Like the poem by M.I. Tsvetaeva, Pushkin's messages are filled with poetic words-symbols. Life and customs of provincial Russia in the comedy N

In The Inspector General, N.V. Gogol collected all the worst that he only knew about the life of officials. Therefore, the play became public comedy directed against the shortcomings of the whole society. Each of the characters is endowed with his own vices, which the playwright makes fun of. This is embezzlement, and lies, and negligent attitude to the service.

So, the mayor Skvoznik-Dmukhanovsky is the main swindler of the city. He says: “I have been living in the service for thirty years; no merchant or contractor could hold; deceived, swindler and rogues such that they are ready to rob the whole world, hooked on a hook! He didn’t allow himself to be led, but he didn’t follow the order in the city: during the stay of the “auditor” in the city, “a non-commissioned officer’s wife was flogged”, on the streets “tavern, sewage”. But Skvoznik-Dmukhanovsky thinks only about how to trick the inspector. He is used to the fact that everything is decided with the help of money. Here it is, the main vice of the mayor, the chief official of the city!

And in what neglect are the charitable institutions, the caretaker of which is Strawberry! Reflecting on the sick, he says: “A simple man: if he dies, then he will die anyway; If he recovers, then he will recover.” Now it’s clear why the patients in his institution “recover like flies” (usually “like flies”, die ...). Strawberry is indifferent to the state of hospitals and shelters. He only cares about personal gain!

And Judge Lyapkin-Tyapkin does not even hide the fact that he takes bribes, because he believes that "bribes by greyhound puppies are a completely different matter." It is no coincidence that the author gives him a speaking surname, meaning to do everything “somehow”. Yes, the surname fully reflects his character! Imagine, in his court “in the hall where visitors usually come” the watchmen set up geese with goslings, “which dart under their feet”, and here they consider not the statue of Themis, but “a rapnik hanging on the wall” as an instrument of justice.

In my opinion, all the bureaucracy of the county town N is united by reverence for people of the highest rank. It is no coincidence that the caretaker educational institutions Khlopov says: “I confess, I have been brought up in such a way that if someone higher in one rank speaks to me, I simply have no soul and my tongue is stuck in the mud!” It was this fear that served as the basis for the fact that Khlestakov was taken for an "important person" and began to show all sorts of honors.

1. Life of the bureaucratic elite.
2. The life of the merchants and burghers.
3. The relationship of officials with the outside world.

The Inspector General by N.V. Gogol is a play, therefore, in this work there are no descriptions characteristic of a novel, novel, short story. However, thanks to the author's skill in comedy, typical features of the life of the Russian province of the first half of XIX century.

It should be noted that in the life of officials of the county town, the domestic side of life is often closely intertwined with official activities. So, the judge, whose favorite occupation is hunting, hung a rapnik in the courtroom, where petitioners come. Domestic geese are darting about there, brought in by the watchmen. Bribery and embezzlement are regarded by officials as a common everyday occurrence. It is interesting that some features of the life of officials are manifested in the way they take bribes: the judge, an avid hunter, takes bribes exclusively with greyhound puppies, while at the homely mayor "a fur coat costs five hundred rubles, and a shawl for his wife ...".

Speaking about the life of officials, one should also mention the merchants, because the mayor and his family calmly demand and take from them everything that is needed for the economy, and not thinking of paying. However, merchants who complain about the arbitrariness of the mayor, in fact, turn out to be closely connected with him by fraudulent affairs: thanks to the assistance of the mayor, they received a contract for the construction of the bridge, which made it possible for both them and the venerable mayor to put their paws deep into the state treasury.

Like officials, merchants consider bribes and embezzlement normal. The indignation of the merchants is due to the fact that the mayor, in their opinion, takes more than he should. And they, for their part, supply him with everything that is necessary: ​​“If, that is, they didn’t respect him with something, otherwise we always follow the order: what follows on the dresses of his wife and daughter - we don’t stand against it. No, you see, all this is not enough for him - she-she! He will come to the shop and take whatever he comes across... His name day is Anton's, and it seems that you will put everything on, you don't need anything; no, give him some more: he says, and on Onufry is his name day. What to do? And you carry on Onufry.

And in petty-bourgeois life, bosses also cannot do without bribes. The locksmith's husband got into the soldiers because other candidates for soldiers paid off the service by making gifts to the mayor and his family. Gogol truthfully showed the manners prevailing in the county town. In the comedy, phrases are repeatedly found that testify to the dismissive, boorish attitude of the mayor to the inhabitants. In a conversation with colleagues, the mayor is businesslike and straightforward, if rude, then in moderation. After all, the rest of the officials do not shine with special elegance of manners, which his wife tells the mayor with displeasure, fearing that in the capital her husband will not be able to behave as expected in secular circles: “You like everything so rude. You must remember that life needs to be completely changed, that your acquaintances will not be like some dog judge with whom you go to hunt hares, or Strawberries ... ". As Gogol himself pointed out in "Remarks for Messrs. Actors", Anna Andreevna "sometimes takes power over her husband", but this power is manifested mainly in words or in some trifles. Anna Andreevna's coquetry is one of the main features of her character, fashionable outfits are one of her main interests. However, she ridicules the same manifestations in her daughter: it is easy to see that the mother considers her daughter as a rival on whom the taking out of men can be directed.

Meanwhile, Anna Andreevna, when the question of her personal attractiveness is not touched upon, turns out to be a very practical and sensible person, like her husband: she sensibly evaluates both her husband and the society in which they both are. However, despite the outward craving for grace, she, like the mayor, disdainfully treats those who seek the protection of her husband: "... Not every small thing should be patronized."

The essence of the overwhelming majority of relationships between representatives of the ruling elite of the county town, both in their midst and with the rest of the population, aptly and succinctly resulted in the following statement of the mayor addressed to the merchants: “Now you are lying at my feet. From what? - because mine took; and if you were even a little on your side, the tacts would have trampled me, scoundrels, into the very dirt, and he would have piled a log on top.

Indeed, Strawberry, the trustee of charitable institutions, in an effort to whitewash himself before the imaginary auditor, slanders all his comrades in the service. When it turns out that the auditor was not real, officials, as usual, begin to look for those responsible for mistaking "an icicle, a rag" for "an important person." They turn out to be Bobchinsky and Dobchinsky, these venerable landowners, who, with importance reporting the news of a visiting official living in an inn, arguing over who first guessed that this was an auditor, also zealously began to shift the blame on each other.

Almost all the characters in Gogol's comedy are indeed ready to trample anyone, including yesterday's friends, into the mud, just to shield themselves. Open contempt for dependent people, servility and servility to superiors - these are the main springs of relations in the county town, where the action of Gogol's comedy "The Inspector General" takes place.

17. What is the ugliness of the life of a bureaucratic city? (According to the play by N.V. Gogol "The Government Inspector").

Nikolai Vasilyevich Gogol in The Inspector General "decided to collect all the bad things that he knew, and at one time laugh at him." Thus, the play became a social comedy directed against all the shortcomings of the society contemporary to the author. The scene of the work is a small bureaucratic city, of which there were many in Russia. Each of the comedy characters is endowed with certain qualities and vices, which allowed Gogol to show how much a person was crushed.

The main conflict on which the play is built is a deep contradiction between what city officials do and ideas about the good for the city and its inhabitants. Embezzlement, bribes, lies and disregard for work - that's what characterizes the characters. But these vices are the norms of life in the city of N. Officials are sure that the inspector who arrived incognito from St. Petersburg will accept their money, as they have already encountered this before. They sluggishly try to justify their own illegal actions. blatant lie each other. So, Ammos Fedorovich Lyapkin-Tyapkin prefers to take bribes with greyhound puppies and calls it "a completely different matter." The establishments controlled by this hero are running, the watchmen brought geese and goslings there. Not in the best condition are the charitable institutions subordinated to the "perfect pig in a yarmulke" Strawberry. The rogue character saves on food and medicine for patients. His attitude on this issue slips through in a dialogue with the mayor: “A simple man: if he dies, then he will die anyway; If he recovers, then he will recover.” Not surprisingly, the sick "recover like flies." The postmaster, on the other hand, opens other people's letters, because he is "death curious to know what is new in the world." Therefore, to the request of the mayor to print incoming and outgoing letters, he smugly replies that he has been doing this for a long time.

