussion | Activity is highlighted. The subject is animate. Most writers strongly rejected editor fixes. Most students are good answered at the lesson. |
| Activity is not emphasized, the passive participle indicates that the object itself does not perform the action. Row of workersattracted to responsibility. | Activity is emphasized in the presence of participial or participle turnover. |
| Activity is not emphasized, subject is inanimate Most Items lay in disarray A number of workshops manufactures parts for our workshop. | Activity is also indicated by a number of homogeneous members: Majority editors, proofreaders, authors, reviewers studied these documents. Most editors got order, got acquainted with its content and done necessary conclusions. A number of homogeneous predicates. |
Nevertheless, it should be borne in mind that the singular form of the predicate is more in line with the tradition of book writing styles and the use of the plural form of the predicate must be clearly justified. An error in the tasks of the exam will be the unreasonable setting of the predicate in the plural.
Consider sentences with a grammatical error:
EXAMPLE 4 Most of the tasks were not done correctly enough.
EXAMPLE 5 A number of events will be held in Yelets, Voronezh, Orel.
EXAMPLE 6 A lot of poems by this author were published in the series "Children's Library"
Here are the corrected versions:
EXAMPLE 4 Most of the tasks were not completed correctly. The predicate in the form of a passive participle indicates the passivity of the actor.
EXAMPLE 5 A number of events will be held in Yelets, Voronezh, Orel. Events cannot act on their own, so the predicate must be used in the singular.
EXAMPLE 6 Many poems by this author were published in the Children's Library series.. The predicate in the form of a passive participle indicates the passivity of the actor.
C) The combination of a numeral with a noun acts as a subject
With a subject expressed by a quantitative-nominal combination, the same problem arises: in what number is it better to use the predicate. In Chekhov we find: Some three soldiers stood side by side at the very descent and were silent; He had two sons. L. Tolstoy preferred the following forms: Three peasants and a woman sat in the sleigh; Two feelings fought in his soul - good and evil.
Note: In the USE assignments, such cases do not occur, since there is a high possibility of incorrect classification of the type of error - such cases can be attributed to an error in the use of a numeral. Therefore, we confine ourselves to remarks of a general nature and note the most gross errors made in written works.
With a subject that has in its composition a numeral or a word with the meaning of quantity, you can put the predicate both in the plural form and in the singular:
Five years have passed; ten graduates have chosen our institute
The use of different forms depends on the meaning that the predicate brings to the sentence, activity and generality of action is emphasized by the plural. number.
The predicate is usually put in the singular if
In the subject, a numeral ending in "one":
Twenty-one students of our institute are included in the city's volleyball team, But Twenty-two (three, four, five...) students of our institute are members of the city's volleyball team
If the message fixes this or that fact, the result, or when the message is given an impersonal character:
Twenty-two suits sold; Three or four students will be transferred to another class.
The predicate is expressed by a verb with the meaning of being, presence, existence, position in space:
Three kingdoms stood before her. The room had two windows with wide window sills. Three windows of the room faced north
Wrong: Three kingdoms stood. There were two windows with wide window sills in the room. Three windows of the room faced north.
A single number, which creates an idea of a single whole, is used to designate a measure of weight, space, time:
Thirty-four kilograms of drying oil will be required to paint the roof. Twenty-five kilometers remained until the end of the journey. A hundred years have passed. However, already, it seems, eleven o'clock struck. Five months have elapsed since
Wrong: Thirty-four kilograms of drying oil will be required to paint the roof; Twenty-five kilometers remained until the end of the journey. A hundred years have passed. However, already, it seems, eleven o'clock has struck. Five months have elapsed since then.
With a subject expressed by a complex noun, the first part of which is the numeral sex-, the predicate is usually put in the singular, and in the past tense - in the middle gender, For example: half an hour will pass, half a year has flown by, half the city participated in the demonstration.
Wrong: half the class participated in the competition, half an hour will pass
7.3.3 Coordination between subject and verb separated from each other
Between the subject and the predicate, there may be secondary isolated members of the sentence, clarifying members, subordinate clauses. In these cases, it is necessary to strictly observe the general rule: the predicate and the subject must agree.
Let's consider special cases.
A) Coordination of the subject and the compound nominal predicate in a sentence built according to the “noun. is a noun.”
Note for the teacher: this type of error in the SPP is noted in his manual "How to get 100 USE points" (2015) by I.P. Tsybulko, while in the "Handbook of Spelling and Literary Editing" by D. Rosenthal, such an error is called a construction shift in a complex sentence.
The nominal part of the predicate in a sentence built according to the noun + noun model must be in the nominative case.
For example: [First, (what you should learn) is highlighting the basis of the sentence].
The grammatical basis of the main clause consists of the subject first and predicate selection. Both words are in the nominative case.
And this is what it looks like proposal with an error: [The first (what should be learned) is the selection of the basis of the sentence]. Under the influence of the subordinate clause, the predicate received the genitive case, which is a mistake.
Consider sentences with a grammatical error:
EXAMPLE 1 [The main thing (what you need to pay attention to) is the ideological side of the work]
EXAMPLE 2 [The last thing (to stop) is the composition of the book]
EXAMPLE 3 [The most important (what is worth striving for) is the fulfillment of a dream]
Here are the corrected versions:
EXAMPLE 1 The main thing (what you need to pay attention to) is the ideological side of the work]
EXAMPLE 2 [The last (what should be stopped) is the composition of the book]
EXAMPLE 3 [The most important (what is worth striving for) is the fulfillment of a dream]
B). Coordination of the predicate with the subject, in which there are clarifying members.
In order to clarify the subject, sometimes clarifying (explaining turns), connecting members of the sentence, separate additions are used. Yes, in the proposal Competition Jury, including representatives of a cosmetic company selected from the audience, could not determine the winner the highlighted turnover is a connecting one(in other manuals it is called clarifying).
The presence in the sentence of any member that specifies the meaning of the subject does not affect the number of the predicate. Such turns are attached with the words: EVEN, ESPECIALLY, INCLUDING, FOR EXAMPLE; EXCEPT, INCLUDING, INCLUDING and the like. For example: Editorial Board, including the editors of the Internet portal, is in favor of reorganization.
Consider sentences with a grammatical error:
EXAMPLE 4. The entire team, including dancers and jugglers, spoke out in favor of participating in the competition.
EXAMPLE 5. The whole family, and especially the younger children, was looking forward to the arrival of their grandfather.
EXAMPLE 6. The school administration, including members of the parent committee, supported holding an extended parent meeting.
Here are the corrected versions:
The mistake is easy to see if you throw out the subordinate clause.
EXAMPLE 4 The whole team, including dancers and jugglers, spoke out in favor of participating in the competition.
EXAMPLE 5 The whole family, and especially the younger children, was looking forward to the arrival of their grandfather.
EXAMPLE 6 The school administration, including members of the parent committee, advocated holding an expanded parent meeting.
7.3.4 Coordination of the predicate with the subject, the gender or number of which is difficult to determine.
For the correct connection of the subject with the predicate, it is very important to know the gender of the noun.
A) Certain categories or groups of nouns have difficulty in determining the gender or number.
The gender and number of indeclinable nouns, abbreviations, conditional names and a number of other words are determined by special rules. For the correct coordination of such words with the predicate, you need to know their morphological features.
Ignorance of these rules cause errors: Sochi became the capital of the Olympics; cocoa is cold; shampoo is over; the university announced the enrollment of students, the Ministry of Foreign Affairs reported
Need to: Sochi has become the capital of the Olympics; cocoa has cooled down; shampoo is over, the university announced a set of students, the Ministry of Foreign Affairs reported
Nouns, the gender/number of which is difficult to determine, are discussed in the section. After studying the above material, you will be able to successfully complete not only task 6, but also 7.
Consider sentences with errors
EXAMPLE 1. The parcel was sent at the beginning of the week.
In the sentence, the word "package" is the subject, feminine. The predicate "was sent" is in the masculine. This is mistake. We fix: The parcel was sent at the beginning of the week
EXAMPLE 2. The tulle harmonized perfectly with the color of the upholstered furniture.
In the sentence, the word "tulle" is the subject, masculine. The predicate "approached" is in the feminine. This is mistake. We fix: The tulle harmonized perfectly with the color of the upholstered furniture.
EXAMPLE 3. The UN has met for another meeting.
In the sentence, the word "UN" is the subject, feminine (organization). The predicate "gathered" is on average. This is mistake. We fix: The UN met for a regular meeting.
EXAMPLE 4. Foreign Ministry announced participation in the meeting
In the sentence, the word "MIA" is the subject, it does not change. When decrypted, we get "Ministry
Foreign Affairs". Keep in mind that this word refers to the masculine gender. The predicate "reported" is on average. This is mistake. We fix: The Foreign Ministry announced its participation in the meeting.
EXAMPLE 5. "Moskovsky Komsomolets" published a rating of the best universities in the country.
In the sentence, the phrase "Moskovsky Komsomolets" is the subject, this is a conditional Russian name, a masculine word, like the word "Komsomolets". The predicate "printed" is in the feminine. This is mistake. We correct: Moskovsky Komsomolets published a rating of the best universities in the country.
