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Sample. The places they passed through could not be called picturesque. Analysis of an excerpt from an epic work

03.04.2019

The places they passed through could not be called picturesque. The fields, all the fields, stretched right up to the sky, now rising slightly, then falling again; Here and there small forests could be seen, and, dotted with sparse and low bushes, ravines twisted, reminding the eye of their own image on the ancient plans of Catherine’s time. There were rivers with dug-out banks, and tiny ponds with thin dams, and villages with low huts under dark, often half-swept roofs, and crooked threshing sheds with walls woven from brushwood and gaping gates near empty barns, and churches, sometimes brick with plaster that had fallen off here and there, or wooden ones with leaning crosses and ruined cemeteries. Arkady's heart gradually sank. As if on purpose, the peasants were met all shabby, on bad nags; roadside willows with stripped bark and broken branches stood like beggars in rags; emaciated, rough, as if gnawed, cows greedily nibbled grass in the ditches. It seemed that they had just escaped from someone’s menacing, deadly claws - and, caused by the pitiful appearance of the exhausted animals, in the midst of the red spring day arose the white ghost of a bleak, endless winter with its blizzards, frosts and snows... “No,” thought Arkady , - this poor region does not amaze you with either contentment or hard work; it’s impossible, he can’t stay like this, transformations are necessary... but how to carry them out, how to start?..”

So Arkady thought... and while he was thinking, spring took its toll. Everything around was golden green, everything was wide and softly agitated and shiny under the quiet breath of a warm breeze, everything - trees, bushes and grass; everywhere the larks poured out in endless ringing streams; the lapwings either screamed, hovering over the low-lying meadows, or silently ran across the hummocks; The rooks walked beautifully black in the tender greenery of the still low spring crops; they disappeared into the rye, which had already turned slightly white, only occasionally did their heads appear in its smoky waves. Arkady looked and looked, and, gradually weakening, his thoughts disappeared... He threw off his greatcoat and looked at his father so cheerfully, like a young boy, that he hugged him again.

Now it’s not far,” Nikolai Petrovich noted, “you just have to climb this hill and you’ll be visible.” We will live a glorious life with you, Arkasha; You will help me with the housework, unless you get bored with it. We now need to get close to each other, get to know each other well, don’t we?

Of course,” said Arkady, “but what a wonderful day it is today!”

For your arrival, my soul. Yes, spring is in full splendor. However, I agree with Pushkin - remember, in Eugene Onegin:

How sad your appearance makes me,
Spring, spring, time for love!

Nikolai Petrovich fell silent, and Arkady, who began to listen to him not without some amazement, but also not without sympathy, hastened to take a silver box of matches from his pocket and sent it to _________ with Peter.

Would you like a cigar? - ___________ shouted again.

“Come on,” answered Arkady.

A quarter of an hour later, both carriages stopped in front of the porch of a new wooden house, painted gray and covered with a red iron roof. This was Maryino, Novaya Slobodka or, according to the peasant name, Bobyliy Khutor.

IN 1. From what city did Arkady return?

AT 2. Name the surname of the hero of the novel, which must be entered in the spaces.

AT 3. What is the description of nature in a literary work called?

AT 4. Name artistic device, underlying the correlation between the first and second paragraphs of the text.

AT 5. What is the name of the figurative definition of an object that gives it a vivid characteristic (shabby peasants, yawning collars, emaciated, rough cows)?

AT 6. What is the name of the technique based on the use of verbatim excerpts from other people's works?

AT 7. Name the syntactic device that the author uses in the third sentence in order to create the feeling of driving and the accompanying change of objects that fall into the characters’ field of view.

C1. Why was it Arcadia who was entrusted to see the nature surrounding the heroes and what does this landscape tell about its observer?

C2. What is the meaning of the appeal to Pushkin in this fragment and in the novel “Fathers and” as a whole? In what works of Russian literature are there still references to the poet’s work?

Answers and comments

How to download free essay? . And a link to this essay; Analysis of an excerpt from epic work already in your bookmarks.

Additional essays on this topic

Analysis of the social background against which the novel takes place

Pay attention to the dates in Chapter I, the landscape in Chapter III, Arkady’s conversation with Nikolai Petrovich (ibid.), the evening conversation upon the arrival of friends in Maryino (Chapter IV) and the description of Nikolai Petrovich’s farm.