Unites all the heroes of the play reverence for the highest ranks. “I confess that I was brought up in such a way that if someone higher in one rank spoke to me, I simply had no soul and my tongue was stuck in the mud,” says Khlopov, a modest titular adviser, superintendent of schools. It was servility and fear (another main vice inherent in all heroes) that led to the fact that Khlestakov was given all sorts of honors. The mayor and officials, people, in general, not stupid, from fear of the image created in the imagination of an auditor superior to them, in whose hands the greatest power was concentrated, could not discern the truth. They let themselves be deceived by the false stories of the not brilliant Khlestakov.

In my opinion, Gogol's idea was calculated to make viewers and readers feel that the city depicted in the comedy does not exist somewhere, but in one way or another in any place, and the vices that officials are endowed with are present in each of us. In the images of the inhabitants of the city, in their reaction to the appearance of the auditor, the author, through the extensive use of various means artistic expressiveness(irony, sarcasm, laughter) demonstrated the ugliness of the life of bureaucratic Russia and the whole world as a whole.

Option 25

"Quiet Flows the Don" M.A. Sholokhov

*** S.A. Yesenin*** S.A. Yesenin

8. What is the worst thing about war?

Perhaps the answer to this question is simply obvious - it is cruelty. cruelty towards soldiers ordinary people to all living things.
All the tragedy civil war terrible in that people of the same country, and sometimes of the same family, became enemies to each other.
In a short episode from "The Quiet Flows the Don", which reveals the arrogance of the Red Army soldiers who entered the Melekhovs' house. The senseless, brutal killing of a dog suggests that they do not respect their owners. The contempt of one of the soldiers for Gregory caused by the fact that he was once among the whites, Once again indicate the bitterness of people belonging to different political groups.
Misunderstanding of true human values, blind malice towards their compatriots - this is the true tragedy of the Civil War.

9. In what works of Russian writers are wartime paintings depicted and in what way do they echo Sholokhov's "Quiet Don"? (Give 2-3 examples with names of authors.)

1) The novel by M. A. Sholokhov “The Quiet Don” is not the only work in Russian classics that depicts wartime paintings. Thus, the events of the Patriotic War of 1812 formed the basis epic novels L.N. Tolstoy "War and Peace". In it, the author also showed the immorality, cruelty of the event, “contrary to human reason”, which killed thousands human lives and broke a lot of destinies, including the life of the beloved hero of the writer Prince Andrei Bolkonsky, wounded during the Battle of Borodino, young Petya Rostov and other characters in the work.

The wartime tragedy was also reflected by L. N. Tolstoy in "Sevastopol Tales", in which the author described the events of the Crimean War, "terrible, soul-stirring spectacles." It is impossible to calmly read about how young guys and women lose their arms and legs at the front, how indifferently they throw cut-off body parts into a corner, how people die in suffering, uttering terrible groans and cries. L. N. Tolstoy, like M. A. Sholokhov, once again proved that war brings pain, grief and death.

2) Many writers of Russian literature depicted wartime pictures in their works. So, for example, in the work of M. Sholokhov "The Mole" is depicted, as in the "Quiet Don", the cruelty of the Civil War. Here she became the reason that the chieftain, who had been absent from his homeland for seven years, killed his son, Nikolenka, without recognizing him in the red commissar. And in the story "Letter" from the collection "Konarmiya" by I. Babel, wartime pictures are shown. The fighter Vasily, almost a boy, dictates a letter to his mother. He talks about how his brother "finished" "dad" - a White Guard who killed own son Fedya.

15. What is the originality of the disclosure of the theme of the motherland in the poem by S.A. Yesenin "Shagane you are mine, Shagane! .."?

In the poem "Shagane you are mine, Shagane .. . Two themes develop in parallel - the theme of the motherland and the theme of love, which is very typical for Yesenin's work. The lyrical hero tells his beloved about his homeland: about its endless fields, about the wavy rye under the moon, which is "a hundred times bigger there." The theme of piercing love for the native land runs like a red thread through his entire story. The hero is flesh of his flesh: "I took this hair from rye", his curls are as wavy as "rye in the moonlight". He unwittingly compares his northern and hot southern nature. The conclusion of the hero is unequivocal: No matter how beautiful Shiraz is, It is no better than the expanses of Ryazan. The composition of the poem deserves special attention. “Shagane you are mine, Shagane... ” is called “a wreath of stanzas”, because it consists of five five-verse lines, each of which is built on the principle of a ring (the fifth verse exactly repeats the first). In addition, the second quintuple is framed by the second verse of the first, and so on. The final, fifth, is framed by the same verse as the first. Thus, a ring composition of the entire poem is formed, closing the wreath of stanzas. Such a structure determines the special musicality of the poem and makes it even more expressive. difficult game feelings and thoughts.

16. In what works of Russian poets is the theme native land occupies a central place and in what way these works are consonant with the poem by S.A. Yesenin?

Poem by M.Yu. Lermontov's "Motherland" is a poetic declaration of love for his native land. In it, the poet lists and comprehends what Russia is dear to him. A majestic and multifaceted image is drawn home country. Three landscapes change: steppe, forest and river - typical images of Russian folklore. It describes not only nature, but Russian people, who are distinguished by their harmonious coexistence with the outside world. The poet depicts different facets of the motherland, which he admires. Each manifestation of the fatherland resonates in the soul of the poet.
The image of the Motherland is touchingly shown in the poem by A.A. Akhmatova "Native Land": "... But we lie down in it and become it, that's why we call it so freely - ours." The poetess plays with the ambiguity of the concept of "native land". This is the soil where a person was born and ancestors are buried, as well as the place where his life path ends. This expresses the connection with Russia.

17. What is the role of Olga Ilyinskaya in the spiritual transformation of Oblomov? (According to the novel by I.A. Goncharov "Oblomov")

1) Studying the great works of Russian literature, we often met with beautiful female images. And most often they not only carried the ideal of beauty and harmony, but also played some higher role assigned to them by the author. That was the image of one of central heroines novel by I. A. Goncharov "Oblomov" - Olga Ilyinskaya. This character was indeed taken by the writer from life - many contemporaries point to the real prototypes of the heroine: Ekaterina Maykova, whom the writer was passionate about for a long time, or Elizaveta Vasilievna Tolstaya. Perhaps this is partly why her image immediately becomes so close and understandable to each of us.

Olga is the most attractive heroine of the novel, she embodies the best features of an advanced Russian woman of the 50s of the 19th century. This is a girl with a keen interest in life, craving for vigorous activity, love for art. Goncharov does not endow her with the features of a beauty, but says that "if she were turned into a statue, she would be a statue of grace and harmony." The naturalness and simplicity of Olga Ilyinskaya, the absence of affectation, coquetry, lies and pretense immediately attract the views and hearts of everyone around her.

Inner beauty and incredible musicality distinguish Ilinskaya from many other characters. She smiles so that the smile lights up her eyes and spills over her cheeks. Her laughter is sincere and contagious, and in her speech "such grace shines, such a meek sweet mind that everyone will gladly turn their foreheads." Olga is witty, sometimes a “spark of sarcasm” can sparkle in her words, but from her we will never hear abstruse reasoning, overheard or subtracted judgments about life, literature, art. Everything Ilyinskaya talks about comes from the depths of her open soul. And this pure soul opens up especially brightly in Olga's singing: “My God, what was heard in this singing! - says the author. “Hopes, an obscure fear of thunderstorms, the very thunderstorms, breakthroughs of happiness - everything sounded not in the song, but in her voice.” Each feature in the appearance and character of Goncharov's heroine speaks of her inherent sensuality, sincerity, spiritual talent, harmony of mind, will and heart, "freedom of views, words, actions", determination, anxiety about life, the desire to search for something new and better. "Whoever met her ... stopped for a moment before this so strictly and deliberately artistically created creature."

Olga is constantly striving for excellence, moving forward. She is also looking for true love. It would seem that she managed to find the "ideal of male perfection" in Stolz. But union with him cannot satisfy her ever-seeking nature. “I will not grow old, I will never get tired of living,” she says. Her soul asks for something else, she "yearns, as if she was not enough happy life as if she was tired of it and demanded more new, unprecedented phenomena, looked further ahead. Stolz is frightened by this volcanic fire of Olga's soul, he "watched with surprise and anxiety how her soul does not stop, everything asks for experience and life." It is no coincidence that the literary critic D. N. Ovsyaniko-Kulikovsky said about Ilyinskaya that in any forgotten corner she would keep the covenants of her youth, that, disillusioned with Stolz, she “took a different path, difficult and thorny, full of hardships and hardships.”

hard way Olga passes in a relationship with Oblomov, where the lively, active character of the heroine, her human charm, is most clearly manifested. Possessing a gentle and at the same time hot nature, she responds to Ilya Ilyich's suddenly flashed feeling. Moreover, having sincerely fallen in love with Oblomov, discovering in him all those best qualities, which were hidden from the eyes of other people, Olga wants to resurrect this interesting person for her: “She will show him the goal, make him fall in love again with everything that he fell out of love with.” And her actions, her passionate desire to change her beloved give certain results. After the first meeting with Ilyinskaya, Oblomov orders to wipe the windows in the house and brush off the cobwebs.