EXAMPLE 6. Tbilisi attracts tourists .
In the sentence, the word "Tbilisi" is the subject, it is an invariable code name. It is a masculine word, like the word "city". The predicate "attract" is plural. This is mistake. We fix: Tbilisi attracts tourists.
B) Coordination of the predicate with the subject with the meaning of the profession
With a masculine noun denoting a profession, position, rank, etc., the predicate is placed in masculine regardless of the gender of the person in question. For example: the teacher made a report, the director called an employee
WITH proposals will be wrong, in which the teacher made a report, the director called an employee .
Note: if there is a person's own name, especially a surname, in which the indicated words act as applications, the predicate is consistent with the proper name: Teacher Sergeeva gave a lecture. More on this point below, 7.3.5
7.3.5 Subject is appendix
An application is a definition expressed by a noun that agrees with the word being defined in the case: city (what?) Sochi, bird (what?) hummingbird, website (what?) "ReshuEGE"
As a general rule, the predicate agrees with the subject, and the presence of an application in the form of a different kind or number in the last does not affect agreement.
For example: The plant, this grand colossus, seemed to be a ship of unheard-of dimensions too. The suggestion would be wrong. The plant, this grandiose colossus, it seemed, was also a ship of unheard of dimensions. .
If the subject has an application, then, first of all, it is necessary to find out which of the words is the subject and which is the application, and then put the predicate in one way or another.
Table 1. Application and subjects are written separately. When combining a generic name and a specific or specific and individual subject, the word denoting a broader concept is considered, and the predicate is consistent with it. Here are some examples:
Application is a common noun:
the rose flower smelled marvelously; the oak tree has grown; kharcho soup is cooked
Application - proper noun
the Dnieper river has flooded; newspaper "Moscow's comsomolets" came out; Barbos dog barked
Exception: last names of people. In pairs, engineer Svetlova reported, Doctor of Science Zvantseva came out, head teacher Marina Sergeevna noted proper nouns are subject.
Table 2. The subject is compound noun, forms terms, in which one part resembles an application in function. In these cases, the leading (defined) word is the word that expresses a broader concept or specifically designates an object.
The predicate agrees with the first word, both words change
an armchair-bed stood in the corner; the factory-laboratory fulfilled the order; invoice issued in a timely manner; theater-studio brought up a lot of actors; attention was attracted by a table-poster; romance song became very popular
The predicate agrees with the second word, the first word does not change:
cafeteria is open(dining room is a broader concept); vending machine open(in this combination, the part of the diner acts as the bearer of a specific meaning); raincoat tent lay(tent in the form of a raincoat, not a raincoat in the form of a tent); "Roman-newspaper" was published in large circulation(newspaper is a broader name).
EXAMPLE 1 ice cream cake cut into equal pieces .
The compound noun "ice cream cake" after the main, more general word "cake" is masculine, therefore: Ice cream cake cut into equal pieces
EXAMPLE 2 The story "Children of the Underground" was written by V.G. Korolenko. .
The conditional name is an application, so you need to coordinate the predicate with the word "story": The story "Children of the Underground" was written by V.G. Korolenko.
EXAMPLE 3 A tiny dog, quite a puppy, suddenly barked loudly. .
The subject is the word "dog", it is feminine, therefore: A tiny dog, quite a puppy, suddenly barked loudly.
EXAMPLE 4 Yesterday the young teacher Petrov gave his first lecture. .
The subject is the surname "Petrova", it is feminine, therefore: Yesterday, the young teacher Petrova gave her first lecture.
A) The sentence has homogeneous subjects and one predicate
If the predicate refers to several subjects, not connected by unions or connected by a connecting union, then the following forms of coordination apply:
The predicate after homogeneous subjects is usually plural:
Industry and Agriculture in Russia are steadily developing.
The predicate that precedes homogeneous subjects usually agrees with the nearest of them:
In the village there was a clatter and screams
If there are divisive or opposing unions between the subjects, then the predicate is put in the singular.
Experienced fear or instant fright in a minute seems both funny, and strange, and incomprehensible. Not you, but fate is to blame.
Consider sentences with errors:
EXAMPLE 1 Passion for sports and a tough daily routine did their job. .
Two subjects, the predicate comes after a series of homogeneous members, so it must be in the plural: Passion for sports and a tough daily routine did their job.
EXAMPLE 2 Not reason, but fear suddenly took possession of me. .
Two subjects, with the union a, the predicate must therefore be in the singular: Not reason, but fear suddenly took possession of me.
EXAMPLE 3 In the distance, the familiar noise and loud voices could be heard. .
Two subjects, the predicate is in front of a number of homogeneous members, therefore it should be in the singular: In the distance there was a familiar noise and loud voices.
B) The combination in the subject of a noun in the nominative case with a noun in the instrumental case (with the preposition c) like “brother and sister”
Setting the predicate in the plural or singular depends on what meaning is given to the phrase: joint action or separate.
When combined in the subject of a noun in the nominative case with a noun in the instrumental case (with the preposition c) like “brother and sister”, the predicate is put:
in plural, if both named objects (persons) act as equal action producers(both are subject);
Pasha and Petya had been waiting for their mother's return for a long time and were very worried.
in the singular, if the second object (person) accompanies the main producer of the action ( is an addition):
The mother and child went to the clinic. Nikolai and his younger sister came later than everyone else.
Only in the singular in the presence of the words TOGETHER, TOGETHER:
My father left the city with his mother.
Only in the singular with the subject expressed by the pronoun I, YOU
I will come with a friend; you had a fight with your mom
Consider sentences with errors:
EXAMPLE 1 My brother and his friends went to the beach. .
With the word "together" the predicate cannot be plural: My brother and his friends went to the beach.
EXAMPLE 2 Ruslan and I will come to class today. .
With the subject I (+ someone else), the predicate cannot be plural: Ruslan and I will come to class today. Or: Ruslan and I will come to class today.
EXAMPLE 3 You and your sister will live in this room. .
With the subject you (+ someone else), the predicate cannot be plural: You and your sister will live in this room.Or: You and your sister will live in this room..
C) the incorrect construction of a sentence with indirect speech in sentence 7 lies in the fact that when trying to use the quoting technique, two methods were mixed up: quoting itself and indirect speech. To introduce a quotation, let's do this: Napoleon once remarked: "I can lose this battle, but I cannot lose a minute."
To make an indirect speech: Napoleon once remarked that HE CAN lose this battle, but he CANNOT waste a minute. When replacing with indirect speech, we replaced pronouns and related verbs.
Rule 7.9.1 paragraph
7.9 INCORRECT SENTENCE CONSTRUCTION WITH ANOTHER SPEECH
In this task, students' ability to correctly build sentences with quotations and indirect speech is checked: out of 9 sentences on the right, you need to find one that contains an error.
The rules below will deal with quoting and indirect speech, these are very close, but not the same units.
In everyday life, especially often in oral speech, we often use the transmission of someone's words on our own behalf, the so-called indirect speech.
Sentences with indirect speech are complex sentences consisting of two parts (the words of the author and indirect speech), which are connected by unions what, as if to, or pronouns and adverbs who, what, what, how, where, when, why etc., or a particle whether.
For example: I was told that it was my brother. She demanded that I look into her eyes and asked if I remembered minnows, our little quarrels, picnics. We talked about how the birds I caught live.
Sentences with indirect speech serve to convey someone else's speech on behalf of the speaker, and not the one who actually said it. Unlike sentences with direct speech, they convey only the content of someone else's speech, but cannot convey all the features of its form and intonation.
Let's try to restore sentences: from indirect speech we will translate into sentences with direct speech:
I was told that it was my brother. - They told me: "It was your brother."
She demanded that I look into her eyes and asked if I remembered minnows, our little quarrels, picnics. - She said: "Look into my eyes!" And then she demanded: “Do you remember minnows, our meetings, our quarrels, picnics? Do you remember?
A friend asked: “How do the birds you caught live?”
As can be seen from the examples, the sentences coincide only in meaning, but the verbs, pronouns, and conjunctions change. Let us consider in detail the rules for translating direct speech into indirect speech: this is very important both for writing an essay and for completing task 7.