Teacher

Today we will talk to you about the background of what historical events The action of the novel by I.S. unfolds. Turgenev "Fathers and Sons". Let's turn to the text. Let's read the very first lines: “What, Peter? Not in sight yet? – asked on May 20, 1859... a gentleman of about forty...”

Question

Why does Turgenev need to indicate exactly not only the year, but also the month and even the day when the action begins?

Answer

Turgenev strove for historical accuracy in the transfer of events. But why exactly these, and not other numbers, were taken by the author? 1859 is not a random date. In 1859, the ideological gap between social classes and in relation to the peasant question, two points of view stood out - revolutionary and reformist.

Dobrolyubov in the articles of 1859 “Literary trivia of the past year” (NB! Ended in IV, i.e. the April book of Sovremennik) and “What is Oblomovism?” (Book V, “Contemporary”, i.e. May; it was published at the end of the month, hence the twentieth) contrasted the people of the old generation, the noble camp, with the young active generation, and decisively rejected the culture of the nobility, putting Onegin out of one bracket, Pechorina, Beltova, Rudina, Oblomov. St. Petersburg students Bazarov and Kirsanov come to Maryino, knowing these articles by the “ruler of the thoughts” of youth, or rather, they were read by the real brothers of Bazarov and Kirsanov in life.

Thus, taking the end of May 1859, Turgenev oriented readers to the fact that the novel shows the time of struggle and the final break in social trends: liberal and revolutionary. The time was stormy, every day brought something new in the struggle, which is why Turgenev was so precise in dates.

Exercise

The contradictions were mainly on the peasant issue. What was still feudal Rus', about which the “fathers” and “children” argued? Find in the text a description of the estate of the Kirsanov brothers (Chapter III). Read and prove that this is a miniature encyclopedia of peasant life. Pay attention to the description of the landscape.

“The places they passed through could not be called picturesque. The fields, all the fields, stretched all the way to the sky, now rising slightly, then falling again; Here and there small forests could be seen, and, dotted with sparse and low bushes, ravines twisted, reminding the eye of their own image on the ancient plans of Catherine’s time. There were rivers with dug-out banks, and tiny ponds with thin dams, and villages with low huts under dark, often half-swept roofs, and crooked threshing sheds with walls woven from brushwood and yawning gates near empty barns, and churches, sometimes brick with plaster that had fallen off here and there, or wooden ones with leaning crosses and ruined cemeteries. Arkady's heart gradually sank. As if on purpose, the peasants were all worn out, on bad nags; roadside willows with stripped bark and broken branches stood like beggars in rags; emaciated, rough, as if gnawed, cows greedily nibbled grass in the ditches. It seemed that they had just escaped from someone’s menacing, deadly claws - and, caused by the pitiful appearance of the exhausted animals, in the midst of the red spring day there arose the white ghost of a bleak, endless winter with its blizzards, frosts and snows... “No,” thought Arkady , - this poor region does not amaze you with either contentment or hard work; it’s impossible, he can’t stay like this, transformations are necessary... but how to carry them out, how to start?..”

Question

What did you notice? What do you think the author wants to emphasize? Why are half of the “roofs” scattered, what do “empty threshing floors” mean, why is it important for Turgenev to mark the ravines in the peasant fields?

Possible answer

A description of the estate of Russian landowners is given. We see destruction and desolation.

Teacher's comment

Thanks to several details, Turgenev manages to show a lot. This is a sign of great and unique talent. You have already encountered a similar skill in Pushkin and Gogol. Turgenev, their student, adopted and implemented their traditions in his own way. Laconism and maximum semantic richness of the details of the picture are the first feature of Turgenev’s style.

Question

Are there any examples in the text that not only in the landscape one feels some kind of desolation, but also in the familiar world? social relations is it collapsing?

Students answer

The novel contains a description of the “farm” of Nikolai Petrovich Kirsanov. (Ch. XXII)

“Meanwhile, life was not going very well in Maryino, and poor Nikolai Petrovich had a bad time. The chores on the farm grew every day - joyless, senseless chores. The fuss with hired workers became unbearable. Some demanded payment or an increase, others left, taking the deposit; horses got sick; the harness burned as if on fire; the work was performed carelessly; The threshing machine ordered from Moscow turned out to be unsuitable due to its heaviness; the other was ruined the first time; half of the barnyard burned down because a blind old woman from the yard in windy weather went with a firebrand to fumigate her cow... however, according to the same old woman, the whole disaster happened because the master decided to make some unprecedented cheeses and milk ospreys.