Their second meeting causes an incredible surge of spiritual strength in the hero. And when Ilya Ilyich heard the girl's singing, he was so inspired that he decided to confess his love to her. Under the influence of Olga, Oblomov awakens an interest in reading books, with her he takes long walks, which is already a great achievement for Ilya Ilyich, who is used to always lying on the couch. Ilyinskaya makes her chosen one give up his afternoon nap and dinner, encourages him to get up at dawn, climb the mountain. Communication with her evokes in Oblomov a desire to enjoy life that was previously unfamiliar to him. Seeing all these changes, Olga is even more inspired in her desire to awaken her beloved.

At these moments, her best qualities are revealed in herself - nobility, the desire to be " guiding star”, determination, spiritual beauty. She is not stopped by the doubts that are often felt in Oblomov's statements. Having received his letter and catching in it Ilya Ilyich's fear of forthcoming worries, the desire to hide in a safe harbor, she does not stop her attempts. Olga is carefully looking for new means of influencing her loved one. The girl sincerely loves her chosen one, reaches out to him. It is no coincidence that such amazing poetry is fanned by the plot of the relationship between the two heroes. The writer reveals all the nuances of a complex love feeling: timidity, embarrassment, doubt, a subtle hint say an unusually lot loving people. Doesn't scare Olga on the way of Oblomov's transformation even public opinion. Only having made all possible attempts and realizing that her efforts were useless, she decides to break with the hero. Ilyinskaya bitterly realizes that she fell in love not with the real Ilya Ilyich, but with her dream of him: “I thought that I would revive you, that you could still live for me, but you had already died a long time ago,” she says. Thus, the author leads us to the idea that, perhaps, Olga did not really love Oblomov, but took him for true love the desire to resurrect Ilya, breathe life into him.

Goncharov gave his heroine a decisive role in the novel. On her shoulders, he laid the attempts of the spiritual rebirth of the hero, who lives in idleness and fruitless dreams. In the image of this beautiful Russian girl, Oblomov faced the last opportunity to heal. Love for Olga temporarily resurrected Ilya Ilyich, thanks to her, “both life, and tears, and love” returned to him.

Thanks to Olga Ilyinskaya, the hero’s “heart of gold”, capable of a strong feeling, and his poetry, sensitivity, and nobility of soul were revealed. Unfortunately, she still failed to finally defeat Oblomovism. Ilya Ilyich's fear of life, the inability to arrange his affairs, the habit of living according to established rules and regulations turned out to be stronger. The drawn bridges, which saved Oblomov from the need to see Olga, finally decided his fate, his return to the "ideal of the indestructible peace of life." Olga, not without a doubt, marries Stolz. The union with him is an ideal loving family: “they worked together, dined, went to the fields, made music ... as Oblomov dreamed ... Only there was no drowsiness, despondency with them, they spent their days without boredom and apathy ... " Although, with all the outward well-being, Olga is burdened by the calm and serenity of such a life, which for her is akin to the same Oblomovism.

In his novel, Goncharov created a beautiful type of Russian woman of that period, when in Russia, under the influence of the growth of culture, the self-consciousness of the people began to awaken, when women felt and began to defend their right to participate in public life. And this image remains relevant and necessary to this day.

2) One can expect a word from Olga that will burn and dispel Oblomovism. Once she loved Oblomov believed in him in his moral perfection. I must say that the meeting with Olga changed Oblomov, he became mobile. He is no longer too lazy to get up from the couch to move at least in order to express his thoughts. She worked long and hard with love and tender care to arouse in him the energy to life and activity. Olga does not want to believe that Oblomov is not capable of good. Loving her hope for her future in him, Olga does everything for him, neglecting even conditional decency. She goes to him alone and is not afraid, like him, to lose her reputation. With surprising tact, she immediately notices any falsehood that manifests itself in his nature and also explains to him why this is a lie and not the truth. For example, he writes her a letter of melodramatic content and then assures her that he wrote it only for her good, forgetting about himself, sacrificing himself, etc. Olga calmly answered him: “No, it’s not true: if you thought only about my happiness and considered separation from you necessary for him, then you would simply leave without sending me any letters beforehand.” He continues to say that he is afraid of her misfortune if she eventually realizes that she was mistaken and falls in love with another. Olga replies: “Where do you see my misfortune here? Now I love you and feel good; and after I fall in love with another, and then I will be fine with the other. You needn't worry about me." This simplicity and clarity in Olga's thinking contains, it seems to me, the makings of a new future life different from the one in which the modern society of the heroes of the novel grew up. It also amazes me how Olga's will is obedient to her heart. She continues her relationship with Oblomov, despite all the ridicule of outsiders, until she is finally convinced that she was mistaken in him. After an open showdown of relations, she can no longer unite her fate with him, although during this conversation and even after that she still caresses and praises him.
Thus, the inertia of Oblomov's life won; he does not want to make the efforts that Olga demanded of him, and even the life that seemed to her did not suit Oblomov himself. Therefore, even though Olga tried to transform Oblomov, this transformation was very short-lived.

17. Did Mtsyri find the answer to the question “is the earth beautiful”? (Based on M.Yu. Lermontov's poem "Mtsyri") Lermontov does not give a detailed description of the monastic life of Mtsyri. Monastic life meant, first of all, a departure from people, from the world, complete rejection of one's own personality, “service to God”, expressed in uniformly alternating fasts and prayers. The main condition of life in a monastery is obedience. Those who took monastic vows were forever cut off from human society; the return of a monk to worldly life was forbidden. Lermontov does not give a detailed description of the monastic life of Mtsyri, however, we understand that for the hero the monastery is a symbol of captivity, a prison with gloomy walls and “stuffy cells”. To stay in a monastery meant for him to give up his homeland and freedom forever, to be doomed to eternal slavery and loneliness. The author does not reveal the character of the boy who ended up in the monastery: he only draws his physical weakness and fearfulness, and then gives a few strokes of his behavior, and the personality of the highlander prisoner emerges clearly. He is hardy, proud, distrustful, because he sees his enemies in the surrounding monks, he is from the very early years familiar childish feelings of loneliness and longing. There is also a direct author's assessment of the boy's behavior, which reinforces the impression - Lermontov speaks of his powerful spirit inherited from his fathers. Mtsyra's idea of ​​freedom is connected with the dream of returning to his homeland. To be free means for him to escape from the monastic captivity and return to his native village. The image of an unknown but desired “wonderful world of anxieties and battles” constantly lived in his soul. Mtsyri's personality and character are reflected in what pictures attract him and how he talks about them. He is struck by the richness of nature, which contrasts with the monotony of monastic existence. And in the close attention with which the hero looks at the world, his love for life, for everything beautiful in it, sympathy for all living things is felt. On the outside, he knew the "bliss of freedom" and strengthened in his thirst for earthly happiness. After living three days in freedom, Mtsyri learned that he was brave and fearless. The feeling of happiness is caused by Mtsyra not only by what he saw, but also by what he managed to accomplish. The flight from the monastery during a thunderstorm gave me the pleasure of feeling the friendship “between a stormy heart and a thunderstorm”; communication with nature brought joy (“it was fun for him to breathe ... the night freshness of those forests”); in a battle with a leopard, he knew the happiness of struggle and the delight of victory; the meeting with the Georgian woman caused “sweet anguish”. All these experiences Mtsyri unites in one word - life! Being in constant search, anxiety, fight and win, and most importantly - to experience the bliss of the "liberties of the saint" - in these experiences, the fiery character of Mtsyri is very clearly revealed. Only real life tests a person, revealing his essence. Mtsyri saw nature in its diversity, felt her life, experienced the joy of communicating with her. Yes, the world is beautiful! - this is the meaning of Mtsyri's story about what he saw. His monologue is a hymn to this world. And the fact that the world is beautiful, full of colors and sounds, full of joy, gives Mtsyri an answer to the second question: why man was created, why he lives. A person is born for freedom, not for prison. The origins of the Mtsyra tragedy are in the conditions that surrounded the hero since childhood. The circumstances in which he found himself since childhood deprived him of contact with people, practical experience, the knowledge of life, put their stamp on him, making him a “dungeon flower”, and caused the death of the hero. The death of Mtsyri cannot be called reconciliation with fate and defeat. Such a defeat at the same time is a victory: life doomed Mtsyri to slavery, humility, loneliness, and he managed to know freedom, experience the happiness of struggle and the joy of merging with the world. Therefore, his death, for all its tragedy, makes the reader proud of Mtsyri and hatred for the conditions that deprive him of happiness.

