All of you, dear readers, have definitely come across stories, poems, fan fiction, or even entire books in which one or more characters speak in the first person. And all of you at school were probably asked to write essays about the image of a lyrical hero or author's position in such and such a work. Many schoolchildren, readers, or even aspiring writers, when faced with all this, grab their heads: what does it all mean and how to deal with it? How to answer the teacher's question correctly? How to react to a first-person narration in a text - is the author writing about himself or not? So we have four terms. Let's try to figure everything out in order. AUTHOR. The author is the person who wrote the work and created the characters. This person is quite real, just like you, he goes to work/school, lives in an ordinary house in an ordinary city and goes about his daily affairs. What relation does he have to the heroes of his books or poems, even if they speak in the first person? No, he just made them up, unless the title or preface says that such and such a character is autobiographical or even Mary/Marty Sue. BE CAREFUL: I have repeatedly heard stories from my friends and acquaintances about how children at school are taught to retell texts written in the first person or analyze such poems. Unfortunately, even many teachers confuse the author and the character and advise students to begin retelling such works with the words “The writer Sidorov went into the forest,” although Sidorov could have written his book when he was already over seventy, and main character- ninth grade student. Remember: the author and his characters are not the same thing. The author may well copy one of the heroes from himself or give him similar biography, character traits, and so on, but not every hero who speaks about himself in the first person can be considered autobiographical. And, on the contrary, the author’s alter ego may turn out to be some third-rate character in a third-person narrative. I know it sounds complicated. How to recognize which characters are autobiographical and which are not? Ask the author himself. Read the header and comments carefully. If you are studying a book at school or college, read the writer’s diaries and notes, and much will become clear to you. HERO-STORYTELLER. Great literary device, which is a favorite of many writers. Its essence lies in the fact that something or another event is covered from time to time or constantly in the work from the point of view of a certain character, while the narration is constantly or again from time to time conducted in the first person. Anyone can act as a hero-storyteller: one or more characters in a book, some outsider who seems to be observing events from the outside or telling a story, sometimes even an unborn child, an animal or an inanimate object, which in fantasy works is endowed with the ability to perceive and evaluate what is happening. BE CAREFUL: you should not associate the hero-narrator with the author of the book, consider him a Mary/Marty Sue or a bearer of the author's position, unless the author has explicitly indicated this. A similar mistake occurs very often: when I myself once again school years introduced a hero-narrator into the story, some of my readers sincerely decided that I was describing my own impressions and expressing my opinion about events. The opinion of the hero-narrator is his own opinion, and it is not a fact that the author shares or approves of it: this may just be a literary experiment or a technique aimed at showing the reader the peculiarities of this character’s thinking and worldview. So, for example, Alexandra Marinina in the book “Death for the Sake of Death” and Alexander Vargo in his novel “House in a Ravine” narrate on behalf of murderous maniacs, but this does not imply that the authors sympathize with them or share their point of view. What if the author, suppose, wrote a story where the main character, speaking in the first person, is an animal or a thing? CHARACTER. In principle, everything is clear with him: this is one of the characters books. However, there are certain difficulties here too. It happens that in a work readers encounter some bright, interesting image, and they immediately begin to believe that this hero is certainly positive, likes the author or expresses his position. BE CAREFUL: Do you want to know exactly how the author perceives the hero and his role in the story? Ask the author. Some people, having read a couple of my texts, sincerely decided that Sauron was in them - positive hero and I sympathize with him. There were also those who asked whether certain characters in this text were my alter ego. To be honest, my image of Sauron came out quite bright and extraordinary, I’m basically happy with the result, but at its core this hero is an outright manipulator and an unprincipled type with a perverted consciousness. In everyday life it is better not to communicate with such people. A LYRIC HERO is a character in a poetic work through which various thoughts, feelings, and impressions can be conveyed in the text; The narration can be conducted either from the first or from the third person. The lyrical hero is not identical to the author of the poem; The same rules apply to him as to the character in general or the hero-narrator. BE CAREFUL: yes, lyrical hero can also be autobiographical and reflect feelings, thoughts, positions and life experience author. It may not be. Try to analyze several texts you know from the point of view of the above - and you will see how interesting it can look.