The manager suddenly became lazy and even began to get fat, like every Russian who finds himself in the “free bread” gets fat. Seeing Nikolai Petrovich from afar, in order to express his zeal, he would throw a piece of wood at a piglet running past or threaten a half-naked boy, but, however, he mostly slept. The men put on quitrent did not pay the money on time and stole the forest; Almost every night the watchmen caught, and sometimes fought, seized peasant horses in the meadows of the “farm”. Nikolai Petrovich set a monetary fine for poisoning, but the matter usually ended with the horses returning to their owners after standing on the master's feed for a day or two. To top it all off, the men began to quarrel among themselves: the brothers demanded division, their wives could not get along in the same house; suddenly a fight broke out, and everyone suddenly rose to their feet, as if on command, everyone ran in front of the porch of the office, climbed up to the master, often with beaten faces, in a drunken state, and demanded trial and punishment; there was a noise, a scream, a woman's whimpering squeal interspersed with men's cursing. It was necessary to dismantle the warring parties, shouting yourself hoarse, knowing in advance that the right decision It’s still impossible to come. There were not enough hands for the harvest: a neighboring nobleman, with the most handsome face, ordered to deliver the reapers at two rubles per tithe and cheated in the most unscrupulous way; their women were asking unheard-of prices, and meanwhile the bread was crumbling, and then they couldn’t cope with the mowing, and then the Board of Trustees threatens and demands immediate and arrear-free payment of interest...

I have no strength! - Nikolai Petrovich exclaimed more than once in despair. “It’s impossible to fight on your own, sending for a police officer is not allowed by principles, and without fear of punishment nothing can be done!”

For example, in Chapter IV it is written: “The crowd of servants did not pour out to greet the gentlemen...”. It has long been customary to greet gentlemen with bows and bread and salt. The fact that no one met the landowners is not a good sign. Nikolai Petrovich’s complaints about troubles with the peasants are not exaggerated, Arkady is not deceived about the tension of the moment - the indifference of the servants who arrived is observed with their own eyes.

Exercise

Give examples of new trends of Nikolai Petrovich.

Answer

New trends were felt everywhere. Nikolai Petrovich transferred the peasants from corvee to quitrent, separated himself from them, started a farm, various agricultural machines, introduced hired labor both on the farm and even in his house. The valet Peter “il est libre, en effet”, Nikolai Petrovich pays the clerk from the bourgeoisie 250 rubles a year. Capitalism is entering the countryside, shaking the foundations of serfdom. Nikolai Petrovich talks about upcoming government measures, about committees, deputies... Life confronts landowners with the need to change the way they manage and manage. Expecting reform, Nikolai Petrovich cuts and sells the forest growing on the land, which will go to the peasants. We see such “adaptation” to a new environment even in the kind and almost “red” master.

Question

Do new trends lead to the expected result?

Students give examples from the text

The serfs do not pay their dues; Nikolai Petrovich is also dissatisfied with the hired workers (“they are being beaten up, that’s the problem; well, there is still no real effort. They are spoiling the harness”).

The dissatisfaction of the peasants and their feeling of change, the weakening of their eternal fear of the masters is manifested in the fact that “the crowd of servants did not pour out onto the porch to greet the masters,” and in the fact that Peter, a servant of the “newest, improved” type, carries out the orders of Nikolai Petrovich “ condescendingly” (chapter I), does not approach the young master’s hand, but only bows to him (chapter II).

Exercise

Notice how the old servant behaves towards the landowners?

Answer

The courtyard Prokofich answers respectfully and greets the owners in the form: “He grinned, walked up to Arkady’s handle and, bowing to the guest, retreated to the door and put his hands behind his back” (Chapter IV).

Possible teacher comment

It turns out that there are “fathers” and “sons” among the servants. The persistent emphasis on the fact that the “newest views” have spread to servants, albeit in a caricatured form, once again speaks of changes in the social life of the country.

For writing in notebooks

The summer of 1859 is a specific historical date when it became clear to everyone that the “lower classes” did not want and the “upper classes” could not live in the old way, and therefore the public started talking about the imminent implementation of reforms. Directly related to the question of the poverty of the peasantry is the question of the relationship between peasants and masters before the reform, briefly but expressively posed by Turgenev in the same first chapters. “Transformations are necessary” - this conclusion is heard in every detail of the novel.