Option 26

"Clean Monday" I.A. Bunin

"Hamlet" B.L. Pasternak

8. What is the difference spiritual world hero and heroine and how she defined them further fate?

The hero appears before us as a completely earthly person who has simple ideas about happiness with a loved one, he wants to create a family with her, to be always together. But the heroine, her inner world seems to us to be more complex. The hero himself speaks of this difference between them, noting differences in external behavior: “As far as I was prone to talkativeness, to simple-hearted gaiety, she was most often silent: she was always thinking something, everything seemed to delve into something mentally; lying on the sofa with a book in her hands, she often put it down and looked inquiringly in front of her ... ". That is, from the very beginning it looked strange, unusual, as if alien to all the surrounding reality. She herself says that she feels not created for the joys of life familiar to many people: “No, I am not fit to be a wife. I’m not good, I’m not good…” Indeed, as the story develops, we see that she is quite sincere towards the hero, she sincerely loves him, but there is something in her that worries her, prevents her from making an unequivocal decision.
The girl is amazing with her inconstancy in hobbies and interests, as if there are several people in her, she constantly follows different paths. The Beloved is unable to fully understand her, because he sees how incompatible things are united in her. So, at times she behaves like an ordinary girl of her age and circle: attends courses, goes for walks, to the theater, dine in restaurants. And it becomes incomprehensible why she studied at the courses, why she learned the beginning " moonlight sonata”, for which she hung a portrait of the barefoot Tolstoy over the sofa. When her lover asked her the question “why?”, She shrugged her shoulders: “Why is everything done in the world? Do we understand anything in our actions? But in her heart the heroine is inwardly alien to all this. “It looked like she didn’t need anything: no flowers, no books, no dinners, no theaters, no dinners outside the city ...”
The heroine often goes to the Kremlin cathedrals, monasteries, loves to read Russian annals. In her soul, a craving for the divine and for all the richness of the cosmos, hesitation and longing for the ideal coincided. It seems to her that only in monasteries and spiritual chants has the “feeling of the motherland, its antiquity”, spirituality been preserved. Yes, she completely surrenders to the feeling of love, and she does not doubt her feelings, but she is absolutely sure that earthly happiness is not that she needs.
The girl leaves Moscow, and then makes a decision - on Clean Monday, after Farewell Sunday, the heroine goes to the monastery. Not finding beauty, spirituality in her modern world, the heroine leaves it to where, as it seems to her, they are: to the past, to the monastery. The beloved asked her, but he could not fully understand, did not realize what prompted her to flee from this world. For him, the loss of his beloved was catastrophic, he was never able to recover from the loss.

9. What is the similarity of “Clean Monday” by I.A. Bunin with other works of Russian classics of the XIX - XX centuries. about love? (When comparing, indicate works and authors.)

Many Russian writers in their works addressed the immortal theme of love. Among them are A. Ostrovsky, I. Goncharov, I. Turgenev, F. Dostoevsky and others. So, in the story of I. Turgenev "Asya" the main characters are Mr. N.N. and the girl Asya pass the test of love. The feeling of love inspires the heroine, gives her new strength, inspires faith in life, but her chosen one turns out to be weak-willed and indecisive, he cannot adequately respond to her ardent feelings. Prejudices and fear of the opinion of society and the opinion of Gagin force him to push away Asya, who was ready to follow Mr. N. to the ends of the world. Asya's determination frightens him, and N. N. leaves her; the first love of the heroine, like the hero Bunin's story turns out to be unhappy.

In the novel by A.S. Pushkin "Eugene Onegin" writer shows love relationship between Tatiana Larina and Eugene Onegin. Tatyana falls passionately in love with Onegin and confesses her feelings to him in a letter, however Tatyana's sincerity frightened, even repulsed Evgeny. He did not reciprocate her feelings, but after a year the hero realized that he truly loved and loves her. But despite mutual love, like the heroes of Clean Monday, they cannot be together, be happy. And they themselves are to blame for this, their own mistakes, their inability to find the right path in life, and this is their tragedy.

15. Why are B.L. Pasternak about personality and fate are accompanied by numerous images and details related to the world of the theater?

In the above poem, the author uses a number of images that relate to the world of the theater. This is primarily due to the special attitude lyrical hero poems. The lyrical hero is tragic personality, who feels an insurmountable abyss with her generation, which is expressed in the line “I am alone, everything is drowning in hypocrisy” (“drowned in hypocrisy” is a capacious metaphor that characterizes the generation of hypocrites and hypocrites). The lyrical hero understands that he will have a difficult path of loneliness and therefore reads a prayer in which he asks the Creator: "Carry this cup past." However, in the end, the hero understands the predestination of his fate and the impossibility of changing anything. In this regard, the Creator is likened to a drama director, and life itself is likened to a “stubborn plan”, in which a person plays a certain “role.” Thus, theatrical images and details help the author convey special worldview lyrical hero of the poem

16. Which of the Russian poets is close to B.L. Pasternak in portraying the drama of a lone hero? (Give an answer indicating the works and the rationale for the comparisons.)

1) In addition to Pasternak, single heroes were portrayed in their poems by M.Yu. Lermontov and S.A. Yesenin. Like Pasternak's poem, Lermontov's poem "Both Boring and Sad" evokes a feeling of sadness and melancholy. Just like the hero of Pasternak, the hero of Lermontov feels loneliness and at the same time understands the hopelessness of his situation. He "has no one to give a hand to" "in a moment of spiritual adversity", his whole life for him is "an empty and stupid joke." However, the loneliness of Lermontov's hero is much deeper than the loneliness of Pasternak's hero. If the second is lonely due to the unwillingness to live among the generation of "Pharisees", then the first is disappointed in life in general: neither desire, nor passion, nor love can captivate him.

In Yesenin's poem "Soviet Rus'" there are also several similar motifs with Pasternak's poem. In connection with certain socio-political processes, the native village of the lyrical hero has changed a lot: “in his country” the hero feels like a foreigner, and “the language of fellow citizens” has become like a stranger to him. Hence the feeling of loneliness, estrangement, similar to the lyrical hero of Pasternak: “But I have no one to bow with my hat, / I don’t find shelter in anyone’s eyes.” So, the main motive that brings together the poems of Pasternak and Yesenin is the motive of loneliness, which is due to the difference in the worldview of the lyrical hero and his environment.

2) The lyrical hero of Lermontov's poem "How often he is surrounded by a motley crowd" is a proud lonely person, opposed to society. Loneliness is the central theme of the writer's poetry and, first of all, of this poem. The poet challenges society, which is trying to destroy his bright dream. The hero does not find refuge either in secular society, or in love, or in friendship. Lermontov and his heroes yearn for real life.

17. How can one explain the absence of an “ideal” hero in the system of characters in A.P. Chekhov’s play “The Cherry Orchard”?

A.P. Chekhov's play "The Cherry Orchard", written in 1904, was the last major work writer. It is the result of a long reflection of the author about the era in which he happened to live.

Conflict is at the heart of the story. However, it is not accompanied by heated debates, long monologues of the characters, their clear division into "positive" and "negative". The fact is that A.P. Chekhov showed the conflict not of people, but of eras, at the “junction” of which the play takes place. Basic storyline is an attempt by the heroes to save the “family nest” of Gaev and Ranevskaya from being sold for debts. It is interesting that the main character, despite her exclamations about her home: “My own locker ... my table,” cares less than others about saving it. Hoping for a miraculous solution to all problems, she rejects Lopakhin's only possible plan. But this is the only person who is trying to take real measures to save the estate. When the hero realizes that the “unbusinesslike, frivolous” Gaev and Ranevskaya are not able to do anything, he decides to buy the entire estate and put his plans for renting into practice already in the position of the owner. It is clear that Lopakhin was not led by noble motives at all, because he is not going to support the former inhabitants of the estate, they are forced to leave. Moreover, the purchase of the estate became for the hero a symbol of his final victory over the peasant past. Petya Trofimova and Anya are considered to be “new people” behind whom the future stands. But A.P. Chekhov deprives these heroes of their “ideality”. The “eternal student”, for example, despises parasitism, although he himself has been living as a freeloader for a long time, and Anya, with sincere confidence that “a new life is beginning,” is ready to leave her relatives without thinking about their fate. Finally, Firs, forgotten in the house, symbolizes the "imperfection" of the characters. After all, a person who is too passionate about himself cannot notice others, cannot be ideal. There are no ideal people in the work of A.P. Chekhov. All heroes have positive and negative traits. The author himself does not give an unambiguous assessment to anyone, allowing the reader to do it himself, focusing on the actions of the characters. But in its ambiguity, each character in the play only becomes more alive and brighter. Lopakhin and Ranevskaya, Anya and Petya, the other heroes of the play are not a set of certain qualities, but complex personalities with individual characters. The author showed his era extremely honestly, trying not to hang labels. Thus, we can conclude that the author does not create an "ideal" hero in his play in order to show the most honest picture of the era in which he lived. The Cherry Orchard is real picture life, which depicts living people with their vices and virtues. Maybe that's why "The Cherry Orchard" before today is very popular all over the world.