7.9.1 Basic rule:
when replacing sentences with direct speech with sentences with indirect speech, special attention should be paid to the correct use of personal and possessive pronouns, as well as related verbs, since in indirect speech we convey other people's words on our own behalf.
| Proposal with direct speech | Well-formed indirect speech | Incorrectly formed indirect speech |
| The father said: I I'll be back late." | Father said that He true et it's late. | Father said that I would return late. |
| We asked: "A You where did you come from?" | We asked where He I arrived. | We asked where you came from. |
| I confessed: Your Michael took the books. | I confessed that their Michael took the books. | I confessed that "Michael took your books." |
| The children screamed: We not guilty!" | The children screamed that They not guilty. | The children screamed that "we are not to blame." |
| We draw attention to that that quotation marks can help to detect an error, but you can’t focus on them alone, since quotation marks are both in the application and in sentences with quotes without errors, and not in all tasks. | ||
7.9.2 There are a number of additional rules
related to the peculiarity of translating direct speech into indirect speech, their observance is also checked in task 7.a) If direct speech is a declarative sentence,
What. Example: The secretary replied: "I complied with the request." – The secretary replied that he complied with the request. Pronoun changed!
b) If direct speech is an interrogative sentence,
then when replacing it with a subordinate clause, the role of subordinating conjunctions is performed interrogative pronouns, adverbs, particles who stood in direct question. A question mark is not used after an indirect question. Example: "What did you manage to accomplish?" the teacher asked the students. The teacher asked the students what they managed to do. Pronoun changed!
c) When in direct speech - interrogative sentence there are no interrogative pronouns, adverbs, particles,
when replacing it with an indirect one, a particle is used for communication whether. Example: "Are you correcting the text?" the secretary asked impatiently. The secretary asked impatiently if we were correcting the text. Pronoun changed!
d) If direct speech is an exclamatory sentence with a call to action,
then it is replaced by an explanatory subordinate clause with the union to. Example: The father shouted to his son: “Come back!” The father shouted to his son to come back. Pronoun added!e) Particles and words that are not grammatically related to the members of the sentence
(addresses, interjections, introductory words, complex sentences) and contained in direct speech, are omitted when replacing it with indirect speech. Example: “Ivan Petrovich, make an estimate for the next quarter,” the director asked the chief accountant. The director asked the chief accountant to draw up an estimate for the next quarter.
7.9.3. Special citation rules.
When writing essays, it often becomes necessary to quote either the desired fragment of the source text, or to quote the statement from memory, organically including the quote in the sentence. There are three ways to introduce a quote into your speech:
1) using direct speech, in compliance with all punctuation marks, for example: Pushkin said: “All ages are submissive to love” or “All ages are submissive to love,” Pushkin said.. This is the easiest way, but it is not always convenient. Such proposals will meet as true!
2) using subordinate clause, that is, using unions, for example: Pushkin said that "all ages are submissive to love". Pay attention to the changed punctuation marks. This way no different from the transmission of indirect speech.
3) a quote can be included in your text using introductory words, for example: As Pushkin said, "all ages are submissive to love".
Note that in Quote can't be changed.: what is enclosed in quotation marks is transmitted absolutely exactly, without any distortion. If it is necessary to include only part of the quote in your text, special characters (ellipsis, various types of brackets) are used, but this is not relevant to this task, since there are no punctuation errors in task 7.
Let's consider some features of quoting.
a) How to avoid an error if there is a quote with a pronoun?
On the one hand, quotes cannot be changed, on the other hand, a pronoun cannot be left. If you just insert a quote, there will be errors: Napoleon once remarked that " I I can lose this battle, but I can't lose a minute". Or like this: In his memoirs, Korolenko wrote that he always " I I saw undoubted intelligence in the face of Chekhov.
Both proposals require:
firstly, replace the pronoun I with OH, exclude the pronoun from the quote:
secondly, to change the verbs, connecting them with new pronouns and also to exclude from the quote, so we know that nothing can be changed.
With such changes, quotes will certainly “suffer”, and if we can keep the second sentence in this form: Korolenko wrote that He always "saw in the face of Chekhov undoubted intelligence", then Napoleon's statement cannot be saved. Therefore, we boldly remove the quotes and replace the quote with indirect speech: Napoleon once remarked that he can lose this battle, but not Maybe lose a minute.
b) Of particular note are cases of erroneous combination of two ways of introducing a quote into a sentence,
which causes a grammatical error. As we already know, a quotation can be entered either as a subordinate clause or with the help of introductory words. Here's what happens when two methods are combined:
Wrong: According to Maupassant, What"Love is as strong as death, but as fragile as glass".
Right: According to Maupassant, "love is as strong as death, but as fragile as glass."
Wrong: As P. I. Tchaikovsky stated, What"Inspiration is born only from work and during work".
Right: As P. I. Tchaikovsky stated, “inspiration is born only from labor and during labor.”
Thus, we formulate the rule: when using introductory words, the union is not used.
c) In the works of students there are also cases when a quote is introduced using introductory words,
but direct speech is made out as a separate sentence. This is not only a violation of punctuation, it is a violation of the rules for constructing a sentence with a quote.Wrong: According to Antoine de Saint-Exupery: “Only the heart is vigilant: you cannot see the most important thing with your eyes.”
Right: According to Antoine de Saint-Exupery, “only the heart is vigilant: you cannot see the most important thing with your eyes.”
Wrong: According to L. N. Tolstoy: "Art is the highest manifestation of power in man".
Right: According to Leo Tolstoy, "art is the highest manifestation of power in man."
D) a violation in the construction of a sentence with a participial turnover in sentence 8 is caused by the fact that the participle of the wrong voice is used. Funds must be sent by someone, so we need the present passive participle "sent".
Here is the correct spelling: Funds sent from the center arrive at the banks of our city with a great delay.
Rule 7.1.3 paragraph
7.1. USE OF PARTICIPIAL TERMS
INTRODUCTION
Participle turnover is a participle with dependent words. For example, in the sentence Graduates who successfully pass the exam become applicants
word Graduates- main word
surrendered - communion,
those who passed (how?) successfully and passed (what?) the exam are participle dependent words.
Thus, the participial turnover in this sentence is - successfully passed the exam. If you change the word order and write the same sentence differently by placing a turnover before main word ( Successfully passed the exam Graduates become applicants), only the punctuation will change, and the turnover remains unchanged.
Very important: before starting work with task 7 for finding errors in a sentence with a participle, we advise you to solve and study task 16, which tests the ability to put commas with correctly constructed participial and adverbial phrases.
The purpose of the task is to find one such sentence in which grammatical norms are violated when using participle turnover. Of course, the search must begin with finding the sacrament. Remember that the sacrament you are looking for must certainly be in full form: short form never forms a participial turnover, but is a predicate.
To successfully complete this task, you need to know:
- rules for coordinating the participle and the main (or defined) word;
- the rules for the location of the participial turnover in relation to the main word;
- tense and type of participles (present, past; perfect, imperfect);
- participle pledge (active or passive)
We draw attention to that that in a sentence with a participial turnover, not one, but two or even three errors can be made.
Note for teachers: keep in mind that the authors of various manuals have different points of view on the classification, as well as on the types of errors that can be attributed to a certain type. The classification adopted at RESHU is based on the classification of I.P. Tsybulko.
We classify all types of possible grammatical errors when using participial turnover.
7.1.1 Violation of the agreement of the participle with the word being defined
The rule according to which single participles (as well as those included in the participle) are consistent with the main (= defined) word, requires setting the participle in the same gender, number and case as the main word:
About children (what?) returning from a trip; for the exhibition (what?) being prepared in the museum.
Therefore, we simply find a sentence in which there is a full participle, and its ending does not correspond to (or) gender, (or) case, (or) the number of the main word.
Type 1, the lightest
I got to chat with the guests present at the opening of the exhibition.
What is the reason for the error? The participle is not consistent with the word to which it must obey, that is, the ending must be different. We put the question from the noun and change the ending of the participle, that is, we agree on the words.
I had a chance to chat with guests(what IMI?), those present at the opening of the exhibition.
In these examples, the noun and its participle stand side by side, the error is easily seen. But this is not always the case.
type 2, harder
Consider sentences with a grammatical error.
I want to find the words to the song heard recently.
These sentences contain two nouns: author, books; lyrics. Which of them has a participle turnover attached to it? We think about meaning. What was published, the author or his book? What do you want to find, words or a song?
Here's the corrected version:
I want to find the lyrics of the song (which one?), heard recently.
Type 3, even harder
The endings of participles sometimes perform a very large semantic mission. We think about the meaning!
Let's compare two sentences:
The noise of the sea (which one?), which woke me up, was very strong. What woke up? It turns out that the sea. The sea cannot wake up.
The noise (what?) of the sea that woke me up was very strong. What woke up? Turns out it's noise. And the noise can wake up. This is the correct option.
I heard the heavy steps (what?) of a bear, chasing me. Footsteps cannot pursue.
I heard the heavy steps of a bear (what?), haunting me. The bear can chase. This is the correct option.
Children of employees (which ones?), having any diseases receive preferential vouchers to the sanatorium. The participle “having” refers to the word “employees”. It turns out that employees will have diseases, and the children of sick employees will receive vouchers. This is not the right option.
Children (what?) of employees, having any disease receive preferential vouchers to the sanatorium. The participle "having" refers to the word "children", and we understand that it is the children who have diseases and they need vouchers.
4 type, variant
Often there are sentences in which there are phrases of two words, the first of which is part of the whole, indicated by the second, for example: each of their participants, one of all, any of those named, some of them, some of the gifts.. A participial phrase can be attached to each of the nouns, depending on the meaning: in such phrases, the participle (participial phrase) can be agreed with any word. It will be a mistake if the sacrament "hangs" and has no connection with any of the words.
Consider sentences with a grammatical error.
Each of the participants who received the maximum number of points was given the right to perform one more number.
The sacrament can be agreed with both the word "to each" and the word "participants".
To each (what?) of the participants, who received the maximum number of points, was granted the right to perform one more number
Each of the participants (which THEM?), who received the maximum number of points, was granted the right to perform one more number.