Homework

Select material about the Kirsanov brothers.

Repeat the poem by M.Yu. Lermontov's "Duma" for reading by heart. Think about how it relates to the characters in the novel by I.S. Turgenev.

Literature

Vladimir Korovin. Ivan Sergeevich Turgenev. // Encyclopedias for children “Avanta+”. Volume 9. Russian literature. Part one. M., 1999

N.I. Yakushin. I.S. Turgenev in life and work. M.: Russian word, 1998

L.M. Lotman. I.S. Turgenev. History of Russian literature. Volume three. Leningrad: Nauka, 1982. pp. 120 – 160

The places they passed through could not be called picturesque. The fields, all the fields, stretched right up to the sky, now slightly rising, now falling: here and there small forests could be seen, ravines twisted... There were also rivers With steep banks, and tiny ponds With thin dams, and villages With low huts under dark, often half-swept roofs, and crooked sheds With walls woven from brushwood, and churches, then With plaster that had fallen off here and there, then wooden With leaning crosses and ruined cemeteries.

Arkady’s heart gradually shrank... (I. S. Turgenev)

Before us is a text that is a description with narrative elements; refers to the style of fiction; genre – novel (one of the initial fragments of I. Turgenev’s novel “Fathers and Sons”). The author’s task is to show the reader the signs of degeneration of noble estates.

In the text, the word c is a preposition, as it serves to express the relationship between two objects - rivers And banks, ponds And dams, villages And huts, forms prepositional-case combinations of nouns with banks, with dams, with huts.

This preposition is used six times in the text. He actively participates in structuring that part of the information in the text that directly paints an unsightly picture of the surroundings of the Kirsanov estate: tiny ponds With thin dams, villages With low huts... crooked sheds With wicker from brushwood walls, churches With fallen off shtu-katurkoy, With leaning over crosses and ruined cemeteries. The structural and compositional role of the preposition is that it serves to connect words that name objects of description.

In terms of meaning, the preposition belongs to the category of attributives,

because it participates in the expression of defining relations: trees(which?) with huts.

Does not change because it has no morphological categories.

Used with instrumental case nouns: ( with what?) – with dams, with huts, with walls…

The structure of the preposition is simple, primitive, non-derivative.

Refers to a noun huts , forms with it the prepositional case form creative. case with huts ;in a sentence serves to connect a noun with a noun, forming a phrase villages with huts , the components of which act as the subject (what? – villages) And inconsistent definition:villages(which?) - with huts.

SCHEME AND SAMPLE OF MORPHOLOGICAL ANALYSIS OF A UNION

Scheme

1. general characteristics text: functional-semantic type of speech, genre, communicative task of the author.

2. Word in the text:

2.2. Informative and structural-compositional role in the text (correlation with the topic-rhematic structure of the text, role in structuring the coherence of the text).

3. Grammatical characteristics:

3.1. The category of the conjunction by syntactic function (coordinating / subordinating).

3.2. Subcategory by meaning (conjunctive, adversative, comparative, dividing, connecting, defining, causal, temporal, etc.).

3.3. Morphological properties.

Analysis of an excerpt from an epic work

The places they passed through could not be called picturesque. The fields, all the fields, stretched right up to the sky, now rising slightly, then falling again; Here and there small forests could be seen, and, dotted with sparse and low bushes, ravines twisted, reminding the eye of their own image on the ancient plans of Catherine’s time. There were rivers with dug-out banks, and tiny ponds with thin dams, and villages with low huts under dark, often half-swept roofs, and crooked threshing sheds with walls woven from brushwood and gaping gates near empty barns, and churches, sometimes brick with plaster that had fallen off here and there, or wooden ones with leaning crosses and ruined cemeteries. Arkady's heart gradually sank. As if on purpose, the peasants were met all shabby, on bad nags; roadside willows with stripped bark and broken branches stood like beggars in rags; emaciated, rough, as if gnawed, cows greedily nibbled grass in the ditches. It seemed that they had just escaped from someone’s menacing, deadly claws - and, caused by the pitiful appearance of the exhausted animals, in the midst of the red spring day arose the white ghost of a bleak, endless winter with its blizzards, frosts and snows... “No,” thought Arkady , - this poor region, it does not impress with either contentment or hard work; it is impossible, it is impossible for it to remain like this, transformations are necessary... but how to carry them out, how to begin?..”