Option 27

"The Cherry Orchard" A.P. Chekhov

“Now we are leaving a little ..” S.A. Yesenin

8. What does the knock of an ax, mentioned twice at the end of the fragment, symbolize?

1) In the works of Chekhov, even sounds have their own symbolism. The knock of an ax, mentioned twice at the end of the play, symbolizes the final death of the cherry orchard, and in place with it the departure of the old, obsolete time. Gaev and Ranevskaya are replaced by Lopakhin. People like him are ready for active transformation. Ranevskaya and her brother could not decide the fate of their estate for months: new owner In two days everything changes beyond recognition. Lopakhin develops violent activity, escorting the former owners of the cherry orchard: "Let's go! .. We lock the door!" The sound of an ax is a symbol of merciless, immediate change. On the other hand, it is easy to cut down a garden, to destroy old traditions. But will the new owners be able to grow, build, leave something behind? And this problem is raised in Chekhov's play, and one of the elements pointing to it is the knock of an ax.

2) At the end of the play by A.P. Chekhov, after the scene of the departure of the Ranevskaya family from the estate, the knock of an ax is mentioned twice, “sounding lonely and sad”, which can mean only one thing: beautiful The Cherry Orchard cut down. This knock of an ax not only speaks of the destruction of the garden, but also symbolizes the death of noble estates, and with them old Russia. The ancient family estates are being sold, the nests of nobles are coming to an end: soon there will be neither these faces, nor these gardens, nor estates with white columns, nor abandoned chapels. The inevitable death of the old way of life in Russia evokes sadness, because the living dies ... And not on dry trunks, but on the trunks of living trees, an ax knocks!

9. In what works of Russian classics is the drama of the serf shown, and in what way do you see the similarities between Firs and the heroes of these works?

1) Russian writers were aware of the destructiveness of serfdom. For example, in D. I. Fonvizin's comedy "Undergrowth" it is shown how serfdom corrupts not only the feudal lords, but also the serfs. The serfs are limited, greedy and cruel, and the serfs take their lawlessness for granted. A vivid example is mother Eremeevna, who receives as a reward for her service "five rubles a year and five slaps a day." She, like Firs, serves her masters all her life, but, like him, she is not appreciated and forgotten. Even more similar to Firs is the image of a faithful servant from the novel Oblomov. Zakhar, like Firs, is forgotten after the death of his master Oblomov (and after all, the departure of the family from the family nest is also death in some way, and this brings the two images even closer). Both Zakhar and Firs remain old, abandoned, helpless. The whole drama of serfdom is shown on the example of these heroes.

15. How does the inner world of the lyrical hero appear in the poem by S.A. Yesenin?

The poem by S. A. Yesenin “Now we are leaving a little” is a philosophical reflection on the meaning of the universe, life and death, permeated with a sense of sadness and inevitability. The lyrical hero of the work sums up his life path, recalling how he kissed women, loved, thought, “rolled on the grass”, “breathed and lived”. He understands that he will soon leave this world, go “to that country where there is peace and grace.” However, no matter how serene this “country” is, the hero is “unable to hide his longing” from the realization of the inevitability of the imminent end. He loves this world with its aspens, animals, flowers, thickets, rye. The people that live on Earth are also dear to him. That is why the lyrical hero of the poem experiences “trembling” “before the departing host”: where he goes, there will be no “these cornfields, golden in the darkness” ...

16. In what works of Russian lyrics does the theme of life and death sound, and in what ways do they echo Yesenin's poem?

1) The theme of life and death, comprehension of the past years is characteristic of the work of many authors, including S. A. Yesenin and S. Ya. Marshak. In the poem "I do not regret. I do not call, I do not cry ...", as well as in "We are now leaving little by little ...", the problem of life and the lived is comprehended. In both of his works, the poet sums up the time spent on Earth, blesses all that exists (Be blessed forever, / What has come to flourish and die.). and cherish everything "that is given to us in possession," that is, everything. how we live, because between life and death sometimes it can be "only a moment." Like the hero of S. A. Yesenin, the hero here is distinguished by a particularly reverent attitude to life and its things and a firm conviction that "there" will not be anything of the things we are used to.

2) In Pushkin's poem "Do I wander along the noisy streets ..." the lyrical hero reflects on the transience of life and the inevitability of death for every person: "years will fly by" and "We will all descend under eternal vaults - / And someone's hour is already close." The lyrical hero himself feels that his life cycle is ending and the time is coming for a new generation: “I caress the dear baby, / I already think; Forgive me! / I give way to you: / It’s time for me to smolder, for you to bloom. Awareness of the transience of life and a premonition of their death bring together the lyrical heroes of Pushkin and Yesenin.

In Zhukovsky's elegy "Rural Cemetery" the thought of the inevitability of death sounds: "The formidable is looking for everyone ... and will never find it." However, it is difficult for the lyrical hero to realize this, his reflections are filled with sadness, which is expressed in rhetorical questions: “And who parted with this life without grief? / Who betrayed his own ashes to oblivion?” Longing for the passing world brings together the heroes of Zhukovsky and Yesenin.