Sections: Literature
The sharper the satire, the higher the writer's ideal.
M. E. Saltykov-Shchedrin
Goal: by analyzing the system of images of “The Tale...” to characterize the author’s ideal of the satirist M. E. Saltykov-Shchedrin.
Lesson objectives.
Educational (knowledge system):
learning new things:
- comprehension ideological content works by M. E. Saltykov-Shchedrin “The Tale of How One Man Fed Two Generals”;
- formation of an idea of the author’s position, the author’s ideal;
- ways of expressing the author’s attitude towards the depicted (humor, irony, satire, grotesque);
repetition of what has been learned:
- literary fairy tale and its difference from folklore,
- ways to create artistic image character (name, place of service, rank, speech, education, portrait, artistic space, relationships, attitude towards another character, author’s attitude).
Developmental(skill system):
formation of new skills:
- argue for the attitude of the author and reader towards the characters of the work (generals, peasants);
- characterize the author's ideal of a satirist writer;
development of previously acquired skills:
- characterization of characters and events based on an independent search for literary facts and the author’s judgment;
- appropriate and sufficient citation literary text;
- expressive reading of fragments of an epic work;
- development of oral monologue speech skills.
Educational(system of value guidelines):
- the formation of students’ value understanding of the world and man from the standpoint of the author’s ideal;
- students' mastery of vocabulary that expresses their attitude to moral values.
Equipment: portrait of the writer, children's drawings of characters, “Dictionary of the Humanities,” cards with tasks for students.
During the classes
I. Checking homework.
What signs of a fairy tale as a genre do you know?
How does a literary fairy tale differ from a folk fairy tale?
Suggested answer: In a literary fairy tale, the author is a specific person, the fairy-tale style is combined with the clerical style and a comic effect is created, hyperbole and grotesque are used to show that there is no ideal and positive hero, satire and evil irony are used.
Define humor, irony, satire and give examples from your reading experience.
Suggested answer: Humor - cheerful, kind laughter . Irony is hidden mockery. Satire is an evil, angry laughter.
Which artistic features images of situations and characters in satirical tale can you name?
Suggested answer: Allegory, irony, sarcasm, hyperbole, grotesque.
What methods do you know of creating a character?
Suggested answer: Methods of creating an image - portrait, landscape, actions of the hero, his activities, relationships with other characters, the hero’s speech, the author’s attitude towards the character, my attitude.
II. State the topic and purpose of the lesson.
Dear Guys! Today we will continue working on “The Tale of How One Man Fed Two Generals” by M. Saltykov-Shchedrin. We have to characterize the author's ideal: the writer's attitude to the world and man through the analysis of characters. Let's carefully observe the characters and try to understand the author's intention. Today two groups of students will work: the first group will have to characterize the generals, the second - the peasant. The guys in each group received cards in envelopes with a task that they would have to complete independently. The groups will present the result of their research in the form of a full oral response. Each of your presentations should not exceed 2 minutes. 5 minutes are allotted for independent work. You need to listen carefully to your comrades speaking so as not to repeat what has already been said.
III. Characteristics of generals.
Card No. 1. Character names.
What are the names of the generals?
Suggested answer: The generals do not have names, thereby the author emphasizes the typicality of their images, the lack of individual qualities.
Card No. 2. The characters' place of service.
Where did the generals serve? Reread the required passage.
Find the meaning of the word “reception” in the dictionary.
How does the narrator feel about such “registries”?
Suggested answer: “Generals served all their lives in some kind of registry...” The word “registry” in the dictionary means... It is no coincidence that the author uses the definition “some kind” with the word registry in order to generalize similar institutions, emphasize typicality, refers to similar establishments ironically.
Card number 3. Rank of characters.
Why is it not stated why the heroes received the rank of general?