Now it’s not far,” Nikolai Petrovich noted, “all you have to do is climb this hill, and the house will be visible. We will live a glorious life with you, Arkasha; You will help me with the housework, unless you get bored with it. We now need to get close to each other, get to know each other well, don’t we?

Of course,” said Arkady, “but what a wonderful day it is today!”

For your arrival, my soul. Yes, spring is in full splendor. However, I agree with Pushkin - remember, in Eugene Onegin:

How sad your appearance makes me,
Spring, spring, time for love!
Which...

Arkady! - came the voice of _______ from the tarantass, - send me a match, I have nothing to light my pipe with.
Nikolai Petrovich fell silent, and Arkady, who began to listen to him not without some amazement, but also not without sympathy, hastened to take a silver box of matches from his pocket and sent it to _________ with Peter.

Would you like a cigar? - ___________ shouted again.

“Come on,” answered Arkady.

Peter returned to the stroller and handed him, along with the box, a thick black cigar, which Arkady immediately lit, spreading around him such a strong and sour smell of seasoned tobacco that Nikolai Petrovich, who had never smoked, involuntarily, although imperceptibly, so as not to offend his son, turned his nose away .
A quarter of an hour later, both carriages stopped in front of the porch of a new wooden house, painted gray and covered with a red iron roof. This was Maryino, Novaya Slobodka or, according to the peasant name, Bobyliy Khutor.

I.S. Turgenev. "Fathers and Sons"

IN 1. From what city did Arkady Kirsanov return?

AT 2. Name the surname of the hero of the novel, which must be entered in the spaces.

AT 3. What is the description of nature in a literary work called?

AT 4. Name the artistic device that underlies the correlation between the first and second paragraphs of the text.

AT 5. What is the figurative definition of an object called, giving it a vivid characteristic ( shabby peasants, yawning collars, emaciated, rough cows)?

AT 6. What is the name of the technique based on the use of verbatim excerpts from other people's works?

AT 7. Name the syntactic device that the author uses in the third sentence in order to create the feeling of driving and the accompanying change of objects that fall into the characters’ field of view.

C1. Why was it Arcadia who was entrusted to see the nature surrounding the heroes and what does this landscape tell about its observer?

C2. What is the meaning of the appeal to Pushkin in this fragment and in the novel “Fathers and Sons” as a whole? In what works of Russian literature are there still references to the poet’s work?

Answers and comments

Task C1 suggests that students will consider the landscape not only “in itself,” but also as a means of characterizing its observer. It is important to notice the contrast between the first and second paragraphs, to hear Arkady’s inner speech at the end of the first paragraph, to understand why the light, spring “wins” mood in the hero's soul. You can also ask yourself why it was not the transformer of life Bazarov who was entrusted with seeing poverty. native land, and remember the epilogue, from which we learn that it was Arkady who became the real master of this land.

Task C2 assumes that students will remember numerous Pushkin quotes and reminiscences scattered throughout the text of Turgenev’s novel (Pushkin is quoted by Nikolai Petrovich, he also reads “Gypsy”, Bazarov will sneer at Pushkin, but he himself will speak at the moment of declaration of love in Pushkin’s words; with Pushkin’s quote we see you in the final sentence of the novel). Pushkin is one of the most significant poets for Turgenev; they are responsible for the heroes’ attitude to life. Pushkin is an image of eternity in art, he is akin to the “broad wave of life” that is diffused in nature and which many heroes of the novel feel. The heroes of many works of Russian literature turn to Pushkin: Khlestakov, the Poet in Nekrasov’s poem “The Poet and the Citizen,” Nikitin ( “Teacher of Literature” by Chekhov), the heroes of “The White Guard” by Bulgakov, the lyrical hero of the poem “Anniversary” by V. Mayakovsky, etc.

Sergey Volkov

Preview:

Analysis of a lyric work

* * *

I left my home
Rus' left the blue one.
Three-star birch forest above the pond
The old mother feels sadness.
Golden frog moon
Spread out on the calm water.
Like apple blossom, gray hair
There was a spill in my father's beard.
I won't be back soon, not soon!
The blizzard will sing and ring for a long time.
Guards blue Rus'
Old maple on one leg.
And I know there is joy in it
To those who kiss the leaves of the rain,
Because that old maple
The head looks like me.