17. What is the role of Kuligin in Ostrovsky's play "Thunderstorm"?

The play "Thunderstorm", written by Alexander Nikolayevich Ostrovsky, tells about life in the small town of Kalinovo, where the tyranny of rich landowners knows no bounds. The "dark kingdom" personifying these landlords has no bosses over them who could express their disapproval to them. Every resident of Kalinov does not agree with this injustice, and some dare to express openly what they think.
The first person we meet in the play is Kuligin, a simple tradesman, a self-taught mechanic and a dreamer. We do not know his appearance. He is over fifty years old, but he is active and enterprising.
We meet Kuligin at the very beginning of the play. He sits on a bench and admires the Volga, even sings with pleasure. When Kudryash and Shapkin approach him, Kuligin immediately shares his emotions with them. "Delight!" - he says, but they do not understand his joy, they "do not see" the beauty of the landscape, because - they are immersed in everyday problems. The conversation immediately turns to the "dark kingdom". Kuligin does not support meaningless chatter. We notice his remarks only "on business", and when necessary. “Let’s take an example from him! It’s better to endure it,” says Kuligin about the curses of Wild. This attitude shows the intelligence and eccentricity of Kuligin's behavior, for comparison, Kudryash boasts that he does not allow himself to be offended: "Yes, I do not let it go either: he is words, and I am ten." But when Dikoy passes by, Shapkin and Kudryash step aside, fearing that he will become attached, Kuligin remains to sit in his place and only takes off his hat.
In the next scene, Kuligin is talking to Boris Grigoryevich, Dikiy's nephew. Kuligin wonders why Boris lives in such subordination to his uncle that he does not even dare to object to his senseless reproaches, Boris replies that it is difficult for him to live here, "I am superfluous here, as if in the way." After listening to Boris Grigoryevich, Kuligin understands that nothing can be changed and advises "to please somehow." Kuligin is smart, he clearly understands what social principles reign in Kalinovo and explains this to Boris: "Cruel morals, sir, in our city, cruel!" Along with the ability to analyze, there is dreaminess and poetry in him - Kuligin knows how to write poetry. But he refuses Boris's proposal to write life in Kalinovo in verse: "How can you, sir! They will eat it, swallow it alive." In this, his indecision is manifested: "I already get it, sir, for my chatter." If Katerina, the main character of The Thunderstorm, commits suicide as a sign of protest, then Kuligin does not want loud, decisive protests.
Kuligin knows how to find mutual language with people. "What a good man!" Boris says of him. Kuligin is a noble dreamer, he constantly thinks about the well-being of society - he wants to invent a perpetuum mobile and get a million for it, which would be spent on giving work to the bourgeoisie. "And then there are hands, but there is nothing to work."
"Mechanic, self-taught mechanic" - as Kuligin calls himself, he wants to make a sundial in the city park, for this he needs ten rubles and he asks Diky for them. Here Kuligin is faced with the stubborn stupidity of Dikoy, who simply does not want to part with his money. Dobrolyubov wrote in his article "The Dark Kingdom" that "it is easy to 'stop' a tyrant by the power of a judicious, enlightened mind." "An enlightened person does not back down, trying to inspire Diky with the right ideas about the benefits of a sundial and saving power lightning rods." But everything is useless. One can only be surprised at the patience, respectfulness and perseverance with which Kuligin tries to get through to Wild.
Kuligin subtly feels the beauty of nature: "because of the Volga, meadows smell of flowers, the sky is clear ..."; and regrets that people in the city do not see this at all, perhaps only the main character of the play, Katerina, like him, admires the beauty of the world around her. The poor work from morning to night, while the rich sit at home behind locked gates and swear at each other. Only "young guys and girls ... they steal an hour from sleep, another, well, they walk in pairs." He also tries to explain to people that one should not be afraid of such amazing natural phenomena as a thunderstorm, northern lights, a comet, they should be admired and surprised. But only he is able to evaluate these natural phenomena in such a way, for everyone else they are God's punishment, a sign from above, no one needs his reasoning about science and is rejected. Thunderstorms "everyone should be afraid," says Katerina.
People are drawn to Kuligin. Tikhon Kabanov tells him with complete confidence about his experiences, about how hard it is for him to live in his mother's house. Kuligin clearly understands all the problems of Tikhon, gives him advice to forgive his wife and live with his own mind. "She would be to you, sir, good wife; look - better than anyone. "The trouble is that Tikhon cannot take this advice, his mother will not allow him, and he does not believe in his own strength:" No, his own mind.
In the last scene of the play, when the dead Katerina is taken out of the Volga, Kuligin is the first to decide to tell Kabanikha: “Here is your Katerina. Do with her what you want! Her body is here, take it; and the soul is not yours now; she is now before the judge, who more merciful than you!" After these words, he runs away. He runs away because he is deeply unpleasant to be near these people.
Ostrovsky gave his hero a surname consonant with the surname of the self-taught Russian mechanic Ivan Petrovich Kulibin, who helped the development of society with his inventions and discoveries. Kuligin is not the main character of the play, but the author assigned him a very important role. In the face of Kuligin, another protest against the "dark kingdom" is expressed. Katerina sacrifices herself in protest against tyranny, while Kuligin is ready only for objections. But it's not just tears on hard life, but well-considered proposals, the implementation of which would make the life of Kalinovtsy better and more beautiful. If you look at the volume, then Kuligin's monologues are second only to the monologues of the main character. As the story progresses, he appears in all key scenes drama, with their reasoning clearly explaining the complexity of the situation.
In the "dark kingdom" Kuligin appears as a good person, he reads poetry, sings, his judgments are always accurate and thorough. He is a kind dreamer, striving to make people's lives better, to expand their knowledge about the world around them. It often seems that the wise and prudent thoughts that Kuligin expresses are an assessment of the events of the play by the author himself.
The image of Kuligin is sympathetic to me because he always knows what he is striving for. He has a goal - to make the life of society better, for this he tries to come up with all kinds of inventions, a perpetuum mobile, in order to provide city residents with work with the money received. Only this character has some aspirations in life, everyone else just lives, solving everyday problems or creating them for others.
I think that Ostrovsky, in the image of Kuligin, wanted to portray a variant of solving the problem in Kalinov. If Kuligin were not alone in his aspirations, or if he were richer, then he could really change the life of his society, but nothing was given to him, and he is doomed to be an "outcast" in Kalinovo.

2) A.N. Ostrovsky in the play "Thunderstorm", written in 1859, showed the life and customs of the Russian provincial society of that time. He revealed the problems of morality and the shortcomings of this society, showing the main features of tyranny.

In his play, Ostrovsky took the action beyond the limits of family life into a wide sphere of publicity: on a city street, on a square, in a public garden, and surrounded the main characters with representatives of different segments of the population. One such “representative” is Kuligin, a tradesman, a self-taught mechanic, who socially opposes both Wild and Kabanikha, because he does not accept the cruel customs of Kalinov and, according to Dobrolyubov, Kuligin, like Katerina, personifies in the “dark kingdom” another life, with other beginnings. True, Kuligin, unlike Katerina, softens the relationship between the "dark kingdom" and its victims. He preaches more patience and humility. So, for example, when Kudryash rebuffs Dikoy, Kuligin objects: “It’s better to endure it,” and to Dikoy’s threats he says: “There is nothing to do, you have to submit!” And Dikoy calls Kuligin a "worm." “Tatar”, “robber”, he wants to send this modest inventor “to the mayor” and wants to refute knowledge with wild superstition. Kuligin is not a fighter; he defends his human dignity timidly, naively referring to the authority of Lomonosov and Derzhavin. Just as naively, he believes in the perpetum mobile, which will help downtrodden people alleviate their lot. Kuligin cares "for the common good", he worries about the groundless fears of the townspeople, he himself is devoid of any superstitions. He is offended by the darkness and ignorance of the Kalinovites, the customs of this city. Imeno Kuligin says: “Cruel manners, sir, in our city, cruel!. In philistinism, sir, you will see nothing but rudeness and bare poverty.

Kuligin is a kind and delicate man, he dreams of changing the life of Kalinov's poor, having received an award for the discovery of a perpetual motion machine, but all his technical ideas are an anachronism for the 19th century. The sundial that he dreams of came from antiquity, the perpetum mobile is a medieval idea, the lightning rod is a technical discovery of the 18th century. He often looks funny, eccentric. For Kalinovites, Kuligin is something like a local holy fool.

Kuligin feels nature very much, in this sense he is a subtle person. His soul rejoices unusually beautiful scenery, he is ready to compose hymns to nature. For example, in order to convey to the crowd his sense of beauty and harmony, he speaks of nature in the words of Lomonovsov6 “Well, what are you afraid of, pray tell! Now every grass, every flower is rejoicing, but we are hiding, we are afraid, just what kind of misfortune! and you are horrified and think of whether this is for war or for the sea ... "

Despite Kuligin's weak protest against the "Dark Kingdom", the meaning of his remarks and monologues is an ideological commentary on what is happening, he is still a moral judge of Wild, Boar and all that they personify. Not without reason, in the last act of the play, it is Kuligin who brings Katerina's body to the banks of the Volga and utters the words full of reproach:

- Here's your Katherine. Her soul is no longer yours: she is now before a judge who is more merciful than you!

Kuligin is the moral judge of the "dark kingdom", perhaps because some critics called him a "beam of light".

3) A.N. Ostrovsky created in 1859 the play "Thunderstorm" - a work in which difficult questions of a turning point in public life, a change in social foundations were raised. Alexander Nikolaevich penetrated the essence of the contradictions of his time. He created colorful characters of petty tyrants, described their manners and way of life. Two images act as a counterbalance to tyranny - these are Kuligin and Katerina. Our article is devoted to the first of them. “The image of Kuligin in the play “Thunderstorm” is a topic that interests us. Portrait of A.N. Ostrovsky is presented below.

Kuligin is a self-taught mechanic, a tradesman. In a conversation with Kudryash (first act), he appears before the reader as a poetic connoisseur of nature. This hero admires the Volga, a miracle calls the unusual view that opened to him. The image of Kuligin in the play by A.N. Ostrovsky's "Thunderstorm" can be supplemented with the following details. A dreamer by nature, however, this hero understands the injustice of the existing system, in which the brute power of money and strength decides everything. He tells Boris Grigorievich that there are "cruel morals" in this city. After all, whoever has money, he seeks to enslave the poor in order to make even more capital for himself on his labors. The hero himself is not like that. The characterization of the image of Kuligin in the drama "Thunderstorm" is directly opposite. He dreams of well-being for the whole people, strives to do good deeds. Let us now present in more detail the image of Kuligin in the play "Thunderstorm".

Boris meets the character of interest to us on an evening walk in the third act. Kuligin again admires nature, silence, air. However, at the same time, he complains that a boulevard has not yet been made in the city, and people in Kalinovo do not walk: everyone has locked gates. But not at all from thieves, but so that others do not see how they tyrannize the family. There is a lot behind these locks, as Kuligin says, "drunkenness" and "dark debauchery." The hero is indignant at the foundations of the "dark kingdom", however, after an angry speech, he immediately says: "Well, God bless them!", as if deviating from the words spoken.