Where and who else did one of the generals serve? name an artistic technique)
Suggested answer: The author does not say why the generals received their rank, the personal qualities of the heroes are also not indicated, only the rank is indicated. But we understand that they do not give a rank for inactivity, which means that the generals received it under someone’s patronage, since they themselves could not have earned such a high rank. One of the generals was a calligraphy teacher at the school of military cantonists, i.e. at a school for soldiers’ children, which should indicate the hero’s low intellectual level, the other “was smarter.” And where have you seen a general engage in such activities?! Thus, the author satirically portrays the generals.
Card No. 4. Characters' speech.
What expressions do generals use in their speech? Read the fragments.
What is special about their pronunciation?
How does speech characterize the characters?
The expected answer: “Accept the assurance of my complete respect and devotion” - clericalism, the generals use an official business style in their speech, which characterizes their limitations, the habit of using “s” at the end of words is an expression of respect.
Card No. 5. Education of the characters.
What is the level of education of generals? Explain your conclusion.
What reader impressions about the generals arise based on the analysis of the author’s technique?
Suggested answer: The generals do not know the sides of the horizon, for them “the rolls will be born in the same form as they are served with coffee in the morning” - this hyperbole helps to convey the worthlessness and lack of education of the generals. The author depicts them satirically .
Card number 6. Portrait of characters.
What's special appearance generals?
What substantive details does the author highlight in the description of the generals and why?
How do you feel about generals based on an analysis of their appearance?
The expected answer: “Well-fed, white and cheerful,” says the narrator, “but there are no faces - thus, a generalization is used. The generals are “in nightgowns, and an order hangs on their necks,” the order is perceived as part of the body, grotesque is used. The portrait is satirical, causing a feeling of hostility towards the heroes.
Card No. 7. Art space.
What is so special about the island where the generals end up?
Suggested answer: The author transfers the action to a desert island so that the generals can show themselves, express themselves in actions, it is not for nothing that there is a lot of food and water on the island - it is idealized, it is a paradise, but a paradise, first of all, for the stomach, the island is fantastic, abundance, reigning here is conveyed using hyperbole. The generals were inactive, white-handed, and could not prove themselves.
Card No. 8. Character behavior.
What actions do the generals perform on the island? For what purpose?
How does the behavior of the generals characterize them?
Suggested answer: The generals are trying to climb a tree - but... alas! Inaction, helplessness, the habit that others do everything for them, the author exposes their vulgarity, unsmoking, the meaninglessness of such an existence.
Card number 9. Character relationships.
What is the relationship between the generals at the beginning of the tale?
How does their relationship change and why?
Please provide an appropriate citation.
What associations and analogies do you have when analyzing the behavior of generals (who are they like when they attack each other)? (name the artistic technique used)
Suggested answer: As soon as the generals feel very hungry, their respect disappears. Officials lose their human appearance and, like predators, pounce on each other. “Suddenly both generals looked at each other: an ominous fire shone in their eyes, their teeth chattered, and a dull growl came out of their chests. They began to slowly crawl towards each other and in the blink of an eye they became frantic. Shreds flew, squeals and groans were heard; the general, who was a teacher of calligraphy, bit off the order from his comrade and immediately swallowed it.” The frenzy of the generals is conveyed by the author using the grotesque.
Card number 10. The attitude of the generals towards the peasant.
How did the generals react to their find, man?
Find quotes and explain their meaning.
What thought came to the generals when they saw the different provisions?
Find the quote and explain the attitude of the generals towards the peasant.
Why do the generals tie up a man?
How did the generals “thank” the man?
Express your attitude towards the generals.
Suggested answer: “A man stood up: he saw that the generals were strict. I wanted to give them a scolding, but they just froze, clinging to him.” The man is the salvation of the generals, he is the one whom they can dispose of as their property, he is their salvation. But as soon as, thanks to the efforts and skill of the peasant, various provisions appeared, instead of gratitude, the generals disparagingly said: “Shouldn’t we give the parasite a piece?” The word “parasite” expresses irony here: who is the true parasite? But the main “gratitude” is ahead: the generals tie the man so that he does not run away. There is cruelty, rudeness, violence of the generals against those who obey them.