We draw attention to the fact that it will be a mistake to disagree with OR with the first word, OR with the second:
Incorrect: Each of the participants who received ... or Each of the participants who received ... This is not possible.
In explanations on DECIDE, the option of agreement with the ending THEM is more often used.
Similarly true: Part of the books (which THEM?), received as a gift will go as a gift.
Or Part (what) of books, received as a gift will go as a gift.
Incorrect: Part of the books received as a gift will go as a gift.
NOTE : this type of error when checking essays is considered a matching error.
7.1.2 Participle construction and place of the main word
In well-formed sentences with participial turnover the main (or defined word) cannot be inside the participial turnover. His place is either before or after him. Remember that this depends on the placement of punctuation marks !!!
Consider sentences with a grammatical error.
Submissions must be carefully checked documentation for examination.
We walked through the littered alley fallen leaves.
presenter Street the city was free.
Created novel young author caused lively controversy.
note: with this construction of the sentence, it is completely incomprehensible whether to put a comma.
Here's the corrected version:
Must be carefully checked documentation, submitted for examination. Or: You need to carefully check submitted for examination documentation.
We walked along alley, strewn with fallen leaves. Or: We walked along strewn with fallen leaves alley.
Street leading to the city was free. Or: Leading to the city Street was free.
7.1.3. Participle turnovers, including irregular forms of participles
In accordance with the norms of the formation of participles, in the modern Russian literary language, the forms of participles in -sch, formed from perfective verbs with the meaning of the future tense, are not used: there are no words pleasing, helping, reading, able. In the opinion of the editors of DECIDE, such erroneous forms should be presented in task 6, but, since I.P. Tsybulko has similar examples, we consider it important to note this type too.
Consider sentences with a grammatical error.
Until I found human, able to help me.
A valuable prize awaits participant, finding the answer to this question.
These sentences need to be corrected, because future participles are not formed from perfective verbs. Participles do not have a future tense..
Here's the corrected version:
We replace the non-existent participle with a verb in the conditional mood.
Until I found someone who can help me.
A valuable prize awaits the person who finds the answer to this question.
7.1.4. Participle turnovers, including irregular forms of pledge of participles
This type of error was in tasks USE past years (until 2015). In the books of I.P. Tsybulko 2015-2017 there are no such tasks. This type is the most difficult to recognize, and the error is due to the fact that the participle is used in the wrong voice, in other words, the real is used instead of the passive.
Consider sentences with a grammatical error.
Documentation, sent for examination
Contest, hosted by the organizers
Foam, pouring into the bath, has a pleasant aroma.
Here's the corrected version:
Documentation, sent for examination must be carefully checked.
Contest, organized by the organizers very much liked by the participants.
The foam that we pour into the bath has a pleasant aroma.
E) a violation in the construction of a sentence with an inconsistent application in sentence 2 is that the name of the factory, a proper name, is put in the nominative case if it is an application, that is, a second name. The first name is the factory.
Here is the correct spelling: At the Trekhgornaya Manufactory factory, a holiday was arranged for the former employees of this enterprise.
Rule 7.2.1 paragraph
7.2. Violation in the construction of a sentence with an inconsistent application.
INTRODUCTION
An application is a definition expressed by a noun in the same case (that is, AGREED) as the word being defined. Characterizing the object, the application gives it a different name and claims that it has some additional feature. Applications can refer to any member of a sentence expressed by a noun, a personal pronoun, a substantiated participle and an adjective, as well as a numeral. For example: This is how Mikhail Vlasov lived, locksmith, hairy, sullen, with small eyes (M. G.); It was her Peterhof stranger(Paust.); The first, the eldest of all, Feda, you would give fourteen years old (T.); Mother and father rode from Siverskaya station, and we, children, went out to meet them (Nab.).
Note: Proper names used in figuratively(quoted in writing) are also attachments, they are called UNAGREED as opposed to AGREED.
Also very often proper names written without quotes are applications.
The components of some types of compound words are not applications (although they resemble them in the form of connections): words, part of which are evaluative words (firebird, good boy, boy-woman, unfortunate leader, miracle fish).
UNAGREED APPENDICES, expressed by the code name.
7.2.1. Proper names - names used in a figurative sense (quoted in writing), are always applications if they refer to the word being defined, and are in the form of the nominative case, regardless of the case form of the word being defined. For example: Among the seven hundred sailors who landed from the battleship "Potemkin" on the Romanian coast, was Rodion Zhukov (Cat.); During the test of the tanker "Leningrad" shipbuilders launched another similar vessel - "Klaipeda". It is this type of application that is present in the tasks of the exam. Please note: as soon as the DEFINED word “leaves” the sentence (that is, book, magazine, picture, play, article, car, steamboat and so on), PROPER NAME ceases to be an application, compare: the history of the novel "Eugene Onegin" is the history of the creation of "Eugene Onegin"; Malevich made several copies of the "Black Square" - Kazimir Malevich's painting "Black Square" was created in 1915.
7.2.2 If we are talking about APPENDIX - a proper name, but written without quotes, then there is a very long set of rules governing their writing. Some groups of proper names agree with the word being defined, others do not. Fortunately, there were no such assignments on the Unified State Examination (at least until 2016).
Following these rules, one should write, for example,
On the planet Mars (not Mars);
On Lake Baikal (and not Baikal);
Behind Mount Elbrus (and not Elbrus).
On the Ganges (not the Ganges), but on the Moscow River (not the Moscow River).
For complete information on writing such appendices, please read any of Dietmar Rosenthal's textbooks on stylistic and literary editing.
Answers in alphabetical order:
| A | B | IN | G | D |
| 5 | 4 | 7 | 8 | 2 |
Answer: 54782
As a manuscript
BOREIKINA Tatyana Petrovna
ARTISTIC WORLD OF DRAMA
V. I. Mishanina
Specialty 10.01.02–
Literature of the peoples of the Russian Federation
dissertations for a degree
candidate of philological sciences
Saransk 2011
The work was carried out at the Department of Literature and Methods of Teaching Literature of the FSBEI HPE "Mordovia State Pedagogical Institute named after M.E. Evseviev"
Lead organization: State Humanitarian Scientific Institution under the Government of the Republic of Mari El "Mari Research Institute of Language, Literature and History. V. M. Vasilyev»
The defense will take place "____" ____________ 2011 at ____ hours at a meeting of the dissertation council D 212.118.02 at the FSBEI HPE "Mordovia State Pedagogical Institute named after M.E. Evseviev" at the address: 430007, Saransk, st. Student, 13b.
The dissertation can be found in the institute's library.
Scientific Secretary
dissertation council
Doctor of Philology
Professor E. A. Zhindeeva
GENERAL DESCRIPTION OF WORK
The relevance of research. At present, there is a growing interest in the artistic world of a dramatic work as a single, dynamically developing whole, conditioned by the internal laws of the work of a particular writer. The way the artist organizes the world of the work, creating subjective reality, especially significant in determining his worldview. Dramaturgy is directly related to the actual phenomena of modern life, it depicts the relationship of people and the conflicts that arise between them. The limited nature of the playwright in the choice of expressive means and in the volume of the work, the staging, the minimal presence of the author's speech and descriptions (only in remarks) make the dramatic kind of literature very difficult for writers to master.
Mordovian drama throughout its development reflected the socio-political and everyday life of the people, raised and solved the problems of morality. Modern playwrights of Mordovia - V. I. Mishanina, A. I. Pudin, N. B. Golenkov, to a certain extent continuing the established traditions, work in the genre of psychological drama.
The name of V. I. Mishanina is known not only in Mordovia, but throughout the Finno-Ugric world. Her works are published in Russian, Udmurt, Karelian, Mari, Komi languages. Peru V. I. Mishanina owns such books as "Kit ushetksots" ("The Beginning of the Road", 1972), "Siyan Rakudnya" ("Silver Shell", 1974), "Kachamu Shobdava" ("Smoky Morning", 1976), “Ki langsa lomatt” (“People on the road”, 1985), “Ozks tumot taradonza” (“Branches of the sacred oak”, 1992), “Valmaftoma kud” (“House without windows”, 2002), “Yoron yuromsta stirnya” ( "The Girl from the Quail Tribe", 2006) and others. V. I. Mishanina made a great contribution to the theatrical art of Mordovia. Many of her plays, such as “Tyat Shava, Tyat Sala” (“Don’t Kill, Don’t Steal”), “Kuigorozh”, “Ozks Tumot Taradonza” (“Branches of the Sacred Oak”), “Senem Tolmar” (“Blue Flame”) , “Kyape Menelga” (“Barefoot on the Clouds”), “Yoron Yuromsta Stirnya” (“Girl from the Quail Tribe”), are staged on the stage of the national theater, receive a wide response and audience response, are acutely experienced and remain in the mind for a long time.