His protest remains almost mute, it is expressed only in objections. The image of Kuligin in Ostrovsky's play "Thunderstorm" is characterized by the fact that this character is not ready for an open challenge, like Katerina. Kuligin exclaims at the offer Boris makes to write poetry, that he will be "swallowed alive", and complains that he already gets it for his speeches.

The hero we are interested in is a man of science, respectful of nature, subtly feeling its beauty. In the fourth act, he addresses the crowd with a monologue, trying to explain to people in it that one should not be afraid of thunderstorms and any other natural phenomena. They need to be admired and admired. However, the residents of the city do not want to listen to him. They live according to old customs, continue to believe that this is God's punishment, that a thunderstorm is sure to bring trouble.

The image of Kuligin in the play "Thunderstorm" is characterized by the fact that this hero is well versed in people. He is able to empathize and give practical, right advice. The hero showed these qualities, in particular, in a conversation with Tikhon. He tells him that it is necessary to forgive enemies, and one should also live with one's own mind.

It was this hero who pulled the dead Katerina out of the water and brought her to the Kabanovs, saying that they could take her body, but her soul did not belong to them. She now appeared before the Judge, who is much more merciful than the Kabanovs. Kuligin runs away after these words. This hero, in his own way, experiences the grief that happened and is unable to share it with the people who are responsible for the suicide of this girl.

In Kalinov, the hero we are interested in is a white crow. The image of Kuligin in Ostrovsky's play "Thunderstorm" is characterized by the fact that this character's thinking is significantly different from the way of thinking of other residents. He has other aspirations and values. Kuligin is aware that the foundations of the "dark kingdom" are unfair, tries to fight them, strives to make better life ordinary people. The hero we are interested in dreams of Kalinov's social reorganization. And probably, if he had found material support and like-minded people, he would have been able to significantly improve this city. The desire for the well-being of the people is perhaps the most attractive feature that, together with others, makes up the image of Kuligin in the play "Thunderstorm".

"Clean Monday" I.A. Bunin "Poems to Blok" M.I. Tsvetaeva "Poems to Blok" M.I. Tsvetaeva

Option 28

"Nadne" M. Gorky

"Night, street, lantern, pharmacy" A.A. Blok

8. How does this scene characterize the hosts of the hostel, the Kostylevs?

1) In this scene, the most characteristic negative features of both Vasilisa and Kostylev are most fully manifested. Vasilisa's desire to get rid of her husband with the help of Ash, a desire well thought out and justified, speaks of nothing more than rather cold-blooded cruelty and even some courage, which in this case characterizes Vasilisa not with better side. The same cruelty with a considerable amount of tyranny is present in her relationship with Natasha, whom she, according to her, beats so much that she herself cries out of pity for the girl, but she will not stop beating. Ash very accurately called it an atrocity. At first, Kostylev is rather succinctly characterized by his wife, comparing him with a biting bug and saying that "for everyone he is poison." And then, as if confirming these words, the owner of the rooming house himself appears, who gets angry, stamps his feet, squeals loudly and calls Vasilisa a filthy and beggar. The inconsistency of such behavior with the usual image of a person as if correct and with dignity frightens Kostylev himself. But he still cannot hide his true character, his rudeness, tyranny and cowardice, because of which he is not able to fight back Ash, because of which he can only squeal at his wife.

2) The owners of the rooming house, the Kostylevs, people who find themselves at the "bottom" of life, who have reached the extreme degree of human fall: Kostylev is cruel towards others, towards his wife, while Vasilisa "torments" Natasha. And this scene once again emphasizes the immorality of the Kostylevs. Vasilisa compares her husband with a "noose" from which she wants to free herself, because he, like a "bug", "sucks" her, torments her life. Moreover, Kostylev "torses" Natasha, is rude to her, calling her a "beggar". That is why Vasilisa says that Kostylev is "poison" for everyone. However, the heroine herself is cruel: she beats Natasha out of jealousy for the Ashes, atrocities against her. Only pity for the "girl" distinguishes her from her husband. Thus, this scene reveals the cruel, immoral nature of the Kostylevs, their arbitrariness towards the inhabitants of the rooming house.

9. What brings the play "At the Bottom" closer to the works domestic classics raising the problem of the "bottom" in human relationships? (Indicate the titles of the works and justify your choice.)

1) The theme of the “bottom” in human relationships, touched upon in the play by M. Gorky, is also found in other works of Russian literature.

In the drama A.N. Ostrovsky's "Thunderstorm" the relations of all the inhabitants of the city of Kalinov are lowered to the "bottom". The city is dominated by the absolute dictatorship of the representatives of the "dark kingdom" - Kabanikha and Wild. Like the inhabitants of the rooming house, who are unable to resist the tyranny of the Kostylevs, the heroes of Ostrovsky's play - Tikhon, Varvara, Katerina - also feel captive.

In the novel by F.M. Dostoevsky's "Crime and Punishment", the theme of "humiliated and offended" is clearly traced. Like the Kostylevs, the old pawnbroker keeps even the closest people in fear: the old woman’s sister suffers constant beatings from her. Both Kostylev and Alena Ivanovna nevertheless depend on those whom they humiliate. The theme of the "bottom" in human relationships lies in Dostoevsky's depiction of people's indifference to each other. The inhabitants of the rooming house do not show sympathy for the dying Anna - the onlookers crowded around Marmeladov crushed by horses do not take any action to save him.

Touching upon the problem of the "bottom" in human relationships, the authors talk about the absence of better feelings in these people, which gives rise to anger and hypocrisy.

1) The author's reflection on being in A. Blok's poem is permeated with a sense of longing, hopelessness. The dull, dull pictures of the city that surround his lyrical hero help the poet to convey this. Night, street, twilight, a lonely lamp, "meaningless and dim light", "icy ripples of the canal" symbolize sadness, emptiness, lack of desire to live. The hero is important philosophical question about the meaning of life and the inevitability of death. He is convinced that nothing will change over time:

Live at least a quarter of a century -

Everything will be like this. There is no exit.

The lyrical hero of the work believes that a human stay in this world is a meaningless cycle that has no end ("If you die, you will start again from the beginning, / And everything will repeat itself, as of old"). That is why he is overwhelmed with feelings of hopelessness and sadness.

2) A poem by A.A. Blok's "Night, street, lamp, pharmacy..." is permeated with a philosophical, elegiac mood.

The lyrical hero reflects on the meaning of life, on its essence. Life appears to him as a vicious circle in which everything is cyclical and invariable: “If you die, you will start again from the beginning; And everything will be repeated as of old ... ". The atmosphere of the night creates a feeling of not only external darkness, but also reflects the inner state of the lyrical hero. Light, a symbol of hope, becomes "meaningless and dim" for Blok. Everything around the lyrical hero is cold and has no purpose.

Based on this, we can assume that the author forgives Katerina. She really suffered enough in her life and, perhaps, deserved peace. The author's position is revealed especially clearly in the finale of the drama.

Katerina, before committing this terrible act, sees in front of her not “gehenna fiery”, as a punishment for the worst Christian sin, but “sun”, grass, trees, hears the birds singing as a sign that nature accepts her into “its temple” ".

When we see Katerina, who has already thrown herself from the steep and high bank of the Volga, she appears before us just like a living person, she only “bleeded out”, and there was no pain or sadness on her face, her expression displayed purity, peace, peace.

(10 points: 2 + 2 + 2 + 2 + 2)

Undoubtedly, the graduate understands and explains author's position, however, reveals the theme of the essay incompletely, which is associated with insufficiently deep knowledge of the text of the drama by A.N. Ostrovsky. He should have explained more convincingly why Katerina "what goes home, what goes to the grave ...", what is the essence of her internal conflict; reveal the attitude of other characters towards her (Boris, Tikhon, Kuligin), as well as recall the meaning speaking name(“pure”), which is revealed in her image. The author of the essay does not quite accurately recall the details of the finale: indeed, Katerina fell off a cliff, but at the same time she “as if alive”, “only a small wound on her temple and only one ... a drop of blood.”

So, even the best works of graduates testify to insufficient knowledge of the text of the studied works and indicate the need for special memorization of quotes from prose texts(as well as program poems), the formation of skills brief retelling and an exact reference to a fragment of the work, as mentioned in guidelines previous years.