What kind of image appears before us in the face of the generals?
IV. Characteristics of a man.
Card No. 1. Character `s name.
What is the guy's name?
What are your reader thoughts on this?
Card No. 2. Character portrait.
What does the man look like?
Why is he called “the most enormous man” in the work?
Why was a man included in the image system?
What properties is a man endowed with in fairy tales?
Suggested answer: The author calls his hero “a huge man,” because... This is the person who can do everything, is capable of any work, strong, powerful, dexterous (this is how a man is always presented in Russian folk tales). The man was not introduced into the system of images by chance: he is opposed to inactive and useless generals.
Card number 3. Character behavior.
What can a man do?
How does he perform the work he undertakes?
Do you like all the man's actions?
Explain the reasons for your attitude towards the man.
Suggested answer: The guy knows how to do everything, does the work quickly and conscientiously. The author admires his dexterity and hard work; hyperbole helps convey the ingenuity and imagination of the people.
Card No. 4. A man's attitude towards generals.
How does a man feel about generals?
Why does a man obey the generals? Please provide an appropriate citation.
What did the “man” do to help the generals out of trouble and bring them home?
What qualities of character did he show at the same time?
Suggested answer: The man meekly submits to the generals. The rank, it turns out, is enough to push the man around. “The generals looked at these peasant efforts, and their hearts played merrily. They had already forgotten that yesterday they almost died of hunger, but they thought: “It’s so good to be generals - you won’t get lost anywhere!” A man builds a ship, showing resourcefulness and ingenuity.
Card No. 5. Character Speech
How does a man's speech characterize him?
Suggested answer: The peasant’s speech reflected the eternal habit of the Russian people - to meekly please the master.
V. Generalization.
In relation to which characters does Saltykov-Shchedrin use humor and irony, and in relation to whom does he use satire? Why?
How does the man in Saltykov-Shchedrin’s fairy tale differ from a folklore character?
What in a man’s behavior causes admiration, and what causes the author’s condemnation?
What is the meaning of the ending of “The Tale...”?
VI. Summing up the results of the analytical conversation.
Generalization of the teacher: “The Tale...” is built on an allegory, ridicules the vices of the author’s contemporary society, exposes the stupidity and inability of generals to live, the humility, slavish obedience of a man who can do everything. These are issues of national importance, the well-being of Russia depends on the attitude of state authorities to these vices.
Why did Saltykov-Shchedrin deliberately use the word “story” in the title of the fairy tale?
Teacher's summary: Using fairy-tale techniques, fantasy and hyperbole, the writer creates an unusual situation that captivates us, the readers. But he skillfully intertwines fantasy and reality to explore the essence of the relationship between those in power and the people, the immorality of the authorities and the servility of the peasant. Thus, through the reflection of vices, the satirist’s pain for the smart, hard-working Russian people is manifested.
Let's turn to the epigraph of our lesson. M.E. Saltykov-Shchedrin wrote: “The sharper the satire, the higher the writer’s ideal.” How do you understand his words?
Teacher's summary : Saltykov-Shchedrin believed that satire should not destroy, but create, and the writer should explore life more fully in order to understand how to arrange it better.
Which moral values states the satirist Saltykov-Shchedrin?
VII. Homework.
Write an essay characterizing one of the heroes (group 1 - characteristics of a man, group 2 - characteristics of generals).
A satirical depiction of the heroes of the fairy tale by M. E. Saltykov-Shchedrin “The Tale of How One Man Fed Two Generals” “Fairy tales are one of the most striking creations of the great Russian satirist M. E. Saltykov-Shchedrin. The fairy tale genre helped the writer in an atmosphere of fierce government reactions to talk about the most pressing problems of the era, to show those aspects of reality to which the satirist was irreconcilable. “The story of how one man fed two generals is one of Shchedrin’s most vivid and memorable tales. At its center are two generals who find themselves on desert island. Living in St. Petersburg, the generals did not know any difficulties.