In the artistic world of V. I. Mishanina's plays, there is a distinct psychological depiction of phenomena as a special type of figurativeness based on the study and display of a person's inner state. Her works have an internal unity, representing an integral metatext, and therefore the artistic worlds she creates are superimposed on each other, revealing similar features. The peculiarity of the dramaturgy of V. I. Mishanina is that it reflects the world of spiritual and moral values modern man in the context of depicting the most ordinary social phenomena and processes. According to the Mordovian literary critic E. I. Chernov, “V. Mishanina’s dramaturgy responds to the most trembling problems of our time ... She explores the psychology of a person in public affairs, which has changed under the influence of the new time, in relation to work, the fundamental events of our time.” Sharing the researcher's point of view that the dramaturgy of V. I. Mishanina, due to the problems of a philosophical, spiritual and moral nature she raises, requires from the reader and viewer a much greater degree of complicity and empathy than just a passive perception of what is being read, literary critic M. I. Malkina notes: “... the play is not a pak of goats with a bark ...” (“... Mishanina’s plays are very rich in content ...”). According to the critic E. I. Azyrkina, watching performances based on the plays by V. I. Mishanina often leads to deep reflections, “...sometimes we don’t argue es marhtot cha or tone kizefkst koryas” (“... sometimes they even make you argue with yourself over on any issue").
Mordovian literary critics (E. I. Azyrkina, M. I. Malkina, E. I. Chernov, Yu. G. Antonov and others) at different times turned to the work of V. I. Mishanina, the study various aspects her dramaturgy. At the same time, the study of the artistic world of the plays by V. I. Mishanina, one of the creators of the modern Mordovian psychological drama, the people's writer of the Republic of Mordovia, has not been the subject of a special study until now.
The dramaturgy of V. I. Mishanina, the artistic world she creates, is of interest from the point of view of reflecting life guidelines, as well as the ability to embody meaningful phenomena, things in plays, depict time and a hero, significant events and processes of modern reality. Proceeding from the fact that the artistic world becomes a kind of synthesis of the playwright’s self-expression and his transformation, relatively speaking, of the “real” world into an artistic one, functioning within the text space, the thesis attempts to explore the concept of the depicted world as one of the methods of author’s representation. Accordingly, by the depicted world we mean a picture of reality conditionally similar to the real world, created by the author in the work. First of all, these are people, their actions and experiences, things, nature, etc. In a dramatic work, due to its specificity, in the foreground is the image of characters based on the individualization of speech, the specifics of constructing monologues and dialogues. Let us emphasize that, constructing the artistic world with the help of various means, integrating personal traits, literary and aesthetic, life experience, taking into account or refuting social and cultural stereotypes, the playwright simultaneously participates in creating the world of plays, and distances himself from it, creating a qualitatively new artistic and aesthetic phenomenon. The depicted world, which appears as a form of a work, becomes one of the ways of self-expression of V. I. Mishanina within the dramatic space with her own individual features of attitude, worldview, style.
Thus, the relevance of the dissertation work is determined by the significance of the problem posed and its insufficient study, consists in the study of the artistic world of dramaturgy by V. I. Mishanina, in identifying the ideological and artistic features of her work, which makes it possible to determine the place, role and significance of the author in modern literary process Mordovia.
An object research - dramaturgy as a significant part of the literature and culture of Mordovia.
Item research - the artistic world of plays by V. I. Mishanina.
Material The dissertation research included all the dramatic works of V. I. Mishanina published before 2010, including those intended for children's reading, as well as scientific works devoted to the work of the playwright.
Target work - to identify the features of the artistic world of the dramatic works of V. I. Mishanina.
Realization of this goal involves the solution of the following tasks:
- establishing the originality of the artistic (depicted) world of plays by V. I. Mishanina ( artistic details, portraits, the world of things, forms artistic convention);
- determination of the specifics of the image of characters in the dramaturgy of V. I. Mishanina;
- identifying ways to achieve psychologism as a characterizing category of the depicted world of plays by V. I. Mishanina;
– definition of the essence and functions of individual author's symbols in the plays by V. I. Mishanina.
Theoretical and methodological basis studies were the works of well-known domestic literary critics devoted to the study of the theory and history of drama: M. M. Bakhtin, I. F. Volkov, N. A. Gulyaev, A. B. Yesin, A. F. Losev, S. A. Rzhanova , N. D. Tamarchenko, L. I. Timofeeva, O. I. Fedotova, E. Ya. Fesenko, V. E. Khalizeva, L. V. Chernets, as well as works on the problems of Mordovian dramaturgy E. I. Yu. G. Antonov, V. S. Bryzhinsky, V. V. Gorbunov, A. M. Katorova, M. I. Malkina, V. L. Peshonova, N. I. Cherapkina, E. I. Chernova and others.
Research methods. In order to study the problem posed, the methodology of multifaceted approaches was used on the basis of comparative-typological and comparative-historical methods of literary criticism. In accordance with the problems and nature of the study, the method of hermeneutics was also used - the theory of interpretation of the meaning and disclosure of the content of a literary text.
Scientific novelty research is as follows:
for the first time, the dramatic work of V. I. Mishanina was studied as an integral artistic and aesthetic phenomenon; traced the evolution of the character of the hero within the dramatic universe; methods and forms of revealing the psychological world of characters in the dramas of V. I. Mishanina (monologue, including in poetic form, confession, silence, vision, dreams, etc.) were studied; significant symbols (oak, house, window, quail, stairs) in the works that organize their artistic reality are revealed.
Theoretical significance of the presented research lies in the fact that its results reveal and systematize ideas about the arsenal of artistic means of dramaturgy by V. I. Mishanina. The work traces the evolution of the author's work in the context of the development of the dramaturgy of Mordovia.
Practical significance work is determined by the possibility of using its results, theoretical provisions and specific material in the study of Mordovian literature, its current problems, in the course of lectures, in the development of elective courses for students, the creation of educational and teaching aids, when compiling programs, readers, review papers on Mordovian literature for universities and secondary schools.
Provisions for defense:
1. The artistic world of a dramatic work is a kind of synthesis of the playwright's self-expression on the basis of his transformation of the "real" world into an artistic one, functioning within the text space.
2. V. I. Mishanina was one of the creators of the genre of psychological drama in Mordovian literature with a noticeable focus on lighting human soul. The strength of the works of V. I. Mishanina is not only in the original presentation of this or that phenomenon, but also in a broad understanding of social factors that have a significant impact on modern life.
3. In the plays, the playwright pays the main attention to the study of the problem of spiritual deintegration, degradation of the personality and the possibility of a person's moral rebirth. An important role in revealing the spiritual world of the characters of V. I. Mishanina is played by psychologism and the subtextual way of narration.
4. One of the most important means of creating an artistic model of the world in the dramatic works of V. I. Mishanina are symbols (oak, house, window, quail, stairs), thanks to which elements of ancient archaic thinking and individual authorial convention are combined in plays.
5. The dramaturgy of V. I. Mishanina is a structural and semantic unity, in which the individual features of the playwright clearly appear: modern phenomena are reflected in the context of a lone hero; the presence of a special type of hero, combining a set of positive and negative traits, which forms the reader's dual, contradictory attitude towards him; the lack of a role system, i.e. the characters are in constant development; dressing the content of the drama in the form of fantasy, synthesis of the real and fantastic worlds; active use of folklore motifs; the presence of an open ending; the presence of a symbol system.
Approbation of work. The main provisions of the dissertation work are presented in the form of reports at the international scientific and practical conference - Osov Pedagogical Readings "The contribution of pedagogical universities to the socio-cultural development of society" (Saransk, 2009); All-Russian scientific and practical conferences: "Intercultural relations in the system of literary education" (Saransk, 2008), "Social and humanitarian knowledge and community development» (Saransk, 2009); Nagy readings "Dialogue of Literature and Culture: Integration Relations" (Saransk, 2010).
The results of the dissertation research are reflected in 9 articles published in collections scientific papers, materials of scientific and practical conferences and in journals included in the list of the Higher Attestation Commission of the Ministry of Education and Science of the Russian Federation.
The structure and scope of the dissertation determined by the specifics of the intended goal and the tasks set in the study. The work consists of an introduction, two chapters (six paragraphs), a conclusion and a list of references. The total volume of the dissertation is 149 pages, the bibliographic list includes 157 titles.
MAIN CONTENT OF THE WORK
In administered the relevance of the chosen topic and scientific novelty are substantiated, the degree of study of the problem is established, the purpose and objectives of the work are determined, the research material is characterized, the methodological basis and methods of analysis are determined, the practical and theoretical significance of the dissertation research is established, the main provisions submitted for defense are formulated, information about approbation is given work.
In the first chapter "The originality of the artistic world of a dramatic work" the main provisions and approaches to the study of the stated problem are presented.
In the first paragraph, "Interpretation of the concept of the "pictured world" in modern literary criticism", the concept of the depicted world is considered, the most important elements of the artistic world are highlighted in a theoretical aspect.
Drama is an original kind of literature and theater that has gone through a complex evolutionary path, in which its composition, structure, and methods of embodiment on stage have changed. The purpose of the drama remained unchanged, which consisted in stage performance. At present, it is experiencing serious problems, it is not developing as intensively as the modern rhythm of life. Main subject of search contemporary playwright- significant, vivid characters and events that completely fill the consciousness, spiritual movements, which are mainly the reactions of the characters to the life situation. Each play is a special world with its own composition of characters, plot development and original compositional construction. This world is called artistic. In modern literary criticism, scientists interpret the concept of "artistic world" in different ways. There are different terms that denote this concept: “depicted world” (A. B. Esin), “world of work” (V. E. Khalizev), “artistic world”, “inner world” (N. D. Tamarchenko), “ the objective world”, “subject representation” (L. V. Chernets). In literary criticism, the dominant approach is in which the depicted world acts as an artistic reality created by the writer through the prism of his own worldview.