Sergei Yesenin, 1918

AT 8. What colors are directly or indirectly named in the poem?
AT 9. What is the name of the artistic device used twice in the second stanza, based on an obvious, open likening of objects and phenomena?
AT 10 O'CLOCK. What is the name of the technique of internal, hidden comparison of objects and phenomena, which makes the picture figurative, multidimensional (leaves are raining, gray hair is streaked through the beard)?
AT 11. What is the name of the transfer of the features of a living being onto inanimate objects used in the poem (guards blue Rus' // old maple tree on one leg)?
AT 12. Name the intonation-syntactic device used in the first line of the third stanza that allows you to make the expression emotional.

C3. What role do images of trees play in Yesenin’s poem?
C4. In which works of Russian literature does the theme of farewell to one’s home arise and how do they resonate with Yesenin’s poem?

Answers and comments

Tasks B8–B12 are aimed at identifying the features of Yesenin’s poem that are important for characterizing his poetic world in general. There is a special color scheme, and an abundance of comparisons, metaphors, personifications, and emotional syntax.

Tasks C1 and C2 will allow you to analyze the poem more deeply. Much has been said about Yesenin’s love for images of trees (in particular, see M. Epstein’s articles in the “LitMotiv” section in No. 22 and 23 of “Literature” for this year). The world of trees and the world of man are close, penetrate each other ( birch forest capable of feeling sad like a mother lyrical hero). Yesenin’s favorite technique is the use of natural details when describing a person’s appearance: gray hair in a beard is compared to apple blossom. Maple in Yesenin’s world becomes the author’s alter ego.

Farewell to one's home is one of the most common motifs in literature and art in general. Schoolchildren can remember Tatyana Larina leaving for Moscow, Stolz going to St. Petersburg, the Rostovs leaving their native nest before the invasion of the French, the heroes “ Cherry Orchard" Among lyrical works In addition to Yesenin’s own poems, in which this motif is often found, students can turn, for example, to Nekrasov’s “Motherland” or Akhmatova’s “Lot’s Wife.”

Sergey Volkov

Preview:

Analysis of an excerpt from a dramatic work

The same ones, Dikoy and Kuligin

Wild. Look, everything is soaked. (To Kuligin.) Leave me alone! Leave me alone! (With heart.) Stupid man!

Kuligin. Savel Prokofich, after all, this, your lordship, will benefit all ordinary people in general.

Wild. Go away! What a benefit! Who needs this benefit?

Kuligin . Yes, at least for you, your lordship, Savel Prokofich. If only I could put it, sir, on the boulevard, in a clean place. What's the cost? Empty consumption: stone column (shows with gestures the size of each item), a copper plate, so round, and a hairpin, here’s a straight hairpin (shows with a gesture), the simplest one. I’ll put it all together and cut out the numbers myself. Now you, your lordship, when you deign to take a walk, or others who are walking, will now come up and see<...>And then this place is beautiful, and the view, and everything, but it’s as if it’s empty. We, too, Your Excellency, have travelers who come there to see our views, after all, it’s a decoration - it’s more pleasing to the eye.

Wild. Why are you bothering me with all this nonsense! Maybe I don’t even want to talk to you. You should have first found out whether I am in the mood to listen to you, a fool, or not. What am I to you - equal, or what? Look, what an important matter you have found! So he starts talking straight to the snout.

Kuligin. If I had minded my own business, well, then it would have been my fault. Otherwise, I am for the common good, your lordship. Well, what does ten rubles mean to society? You won't need more, sir.

Wild. Or maybe you want to steal; who knows you.

Kuligin. If I want to put my labors away for nothing, what can I steal, your lordship? Yes, everyone here knows me; No one will say anything bad about me.

Wild. Well, let them know, but I don’t want to know you.

Kuligin. Why, sir, Savel Prokofich, honest man do you want to offend?

Wild. I’ll give you a report or something! I don’t give an account to anyone more important than you. I want to think about you this way, and I think so. For others you fair man, but I think that you are a robber, that’s all. Did you want to hear this from me? So listen! I say I’m a robber, and that’s the end of it! So, are you going to sue me or something? So you know that you are a worm. If I want, I will have mercy, if I want, I will crush.