Another problem that the USE in Literature reveals is the inability of students to use theoretical knowledge. Recall that “... the development of the literary method is of great importance ... in the formation of a system of students' views on art, its specifics, as well as in the formation of a worldview. The gradual mastering of the literary method serves as the basis for the formation of the skills to independently analyze and evaluate a literary work. Let us give examples of essays, one of which reflected a complete ignorance of literary terminology (work 1), in the other - a sufficient level of proficiency in it and its appropriate use in the process of revealing the topic of the essay (work 2).

C5.1. What is the ugliness of the life of a bureaucratic city? (According to the play by N.V. Gogol "The Government Inspector".)

“N.V. Gogol in the play "The Inspector General" presents us with the bureaucratic world with its own way of life. Masterfully drawing a non-existent city, which is the personification of our country as a whole, the author manages to fully reveal the degree of disorder, arbitrariness, which, one might say, exists in Russia to this day.

The beginning of the play is associated with the receipt of a letter about the arrival of an incognito auditor and an order for an unscheduled "cleansing" of one's affairs. Outwardly, we find only the fear of what will be found, something that no one should know. We get the answer to this question in subsequent scenes, after Bobchinsky and Dobchinsky declare Khlestov to be the auditor. From this moment, rich treats begin, “monetary assistance” to a stranger, a trip around the city, various institutions. And all this shows how kind higher people can be, and their fear of tests, of the truth. The ugliness of their whole routine lies in the fact that they are morally

5 Kudryashov N.I. The relationship of teaching methods in the literature lesson. M .: Education, 1981. S. 55.

limited, because they do not even understand that their actions are negative character that they create chaos and lawlessness, caring only about their wallet. Gogol satirically ridicules their vices and characters. Details and remarks allow us to see more deeply how, when giving a bribe, officials rob others on a daily basis.

Thus, we understand that the ugliness of the life of officials is that these people do not understand that their actions are horrendous. For them, this is the norm. They are limited in their worldview, live on bribes, degrade at work and do not benefit society.” (3 points: 1 + 0 + 1 + 1 + 0)

C5.1. What philosophical problems does M.Yu. Lermontov in "A Hero of Our Time"?

The action of the novel takes place in the 1930s 19th century, in the era of reaction after the defeat of the Decembrists. It was a time when the ideas of European philosophers began to penetrate into the Russian consciousness, and thinking people epochs tried to explore and understand them. M.Yu. Lermontov was no exception. He is interested not so much in the events that happen to the hero, but in his inner world - thoughts, experiences, desires, feelings, i.e. how a person evaluates himself and his place in life. This makes the novel not only social, but also psychological.

In the center of the novel is the problem of an outstanding, in many ways strange personality. Moreover, the writer was interested in explaining what drives her actions, why they are done, how they are evaluated by the hero.

So, what makes the novel philosophical is the writer's appeal to personality problem, which is being studied in psychologically. Who is he, Grigory Alexandrovich Pechorin - "a hero of our time"?

First of all, it must be said that Pechorin is a dual nature, contradictory. How is it shown? How is it explained?

In one of his internal monologues(the story "Princess Mary" consists of the hero's diary entries) he himself speaks of "an innate passion to contradict." A

V in a conversation with Mary Pechorin, it’s not so drawn, saying that his “youth passed in the struggle with himself and the world”, that he hid his best, natural human beginning from the light. So he became a "moral cripple."

“Pechorin’s main mistake is that he considers one half of his soul to be dead, while both halves are alive and only one completely suppresses the other,” writes D. Merezhkovsky.

The dominant, cynical beginning in Pechorin - is it not the fault of the society from which he came out? The popular idea of ​​Jean Jacques Rousseau that society “spoils” a person enters into controversy with Lermontov’s position: the latter believes that this is not a fundamental factor in the formation of a person (recall Kazbich’s cruelty and

"abandoned wanderer" (canonical image of romanticism), "furiously chasing life" (V. G. Belinsky).

And in this pursuit, his main companion is boredom, which, in fact, underlies his “thirst” for activity. Bela, Mary - his passionate hobbies, carrying only pain and suffering, could perhaps ignite his soul, or rather, that half of it that is already dead for him, but every impulse stumbles upon a “corrosive analysis”: “... I can cry! However, maybe this is the reason ... an empty stomach.

Why analyze everything in life? What leads to such a belief? Let us recall Bazarov, his huge ego and selfishness, in spite of which even natural human feelings for the beloved woman could not become. In Lermontov's novel, Pechorin approaches individualism, which made it difficult to find an answer to the main question - about his own destiny.

Fast forward to the Fatalist chapter, which highlights yet another philosophical problem- the problem of predetermining the fate of man. It is key to understanding author's intention and here's why: Pechorin cannot be called a fatalist, he even sneers at this "Muslim belief" that "the fate of a person is written in heaven", because fatalism robs a person of free will. For Pechorin, his free will is the main dignity of a person, what drives her actions: “... I always go forward more boldly when I don’t know what awaits me ...”, he writes in his diary.

Pechorin is trying to understand (and he succeeds) people and their actions, but he cannot understand the highest goal of his life, this is beyond his understanding. However, once he nevertheless commits an act that does not affect "empty passions", and therefore a real, kind one that makes his character heroic - the capture of a drunken Cossack. That's why when he was congratulated on this heroic deed, he pronounces the words: "... and there was something."

In this act, we see, on the one hand, that the main thing for him is activity (Fichte’s idea: “Life is like activity, activity is like struggle”), on the other hand, we understand that Pechorin comes to overcome egoism and realize that the goal of life - in love for one's neighbor, in useful activity.

True, the reader already knows that by this time Pechorin is no longer alive. That is why the chapter “The Fatalist” is so important in the composition of the novel: from it it becomes clear who Pechorin could have become if he had lived in a different time.

The examinee reveals the topic of the essay, based on the author's position, demonstrates knowledge of the novel's problems, formulates and justifies his point of view (3 points): uses theoretical and literary concepts at the instrumental level (2 points); however, the text of the work is not sufficiently versatile (although appropriate) (2 points); the composition is characterized by compositional integrity (3 points) and literacy of speech design (3 points). The work was rated 13 points.

Special mention should be made of the methodological problem of evaluating essays according to the second criterion. The proposal to set a certain standard for the number of terms used in an essay has been discussed more than once. These ideas are born out of a desire not only to protect the exam taker, but also to make assessment approaches clearer. However, there is a legitimate fear that such a solution will lead to a scholastic approach. First of all, the expert should evaluate not the volume of concepts included in the essay, but the appropriateness of their use, the skill of mastering literary tools, which the school curriculum is not overloaded with.

The given examples of examination papers made it possible to reach a number of methodological problems.

In conclusion, let's consider one more question that arises in connection with the subjective factor when evaluating detailed answers. A significant part of the wording of tasks C1-C5 includes a problem that allows graduates to give their own varied interpretations. artwork. The interpretation of the graduate may not coincide with the interpretation of the expert, who sometimes expects to see in the work of the examinee his own perspective on the problem. For example, when answering the question: “In what other works is the “chosen” society depicted and how can its image be compared with the image of the “chosen” society in Dead Souls?” - the graduate built the statement on examples from "Thunderstorm" (Kabanikha and Wild) and "Undergrowth" (Prostakov family). The expert did not agree with this approach, since he did not consider the society of Kabanovs and Prostakovs to be "chosen", which cannot be considered fair.

In a row with the above example, one can put proposals to introduce into the evaluation system the criterion for the completeness of the disclosure of the topic. Such a decision will lead to a sharp increase in the role of the subjective factor. For example, a graduate, reflecting on the question of what caused the duel between Pechorin and Grushnitsky, chooses a conflict associated with jealousy as the main answer. Under the current criteria, he has the right to choose this aspect of the answer, but the "completeness criterion" will expand the boundaries of the experts' expectations to unbearable tasks.

When evaluating works in literature, one should remember the specifics of the subject, that the writer invites the reader to co-creation, to free reflection on the text.

The listed "problem areas" of the school study of literature were, to one degree or another, specified in the methodological recommendations based on the results of the Unified State Examination of past years.

Methodological assistance to the teacher and students in preparing for the exam can also be provided by materials from the FIPI website (www.fipi.ru):

– documents defining the structure and content of KIM USE 2014 (codifier of content elements, specification and demo version of KIM);

– open segment of the Federal bank of test items;

– educational and methodical materials for chairmen and members of regional subject commissions for checking the fulfillment of assignments with a detailed answer to the examination papers of the USE;

– analytical reports on the results of the exam and methodological letters of past

– a list of educational publications developed by FIPI specialists.