They went to serve in the registry, and this service formed in them only one skill - to say - “Please accept the assurance of my complete respect and devotion.” Nevertheless, the generals deserved a pension, and a personal cook, and everything that allowed their old age to be well-fed and serene. Waking up one morning in the middle of the island, they experienced a real shock, because it turned out that without outside help these adult men could neither get food for themselves nor cook it. When creating images of generals, Saltykov-Shchedrin actively uses the grotesque. for the heroes it becomes that “human food in its original form flies, swims and grows on trees. According to them, “the rolls will be born in the same form as they are served with coffee in the morning. The inability to serve themselves in generals awakens animal instincts: one bites off another’s order and immediately swallows it. Generals only know how to write reports and read “Moskovskie Vedomosti.”
They cannot bring any other benefit to society. A fantastic plot helps the satirist show the heroes of the fairy tale in the most unsightly form. The heroes appear before the reader as stupid, helpless, pitiful creatures. The only salvation for them is a simple man. Frightened to death by their position, the generals attack him with anger: “You’re sleeping, you couch potato! condemns him for his humility, for his ability to forget himself for the sake of satisfying the whims of his master.
Having picked apples for the generals, the man takes one for himself, but it’s sour. He is a great craftsman: “He can make fire and cook food, he knows how to survive on a desert island. This, of course, is what the author appreciates in his hero. Emphasizing his talents, Shchedrin uses hyperbole: boiling a handful of soup is not a problem for a man. He doesn’t care at all. , and it’s not for nothing that the writer calls him “a man.” However, all the man’s efforts are aimed at the benefit of the generals. He even covers the bottom of the boat with swan's down for them, and Saltykov and Shchedrin cannot agree with this behavior of his. The man demonstrates ignorance, a habit of servitude, lack of self-respect, and servile devotion.
“And the man began to gamble on how to please his generals for the fact that they, a parasite, favored him and did not disdain his peasant labor,” writes the author. The generals are ungrateful: their savior for everything receives a glass of vodka and a nickel of silver But the saddest thing is that he doesn’t demand more. The author says with sarcasm about the general’s remuneration: “However, they didn’t forget about the man... In “The Tale of How One Man Fed Two Generals”, Saltykov-Shchedrin showed not just the relationship of individuals. generals and peasants - he depicted in an allegorical form the relationship between the authorities and the people in Russia. The satirist contrasted the ruling elite of society with the disenfranchised masses. The book of Shchedrin's fairy tales is a living picture. Russian society, torn apart by contradictions. I admire the skill of the satirist with which he was able to approach the most complex acute problems of his time and which he showed in miniature paintings.
I hope that no one else has any doubts about how important his goal is for the hero (some of the heroes are ready to kill for theirs).
Now let's talk about character. As I already said, cinema is movement. The hero is the one who moves, the goal is what makes him move. And character is what sets the speed and trajectory of movement.
In the last lesson, I asked you to try to name a character whose character changed during the film.
Anakin Skywalker, Kisa Vorobyaninov, Raskolnikov, Andrea from The Devil Wears Prada, Tyler Durden, Plyushkin, Monte Cristo, D'Artagnan and many, many others were named.
Let's take Raskolnikov as an example. Indeed, at the beginning of the book (film, series, story) he is a poor student who suffers terribly from the thought of whether he is a trembling creature or has the right. In the finale, he is a convict who is convinced that yes, he is a trembling creature and repents of his errors in the arms of Sonya Marmeladova. Frankly, there are two differences. But has his character changed?
In general, what is character?
Here's the definition from Wikipedia:
Character (Greek charakter - distinguishing feature) - structure of persistent, relatively permanent mental properties that determine the characteristics of relationships and behavior of an individual.
I ask you to pay attention to the words of the persistent, relatively constant. What are these properties? Let's try to define them without delving too deeply into psychology:
1)Energy level (strong - weak)
2) Temperament (speed of reactions, excitability)
3) Introvert-extrovert (social behavior)
4) Habits (stereotypes of behavior)
The hero already has all these properties as soon as he is born (I mean the light of a film projector) and all of them remain with him when he goes into ETM.