The study examines different points of view on this issue. For example, A. B. Yesin’s statement that the depicted world in a work of art means “that picture of reality, conditionally similar to the real world, that the writer draws: people, things, nature, actions, experiences, etc.” similar to the point of view of other literary scholars regarding the definition of this category. So, for example, O. I. Fedotov, following T. N. Pospelov and others, designates it as a “subjective model of objective reality”, V. E. Khalizev - as “artistically mastered and transformed reality”, L. V. Chernets presents the world of the work as "a system, one way or another correlated with the real world." The depicted world of the work is made up of individual artistic components (elements). Many researchers identify the same elements that create the world of the work, however, there is some divergence of opinion. From the point of view of A. B. Esin, the depicted world is presented not only through external (portrait, landscape, thing) and psychological (monologue, confession, dream, vision, silence, etc.) details, but also through artistic properties (lifelikeness and fantasy ) and forms ( artistic time, art space).
The well-known literary critic V. E. Khalizev, who has been dealing with the problems of drama as a kind of literature for a long time, rightly asserts that the world of a work includes material and spatio-temporal data, the psyche, the consciousness of a person, himself as a “soul-bodily unity”. The constituent components of the world of the work, according to V. E. Khalizev, are the character and everything connected with his image - consciousness and self-awareness, portrait, behavior, dialogue and monologue of the character, thing, nature and landscape, time and space, plot. In addition, the scientist identifies another category - forms of behavior as a set of movements and postures, gestures and facial expressions, spoken words with their intonations.
Another well-known literary critic N. D. Tamarchenko considers the depicted world from two positions: in the first case, from the point of view of plot (artistic time and space, event, situation, plot, motive, etc.), in the other, from the position of narratology (narrator, narrator , point of view, composition, etc.). In addition to the listed categories that make up the depicted world of the work, N. D. Tamarchenko identifies such components as the author and the hero. The literary critic points out that the figures depicted in the work, depending on their functions, are divided into heroes, characters, characters and types. This approach opens up new horizons for the analysis of a work of art.
An analysis of the positions of modern literary scholars leads us to the conclusion that the concept of “represented world” (“world of a work”, “artistic world”, “inner world”, “objective world”, “objective depiction”) is interpreted by everyone in their own way. At the same time, the majority agrees that the “depicted world” is a conditional world created by the writer on the basis of understanding reality. In the depicted world of the work, such components as the author, character, convention - lifelikeness, artistic time and space, event, situation, conflict, plot are distinguished.
In our opinion, in order to solve the tasks set in the dissertation research, it is most expedient to single out, following A. B. Esin, external artistic details (portrait, landscape, thing) and psychological (third-person narration, psychological analysis and introspection, internal monologue, default , dreams and visions); lifelike and fantasy; artistic time and artistic space. In addition, it must be taken into account that psychologism is created not only through the reception of an internal monologue, but also an external one. Following V. E. Khalizev, we believe that silence as a psychological device has two forms - recognition and non-recognition - and the world does not appear to be depicted without symbols.
The second paragraph "The main trends in the development of the dramatic genre in Mordovian literature" is devoted to understanding the nature of the dramatic genre, its formation and development in Mordovian literature.
Dramaturgy is a specific manifestation of art and culture, a synthesis of literature and theater, one of the most complex forms of literature. In Mordovian literature, the origin of drama is associated with the names of F. M. Chesnokov, K. S. Petrova, F. I. Zavalishin. The classical literary drama was preceded by a long period of existence of folk theatrical forms. V. S. Bryzhinsky in the work “Mordovian folk drama: History. Problems of reconstruction. Dramaturgy. Directing. Song Theater" pays great attention to the folk drama as the fundamental basis of the Mordovian literary drama, which began its development in the pre-Christian period (before mid-nineteenth century). Folk drama expresses a person's attitude to the world, his desires and motives. It shows the features inherent in modern national drama - the relevance of the subject, the clash of characters, the occurrence of collisions.
In historical and literary terms great importance has "Mordovian wedding" M.E. Evsevyeva. Definition problem genre affiliation works encourages its deep research and highlighting genre features. In our opinion, "The Mordovian Wedding" can be attributed to dramatic works, because it contains elements of drama and was created according to the laws of the dramatic kind.
At the initial stage of development, Mordovian drama reflected the socio-political and everyday life of the Mordovian people. Topical and relevant were the themes of the class struggle in the years civil war, breaking the patriarchal foundations and religious beliefs. Trends in the development of Mordovian dramaturgy are due to the characteristic features of the time. One of the impetuses in the development of the genre was the theater, which stimulated interest in the creation of new works and conveyed to the people the ideas of that time, influencing their worldview.
The history of the development of Mordovian drama is conditionally divided into several stages:
1. 1920–1930s - the period of the birth of Mordovian drama, when F. M. Chesnokov, A. I. Zavalishin, K. S. Petrova created their works.
2. 1940–1970s – the period of development of the dramaturgy of A. S. Shcheglov, A. P. Tereshkin, K. G. Abramov, G. Ya. Merkushkin, in whose work the disclosure of the theme of patriotism and morality comes to the fore.
3. The 1980s - to the present - a period characterized by significant achievements in the development of dramaturgy and in the development of the genre of psychological drama, the emergence of new names - V. I. Mishanina, A. I. Pudin, N. B. Golenkov.
In the third paragraph, "Creativity of V. I. Mishanina in the context of the artistic search for modern Mordovian dramaturgy," the evolution of the dramatic work of V. I. Mishanina is traced in conjunction with the development of the Mordovian national theater.
The work of modern Mordovian playwrights is aimed at researching topical problems and revealing the psychological world of a person. In the genre of social drama, A. I. Pudin’s plays “Shava kudsa lomatt” (“People in an empty house”), “Kudyurkhta” (“The Hearth”), “House on Frunzenskaya” were written; plays by N. B. Golenkov “Kushtaf Vaymot” (“Moldy Souls”), “Shyamon” (“Rust”). close attention to the inner world of a person, the desire to depict the spiritual state of the individual, his individuality, psychology is characterized by the dramaturgy of V. I. Mishanina. In her plays, there is constant movement, the development of characters, their moral evolution or degradation. It is important for a playwright to reveal the psychological world of the characters under the influence of certain life circumstances that determine their actions. Achieving the unity of the outer world and inner harmony is possible only by maintaining the integrity of the soul, so the whole point human life, according to V.I. Mishanina, is to save the soul. Mordovian critic E. I. Azyrkina rightly notes that the human soul and morality occupy a special place in the work of V. I. Mishanina. The orientation of her drama towards the salvation of the human soul becomes obvious. This is the plot of the play "Tyat Shava, Tyat Sala" ("Do not kill, do not steal"). It is built on a movement, at the end of which the moral rebirth of the hero takes place. Faith is the link and driving mechanism in drama. It has a positive effect on the heroes, forming in them an inner feeling of a more sublime, eternal, in the name of which one should improve.
The meaning of another play "Kutsemat" ("Steps") can be interpreted in the context of moral, psychological, social issues. The playwright draws attention to the depressing environment of a beggarly life: hunger, cold, dirt, embittered people. In the work, against the background of pictures of social contrast, V. I. Mishanina showed the characters of the characters who are at different levels of the social ladder. Reconstruction of events in the memories of the heroes helped to trace these characters in dynamics and understand the meaning of the changes taking place in the souls of people.
In the dramaturgy of V. I. Mishanina, it was reflected eternal theme fathers and children, relationships between family members, spiritual and moral development of the younger generation. In the play “Kyape Menelga” (“Barefoot on the Clouds”), in the humoresque “Modamarnyas ni modamanya” (“Potato is Potato”), the playwright shows the moral quest of two generations with diametrically opposed views on life.
V. I. Mishanina, as a playwright-researcher, touches upon the acute social problems of rural life, describes the processes taking place in it. The plot of the play "Senem Tolmar" ("Blue Flame") describes the events associated with the improvement of social conditions in the village, which serve as a means for the writer to show the essence of the characters, their life principles, attitudes. V. I. Mishanina shows the worries and problems of a rural woman in the play “Ozks Tumot Taradonza” (“Branches of the Sacred Oak”). The playwright is trying to understand the reasons for the prejudiced, stereotypical thinking of rural residents in relation to a single mother. The gallery of images in the play "Valmaftoma kud" ("House without windows") is diverse. The playwright seeks to create images with individual features, with different worldviews and, accordingly, with his life motivation. V. I. Mishanina focused on the events that led to changes in the characters' characters, thanks to which we can trace personal changes.