Kuligin. God be with you, Savel Prokofich! I, sir, small man, it won't take long to offend me. And I’ll tell you this, your lordship: “And virtue is honored in rags!”

Wild. Don't you dare be rude to me! Can you hear me!

Kuligin. I’m not doing anything rude to you, sir, but I’m telling you because maybe you’ll decide to do something for the city someday. You, your lordship, have a lot of strength; If only there was the will to do a good deed. Let’s at least take this now: we have frequent thunderstorms, but we won’t install thunder diverters.

Wild (proudly). Everything is vanity!

Kuligin. But what a fuss there was when there were experiments.

Wild. What kind of lightning taps do you have there?

Kuligin. Steel.

Wild (with anger). Well, what else?

Kuligin. Steel poles.

Wild ( getting more and more angry). I heard that poles, you kind of asp; and what else? Set up: poles! Well, what else?

Kuligin. Nothing more.

Wild. What do you think a thunderstorm is, huh? Well, speak up!

Kuligin. Electricity.

Wild (stomping his foot ). What other beauty there is! Why aren't you a robber? A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods. What are you, a Tatar, or what? Are you Tatar? A? speak! Tatar?

Kuligin. Savel Prokofich, your lordship, Derzhavin said:

My body is crumbling into dust,
I command thunder with my mind.

Wild. And for these words, send you to the mayor, so he will give you a hard time! Hey, venerables! listen to what he says!

Kuligin. There is nothing to do, we must submit! But when I have a million, then I’ll talk. (He waves his hand and leaves.)

A.N. Ostrovsky. "Storm"

IN 1. To which of the three types of literature does the play “The Thunderstorm” belong? (Write your answer in the nominative case.)

AT 2. What device does the self-taught mechanic Kuligin propose to install on the boulevard in the first part of the fragment?

AT 3. The thunderstorm in the play is an allegorical image that has many meanings and has a special semantic capacity. What is this image called in literary criticism?

AT 4. What do you call the acute clash of characters and circumstances that forms the basis of a stage action? (We see such a clash between Dikiy and Kuligin in the above fragment.)

AT 5. What is the name of verbal communication two or more persons, built on the alternation of their statements in a conversation?

AT 6. What is the name of a character's short utterance, a phrase that he utters in response to the words of another character?

AT 7. In the above fragment there are the author's explanations of the text of the play and the statements of the characters, in parentheses. What term denotes them?

C1. How does the above fragment help reveal the general conflict of the play “The Thunderstorm”?
C2. Which heroes of Russian literature can, together with Dikiy, be called ignorant and tyrant? Give reasons for your answer.

Answers and comments

Tasks C1 and C2. Analyzing the above excerpt from the 4th act of the drama “The Thunderstorm”, students will note that Dikiy’s dialogue with Kuligin immediately precedes the climax of the play - Katerina’s confession under the arches of the gallery. What the characters are talking about is formally in no way connected with Katerina and her drama (Kuligin does not meet Katerina on stage at all, except for the moment when he carries out her corpse), but more in a broad sense you can see a direct connection: after all, before us on stage is a clash between an ignorant tyrant and a good, smart, but weak person. This collision perfectly characterizes the atmosphere surrounding main character: all living things are suppressed and destroyed in it. The rudeness of the Wild One, who feels like a rightful master in the city, correlates with the omnipotence of Kabanikha in his house. Timid attempts to counteract (Kuligin’s persistence), as well as efforts to change this atmosphere without conflict, are doomed to failure (“There is nothing to do, you have to submit”). Against this background, Katerina’s act looks more like a blatant protest (although, as is known, in criticism there are and other points of view). Dikiy’s ignorance and rudeness evoke the characters of Fonvizin (Prostakova, Skotinin) and - on a tangent - Famusov society with his hatred of enlightenment. The scene of a conversation between the strong and the weak can be seen, for example, in Gogol’s “The Overcoat”.