Raskolnikov was weak. Have you become stronger? No. He was melancholic. Have you become sanguine? No. I was an introvert. Have you become an extrovert? No. Have you gained or lost any habits? No. As he came, so he went.
Character is the main thing that distinguishes one hero from another. The viewer recognizes and remembers the hero by his character, and not by his appearance.
If you know the character of your hero, it will be easy for you to construct a plot - you just need to erect obstacles between the hero and his goal and watch how he, in accordance with the characteristics of his character, will overcome them.
If the hero commits an act that is out of character, the viewer will feel that he is being deceived. Either the hero or the author. If a hero deceives, it is the author’s sacred duty to expose him. Otherwise, the viewer will no longer believe the author. And it needs to be exposed quickly, clearly, rudely and visibly (but not stupidly).
In general, cinema is a rough art. Much rougher than prose, which allows you to devote dozens of pages, for example, to describing the thoughts of the hero. In the depiction of the characters, the roughness of the cinema is manifested like nowhere else.
Why do fans often protest against film adaptations, even successful ones? Because cinema necessarily simplifies and coarsens the characters, sometimes making each of them the bearer of only one, most striking trait. And some heroes are thrown out altogether, like Tom Bombadil from The Lord of the Ring.
Sometimes this simplification kills a movie, as in the case of Johnny Mnemonic, when a great novel turned into an average action movie.
More often, on the contrary, simplification allows one to create a movie, such as, for example, Pudovkin’s “Mother.”
And the story behind the creation of Doctor House? Dr. Lisa Sanders wrote a column for the New York Times for many years in which she described diagnosing a patient as solving a crime. The columns were published a separate book, television people bought the rights to create a series based on this book. And for two years they didn’t know what to do with these rights. Until they finally came up with the hero we all know.
Would you watch a series about diagnosing patients if it didn’t include this hero with his obnoxious, but such a bright character? Attention, this was a rhetorical question, not homework!
It is believed that there are two approaches to depicting the character of a hero: Moliere's and Shakespeare's.
Each of Moliere's heroes has one dominant trait - Harpagon is stingy, Scapin is a rogue, Tartuffe is a hypocrite, and so on. This approach is suitable for genre films. For example, if you are writing an action movie, your hero should not, having caught the enemy in the crosshairs, suddenly begin to doubt, like Hamlet.
Shakespeare's heroes are multidimensional: Hamlet is ambitious and modest, decisive and prone to doubt. Shylock is stingy and smart and child-loving. Falstaff is both voluptuous and lazy, brave and cowardly.
Is this why most of Moliere’s plays have long since left the stage, while Shakespeare continues to be performed? The reader and viewer of Shakespeare not only follows the development of history, but he also goes into a most exciting journey deep into the character of the hero, gradually recognizing more and more of his features.
What should the character of the hero be like for this journey to be truly exciting?
BRIGHT. It is foolish to expect great feats and unexpected actions out of nowhere.
DEFINITELY. We must understand what the hero wants and why he wants it.
BELIEVABLE. Just don’t need to copy the features of people you know. Life is not a screenwriter; it does not need to worry about verisimilitude. And the screenwriter needs it.
WHOLE. The hero acts only as he can act. For example, at one time in American cinema, action heroes did not kill anyone. Even during the last fight with the most evil villain, the villain had a habit of tripping and falling on his own knife.
COMPLEX. Internal contradiction gives the hero volume (remember Hamlet - probably the most contradictory and most popular hero in the world). In order to become a hero, he must overcome this contradiction. Just don't abuse it. If the character's function is to give the hero cartridges, he must silently (or with the words here are the cartridges) give the hero cartridges and immediately fall with a bullet in his head.
The complexity of a character is directly proportional to the importance of the role the hero plays in the story.
Even an action movie cannot be built on the fact that a single-celled hero is the strongest and shoots without missing a beat. He definitely needs to come up with some kind of ficus tree on the windowsill, a love for John Wayne films and friendship with a little girl.