One of specific features dramaturgy of V. I. Mishanina is her appeal to folk culture, folklore and fantasy. In this spirit, the plays “Kuygorozh” and “Yoron yuromsta stirnya” (“Girl from the quail tribe”) were created, in which folklore characters Kuygorozh, Tsyurbur act; the world tree appears - an oak, etc. In both plays there are fantastic events: the tricks of Kuygorozh, the "convergence" of the father from the photograph. The playwright, transforming a folk work, by introducing individual author's elements, was able to create a new "Kuigorozh". A peculiar approach to highlighting the problem, the use of folklore motifs allowed V. I. Mishanina to create an original, individually original fairy tale play “Yoron Yuromsta Stirnya” (“Girl from the Quail Tribe”).
In the course of the analysis aimed at identifying the key value in the dramaturgy of V. I. Mishanina, its extrapolation to each play was carried out, as a result of which its nature, consisting in spirituality and morality, was determined. V. I. Mishanina creates the world of her characters, using material from real life, the surrounding reality, looking at the world through the eyes of not only a serious critic, but also a writer and playwright who understands life in all its aspects.
However, despite the high artistic value individual works V. I. Mishanina, some shortcomings should be noted. Thus, the active use of the fantastic technique in plays (“Kuigorozh”, “Yoron Yuromsta Stirnya” - “A Girl from the Quail Tribe”) is often not applicable to the conditions of the stage incarnation. The presence of folklore motifs in the plays (“Kuigorozh”, “Yoron yuromsta stirnya” - “Girl from the quail tribe”, “Ozks tumot taradonza” - “Branches of the sacred oak”) testifies to the dependence of V. I. Mishanina's creativity on oral folk art. The drama "Valmaftoma kud" ("House without windows") is characterized by the eccentricity of the situation when people of different social status met in the same compartment (a merchant, a deputy, a girl of easy virtue, a man who escaped from prison). In some plays there is a descriptive character characteristic of the epic genre of literature. For example, the humoresque “Modamarnyas ni modamanya” (“Potato is potato”) looks like a story dressed in a dramatic form.
In the second chapter "The evolution of the dramaturgy of V. I. Mishanina in the context of the formation of the author's artistic world" attention is focused on the analysis and identification of the artistic functions of the components of the depicted world in the plays by V. I. Mishanina.
In the first paragraph "Psychology and methods of its creation in the plays of V. I. Mishanina" an analysis is carried out artistic techniques implemented in the dramaturgy of V. I. Mishanina.
Psychologism, following A. B. Esin, we define as “mastering and depicting by means of fiction the inner world of the hero, moreover, the image is distinguished by detail and depth, ”and we note that in the dramaturgy of V.I. Mishanina, psychologism contributes to a more complete artistic expression of the inner life of a person. It is important for the playwright to comprehensively show the surrounding reality, to find out the motives of the characters' actions. The author succeeds in this thanks to the role of the narrator, who is clearly not present in the play, but at the same time performs a number of specific functions: reveals the internal processes occurring in the souls of the characters, explains “the causal relationship between impressions, thoughts, experiences”, comments on the character’s introspection ( "Kuigorozh", "Ozks tumot taradonza" ("Branches of the sacred oak")). In addition to reflection, the playwright uses other methods of analyzing the characters' characters. The essence of these techniques is that "complex mental states are decomposed into components and thereby explained, become clear to the reader" .
An important and frequently encountered psychological device in the plays by V. I. Mishanina is a monologue, which has different ways images of the psychological world of heroes. First of all, this is an external monologue. It is not pronounced to oneself, but out loud and allows you to more accurately convey the state of mind of the hero. In the plays of V. I. Mishanina there is a special monologue addressed to animals. Most often it is used to reveal the experiences of lonely people who need to communicate, such as the heroes of the plays "Kuygorozh", "Ozks tumot taradonza" ("Branches of the sacred oak"), "Kyape menelga" ("Barefoot on the clouds"). Often, V. I. Mishanina uses a monologue in verse (song, ditty) in dramas, which, thanks to emotional and expressive means, allows you to reveal the inner world of the hero. There is also a confessional speech in plays, which by its very nature means confession in innermost thoughts and desires. In the plays "Tyat Shava, Tyat Sala" ("Do not kill, do not steal"), "Valmaftoma kud" ("House without windows") this technique presented most clearly. Saturated with exclamatory sentences, rhetorical questions, the confession of the heroes, Lucy and Men, expresses the extreme degree of drama of their condition. The paragraph highlights a characteristic feature of the confessions of the dramatic heroes of V. I. Mishanina, which is expressed in a poetic form. The playwright needs to evoke feelings in the reader, the viewer, the need to penetrate into the soul of his characters, therefore, in the plays “Senem tolmar” (“Blue Flame”), “Ozks Tumot Taradonza” (“Branches of the Sacred Oak”), “Kuygorozh” the characters often express their inner state through verse.
Quite often in her plays, V.I. Mishanina uses a psychological method of default, which allows the reader to carry out a psychological analysis in parallel with the hero, which arouses the reader's interest. The author uses this technique in two forms: recognition and non-recognition. This technique of activating the reader's imagination is used in the plays "Kyape menelga" ("Barefoot on the clouds"), "Tyat shava, tyat sala" (Do not kill, do not steal"), "Valmaftoma kud" ("House without windows").
In the dramatic works of V. I. Mishanina, there are such methods of psychological depiction as vision and dreaming, which reveal the unconscious, but experienced world of heroes (the plays “Yoron Yuromsta Stirnya” (“Girl from the Quail Tribe”), “Kuigorozh”).
Detailed Analysis methods of psychological depiction used in the plays by V. I. Mishanina, allows us to highlight the techniques by which both the depiction and the development of the inner world of the characters are possible: the presence of the narrator, psychological analysis and introspection, a monologue addressed to animals, a monologue in a poetic form, confession, silence, vision, dream.
The second paragraph "Spatio-temporal organization of plays by V. I. Mishanina in the aspect of creating artistic conventions" is devoted to revealing the specifics of artistic time and artistic space in a dramatic work.
In the dramaturgy of V. I. Mishanina, space and time are a convention, on the nature of which various forms of the spatio-temporal organization of the depicted world depend. Quite often, the picture of the artistic space and time of her plays is not closed, which makes it possible to observe the characters in different places and time periods. In one play, we can meet different spatial (“Blue Flame”, “Girl from the Quail Tribe”, “Branches of the Sacred Oak”, “Don't Kill, Don't Steal”) and temporal paintings (“Kuigorozh”, “Branches of the Sacred Oak”) and forms of their existence. Abstract space and time do not have a pronounced characteristic and therefore do not affect the artistic world of the plays, thereby emphasizing the significance of events, regardless of where and when they occur. Specific space and time organize the structure of the plays, "binding" to a specific place and time. For example, in the play “Yoron Yuromsta Stirnya” (“Girl from the Quail Tribe”), artistic time is concretized in the form of “binding” to a historical landmark and determining the time of day, which has a certain emotional meaning: indicating the time of day allows you to convey the psychological state of the character.
art space Drama by V. I. Mishanina is filled with objects in order to create a “field of action” and a picture that characterizes the inner world, images and life of the characters. Spatial objects sometimes become an independent object of reflection. The playwright introduces them, drawing a certain parallel with internal state characters.
Thus, the transition from one space to another, temporal discreteness, abstract and concrete time and space, as well as the object-filled space, constitute a system that forms the specific artistic convention of V. I. Mishanina's plays. It should be noted that some of these features are more characteristic not of the dramatic, but epic kind literature.
The difficulty in studying the concept of "symbol" is caused by its ambiguity and multiple classifications. Symbols not only personify a certain object, but also carry an additional meaning, expressing general ideas, concepts and phenomena associated with the interpretation of this object. The symbol has two forms of expression. The first form - external ("primary") - is a visual, visible image of the object, the second form is actually symbolic, thanks to which the visible image is mentally identified with the idea, design. Despite the abstractness, the abstractness of the language of symbols, ideas are expressed in a concrete, visual, figurative form.
The plays by V. I. Mishanina present an integral system of symbols based on the traditional national worldview and conditionally performing an important function: they contribute to a more complete disclosure of the characters’ inner world and penetration into it, and allow exploring psychological processes. In the artistic system of symbolism, the principle of "dual unity" is important. The symbol as a means of intuitive comprehension of the unity of the world and the discovery of analogies between the earthly and transcendental worlds appears in the play "Kuigorozh".
In the work of V. I. Mishanina there are plays that already in their names reflect a symbolic nature (“Ozks tumot taradonza” - “Branches of the sacred oak”, “Valmaftoma kud” - “House without windows”, “Kutsemat” - “Steps”, “Yoron yuromsta stirnya” - “Girl from the quail tribe”).
The tree is one of the central symbols of the world tradition. Like other plants, it is associated with fertility, prosperity, abundance, but is primarily the personification of life in its various forms and manifestations. In Mordovian folklore, a mighty oak acts as the World Tree (Ine Chuvto), White birch, blossoming apple tree. V. I. Mishanina uses this symbol in other works. In the play “Ozks tumot taradonza” (“Branches of the sacred oak”), the oak symbolizes the wisdom, nobility and fidelity, strength and endurance of the heroine. In the play "Kuigorozh" the oak is mentioned as a special place where mythological creatures live.