Conversely, if you delve too deeply into the personalities and stories of characters who play a small role, it will turn out funny. This effect was very well ridiculed in one of the episodes of Austin Powers, when they showed in detail how the wife and son of one of Dr. Evil’s henchmen learn about the death of this very henchman at the hands of the main character.
In some screenwriting primers they write that in order for a character to be three-dimensional, the screenwriter must describe in detail his appearance, character and social status.
When I read in the "bible" ( terms of reference) new project detailed biography hero for ten pages, this makes me at least wary. And if at the same time I see that the hero has an uninteresting and unconvincing character, I immediately abandon the project, because I understand that such a technical assignment does not foreshadow anything but fruitless torment.
In fact, what makes a hero three-dimensional is not his appearance or social status - what difference does it make to a screenwriter whether his heroine is blonde or brunette, if he is not the screenwriter of Legally Blonde? In many films, it doesn’t matter to us what kind of craft the hero does for a living. But the character of the hero is the foundation stone of any good script.
The screenwriter's task is to make this stone precious.
However, the fact that the character of the hero remains unchanged does not mean that the hero himself does not change. But what does it change?
Plyushkin was a landowner, became a poor madman, Kisa was a registry office employee, became a murderer, D'Artagnan was a poor Gascon, became a field marshal.
All these heroes changed their fate.
And that’s exactly what we’ll talk about next time.
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1. Genre of the work: a) memoirs; b) story; c) story.
2. The title of the work suggests that we have: a) the history of additional classes in the French language; b) a story about the lessons of morality and kindness; c) the young hero’s story about his favorite lessons French.
3. The action in the work takes place: a) before the Great Patriotic War; b) during the Great Patriotic War; c) after the Great Patriotic War;
4. “Big-headed, crew-cut, stocky guy” is: a) Bird; b) Vadik; c) Fedka.
5. The character of the work about which the hero says: “They were all about the same age as me, except for one - a tall and strong guy, noticeable for his strength and power, a guy with long red bangs”: a) Bird; b) Vadik; c) Fedka.
6. The narrator, who was not friends with anyone, believed that main reason his loneliness is: a) pride; b) homesickness; c) stinginess.
7. The narrator played “chika” in order to: a) save money; b) gain authority from the guys; c) buy milk every day.
8. Talking about characteristic features the voices of the teacher and the voices of fellow villagers (“In our village they spoke, tucking the voice deep into the inside, and therefore it was somehow small and light”; “... while I was studying, while I was adapting to someone else’s speech, the voice sat down without freedom, weakened...” ), the narrator used: a) antithesis; b) comparison; c) allegory.
10. Images of a teacher and a student (“She sat in front of me, all neat, smart and beautiful, both in clothes, and in her feminine youth, which I vaguely felt, the smell of perfume from her reached me, which I took for breath itself...” ; “... in front of her, hunched on the desk was a skinny, wild boy with a broken face, unkempt, without a mother and alone, in an old, washed-out jacket on his drooping shoulders... in breeches altered from his father’s... soiled light green pants...") represent: a) description ; b) reasoning; c) narration.
11. Verbal portraits The main characters are located nearby in the text. Stylistic device, used by the author in this case: a) comparison; b) irony; c) antithesis.
12. The young hero believed that French words: a) invented for punishment; b) surprise with their uniqueness; c) are not at all similar to Russian words.
13. In the sentence: “And without that by nature timid and shy, lost from any trifle…” - the highlighted words are: a) epithets; b) constant epithets; c) logical definitions.
14. In the sentence: “Here I was unyielding, I had enough stubbornness for ten people” - the author used: a) hyperbole; b) irony; c) metaphor.
15. According to Lydia Mikhailovna, a person ages when: a) he ceases to be surprised by miracles; b) ceases to be a child; c) lives to an old age.
16. The true meaning of the game of “measuring”: a) the teacher’s help to a capable but hungry student; b) the teacher’s desire to remember her childhood; c) the teacher’s desire to interest the student in learning French.