The title of the play "Valmaftoma kud" ("House without windows") is based on two symbols that can be synthesized and deduced to one symbolic meaning: the house as a symbol of the person himself, his body and soul, and the window as a symbol of the sun, the eye of the house, worldview depth . The semantic similarity of these symbols is the reason for combining them into one: a house without windows, like a body and soul without the sun, light and insight. This symbol is the core of the plot, its important semantic component. V. I. Mishanina quite accurately and aptly picked up a symbolic combination - a house without windows. The house is not only our fortress, but also our inner world. On the one hand, it is the embodiment of prosperity, on the other hand, it is the materialization of our interests and hobbies, habits and views. In colloquial practice, "house" often characterizes a person ("sad house", "learned house") and his family ("from a good house"). For the psychology of the subconscious, the house is an important symbol of what is happening in our soul.
Birds as a ubiquitous symbol of freedom and soul are found not only in the folklore of all peoples, they are also widespread in literary work. Most often, a bird as a symbol is associated with freedom, the flight of thought, fantasy. In mythology, the bird is the embodiment of the human soul. In the play “Yoron yuromsta sternya” (“Girl from the quail tribe”), the reddish-brown bird symbolizes kindness, valor, courage and ardor. The symbol of the quail contributes to a deep and integral disclosure of the image of the heroine, her noble aspirations, worldview, and strong qualities.
In the play "Kutsemat" ("Steps"), the main symbol is a ladder, steps. It is “a symbol of the connection between above and below, between heaven and earth. At the emblematic level, a staircase leading up represents courage, courage leading down is associated with a negative characteristic. In addition, the ladder is a symbol of hierarchy. There is an expression "to move up the corporate ladder"
18th century naturalists built a picture of the world that defines the ladder of existence. In the play by V. I. Mishanina, the ladder symbolizes not so much the connection between heaven and earth as the hierarchical relationship between people.
The role of the symbol in the work of V. I. Mishanina is very significant. In each play, she uses an image-symbol that is able to reflect reality, reveal the spiritual world and the potential of the characters. The generalization of symbols allows one to penetrate deeper into the meaning of dramatic works, in which the confrontation between public and personal, good and evil is clearly traced. It should be noted the richness and variety of symbolic artistic means used by the playwright. These are mythological plots (“Kuygorozh”), Christian motifs (“Don’t kill, don’t steal”), object symbols (the image-symbol of the house in the play “House without Windows”, the image-symbol of the stairs in the play “Steps”), symbols of nature ( the image-symbol of a tree in the play “Branches of the Sacred Oak”, the image-symbol of a bird in the play “The Girl from the Quail Tribe”, the image-symbol of the sky in the play “Barefoot on the Clouds”, the image-symbol of fire in the play “Blue Flame”), the symbol colors ("Kuigorozh", "House without windows"). The playwright's use of such a wide range of symbolism provides a comprehensive coverage of the spheres of modern public and private life.
Thus, the work of V. I. Mishanina, through an established symbol, returns us to traditional values, morality, developed by many generations, and therefore eternal, tested, necessary. You have to pay for any progress, perspective, progress, sometimes even sacrificing moral principles. In her inspired work, dramas, V. I. Mishanina was able to teach lessons of high morality, helping people to remain human in any situation, vitality and justice.
IN imprisonment the main conclusions are formulated and the results of the study are summed up. It is noted that the artistic picture of the world, built by V. I. Mishanina in dramas, is a single, integral world, organized according to strictly defined laws. We have determined its existential coordinates, value scale, properties and features, taking into account the peculiarities of drama as a literary genre. The dramaturgy of V. I. Mishanina is characterized by a certain integrity and commonality of themes, motives, images and plots, as well as those problems that are reflected in her work. The depth of penetration into the essence of the issues raised characterizes all the author's dramatic work.
The main content of the dissertation research is reflected in the following publications of the author:
Russian Federation
- Boreykina, T. P. The symbol in the dramaturgy of V. I. Mishanina as a way of representing the essence of the characters (on the example of the plays "Branches of the Sacred Oak", "Kuigorozh", "House without Windows") / T. P. Boreykina // Bulletin of the Chelyabinsk State Pedagogical University. Series “Pedagogy and psychology. Philology and Art Criticism. - 2010. - No. 7. - P. 271–280.
- Boreykina, T. P. Spatio-temporal organization of the plays by V. I. Mishanina “Yoron Yuromsta Stirnya” (“Girl from the Quail Tribe”) and “Kuigorozh” in the aspect of creating artistic convention / T. P. Boreykina // Bulletin of the Chelyabinsk State Pedagogical university. Series “Pedagogy and psychology. Philology and Art Criticism. - 2011. - No. 1. - S. 201–207.
- Boreykina, T. P. Monologue and confession as methods of psychological depiction of dramatic characters in the plays by V. I. Mishanina / T. P. Boreykina // Bulletin of the Chuvash University. Humanitarian sciences. - 2011. - No. 1. - P. 271–275.
Scientific publications in other publications
- Surodeeva, T. P. Folk traditions in the play by V. I. Mishanina "Kuigorozh" / T. P. Surodeeva // "Intercultural Relations in the System of Literary Education": materials of the All-Russian. scientific-practical. conf. (November 19–20, 2008). - Saransk, 2008. - S. 155-157.
- Surodeeva, T. P. The problem of loneliness in V. Mishanina’s play “Ozks tumot taradonza” (“Branches of the sacred oak”) / T. P. Surodeeva // New approaches in humanitarian research: law, philosophy, history, linguistics: interuniversity. Sat. scientific tr. / ed. L. I. Savinova. - Saransk, 2009. - Issue. IX. - S. 142-144.
- Surodeeva, T. P. Spiritual values of dramatic heroes and the artistic world of plays by V. I. Mishanina / T. P. Surodeeva // “The contribution of pedagogical universities to the socio-cultural development of society”: materials of the International scientific-practical. conf. (October 12-13, 2009): at 3 o'clock - Saransk, 2010. - Part II. - S. 117-120.
- Surodeeva, T. P. Life philosophy of the heroes of the play by V. I. Mishanina “Valmaftoma kud” (“House without windows”) / T. P. Surodeeva // “Social and humanitarian knowledge and social development”: materials of the All-Russian. scientific-practical. conf. (November 12, 2009). - Saransk, 2010. - S. 161-164.
- Boreykina, T. P. Monologue as a way of understanding the inner world of dramatic characters in the plays of V. I. Mishanina / T. P. Boreykina // “Dialogue of Literature and Culture: Integration Connections”: materials of the All-Russian. scientific-practical. conf. with international participation "Nagykinskie readings" (April 28–29, 2010). - Saransk, 2010. - S. 13-16.
- Boreykina, T. P. The dynamics of character development in the plays "Barefoot on the Clouds", "Blue Flame" by V. I. Mishanina / T. P. Boreykina // Socio-humanitarian research: theoretical and practical aspects: interuniversity. Sat. scientific tr. / ed. G. V. Grishakova. - Saransk, 2010. - Issue. VIII. - S. 117-121.
Chernov E. I., Antonov Yu. G. Mordovian drama at the present stage // Humanitarian research: theory and reality / ed. ed. T. A. Naumova. - Saransk, 2005. - P. 128.
Malkina M. I. Ingolden Val (Foreword) // Mishanina V. I. Valmaftoma kud (House without windows). - Saransk, 2002. - P. 8.
Azyrkina E. I. Christian motifne V. Mishaninat dramaturgyas (Christian motives in the dramaturgy of V. Mishanina) // Intercultural relations in the system of literary education: in 2 hours / ed. V. V. Kadakina. - Saransk, 2008. - Part 1. - P. 23.
Azyrkina E. I. Afkukson eryafsta syavf dramat (Dramas taken from life) // Moksha. - 2000. - No. 11. - P. 60–67; Azyrkina E. I. Spiritual and moral truths in the dramaturgy of V. I. Mishanina // Philological Bulletin / ed. T. M. Boynova. - Saransk, 2002. - S. 178-183; Azyrkina E. I. Af yumaftoms vaymon arushit (Do not lose the purity of the soul) // Moksha. - 2008. - No. 1. - P. 116–122.
Malkina M. I. Koda naftez “Kuygorozht” (As shown by “Kuygorozh”) // Moksha. - 1995. - No. 9. - S. 116-121.
Chernov E. I. Mordovian dramaturgy at the present stage // Humanitarian research: theory and reality / otv. ed. T. A. Naumova. - Saransk, 2005. - S. 116-131.
Antonov Yu. G. Modern Mordovian dramaturgy, 60-90s: diss. … cand. philol. Sciences. - Saransk, 1999; Antonov Yu. G. Folklore motives in modern Mordovian drama // Bulletin of the Chelyabinsk State Pedagogical University. - 2010. - No. 1. - P. 220–228.
Esin A. B. Principles and methods of a literary work. - M., 2000. - S. 75.
Bryzhinsky V.S. Mordovian folk drama: History. Problems of reconstruction. Dramaturgy. Directing. Song Theatre. - Saransk, 2003.
Esin A. B. Principles and methods of a literary work. - M., 2000. - S. 89
Encyclopedia of symbols, signs, emblems / compiled by: V. Andreeva, V. Kuklev, A. Rovner. - M., 1999. - S. 281