Sergey Volkov

“So, finally, you are a candidate and have arrived home,” said Nikolai Petrovich, touching Arkady on the shoulder and then on the knee. - Finally! - What about uncle? healthy? - asked Arkady, who, despite the sincere, almost childish joy that filled him, wanted to quickly turn the conversation from an excited mood to an ordinary one. - Healthy. He wanted to go with me to meet you, but for some reason he changed his mind. - How long have you been waiting for me? - asked Arkady. - Yes, about five o'clock. - Good dad! Arkady quickly turned to his father and loudly kissed him on the cheek. Nikolai Petrovich laughed quietly. - What a nice horse I have prepared for you! - he began, - you will see. And your room is covered with wallpaper. - Is there a room for Bazarov? - There will be one for him too. - Please, daddy, caress him. I can't tell you how much I value his friendship. -Have you met him recently?- Recently. “That’s why I didn’t see him last winter.” What is he doing? — Main subject his are natural sciences. Yes, he knows everything. Next year he wants to become a doctor. - A! “He’s in the medical faculty,” Nikolai Petrovich noted and paused. “Peter,” he added and extended his hand, “are our men coming?” Peter glanced in the direction where the master was pointing. Several carts drawn by unbridled horses were rolling briskly along a narrow country road. In each cart sat one, many two men in open sheepskin coats. “Exactly so,” said Peter. -Where are they going, to the city, or what? - We must assume that it’s to the city. “To the tavern,” he added contemptuously and leaned slightly towards the coachman, as if referring to him. But he didn’t even move: he was a man of the old school who did not share the latest views. “I have a lot of trouble with the men this year,” Nikolai Petrovich continued, turning to his son. - They don’t pay rent. What will you do? —Are you satisfied with your hired workers? “Yes,” Nikolai Petrovich muttered through his teeth. “They’re knocking them out, that’s the problem; Well, there’s still no real effort. The harness is spoiled. They plowed, however, nothing. If it grinds, there will be flour. Do you really care about farming now? “You don’t have a shadow, that’s the problem,” Arkady noted, without answering the last question. “I attached a large awning on the north side above the balcony,” said Nikolai Petrovich, “now you can dine outdoors.” - It will look painfully like a dacha... but by the way, it’s all nothing. What kind of air is there here! It smells so nice! Really, it seems to me that nowhere in the world smells as much as in these parts! And the sky is here... Arkady suddenly stopped, cast an indirect glance back and fell silent. “Of course,” Nikolai Petrovich noted, “you were born here, everything here should seem something special to you... “Well, dad, it’s the same no matter where a person was born.”- However... - No, it’s completely the same. Nikolai Petrovich looked sideways at his son, and the carriage drove half a mile before the conversation resumed between them. “I don’t remember if I wrote to you,” Nikolai Petrovich began, “your former nanny, Egorovna, has died.” - Really? Poor old woman! Is Prokofich alive? - Alive and hasn’t changed at all. Still grumbling. Actually you big changes You won’t find it in Maryino. - Is your clerk still the same? - Well, maybe I changed the clerk. I decided not to keep any more freedmen, former servants, or at least not to assign them any positions where there was responsibility. (Arkady pointed his eyes at Peter.) “Il est libre, en effet,” Nikolai Petrovich noted in an undertone, “but he’s a valet.” Now I have a clerk from the middle class: he seems to be a smart guy. I assigned him two hundred and fifty rubles a year. However,” Nikolai Petrovich added, rubbing his forehead and eyebrows with his hand, which always served as a sign of internal confusion for him, “I just told you that you will not find changes in Maryino... This is not entirely fair. I consider it my duty to preface you, although... He paused for a moment and continued in French. “A strict moralist will find my frankness inappropriate, but, firstly, it cannot be hidden, and secondly, you know, I have always had special principles about the relationship between father and son. However, you, of course, will have the right to condemn me. In my years... In a word, this... this girl, about whom you have probably already heard... - Fenechka? - Arkady asked cheekily. Nikolai Petrovich blushed. - Please don’t call her loudly... Well, yes... she lives with me now. I placed her in the house... there were two small rooms. However, all this can be changed. - For mercy, dad, why? - Your friend will be visiting us... it will be awkward... - Please don’t worry about Bazarov. He is above all this. “Well, you finally,” said Nikolai Petrovich. “The outhouse is bad—that’s the problem.” “For mercy, dad,” Arkady picked up, “you seem to be apologizing; How are you not ashamed? “Of course, I should be ashamed,” answered Nikolai Petrovich, blushing more and more. - Come on, dad, come on, do me a favor! — Arkady smiled affectionately. “What is he apologizing for!” - he thought to himself, and a feeling of condescending tenderness for his kind and gentle father, mixed with a feeling of some secret superiority, filled his soul. “Please stop,” he repeated again, involuntarily enjoying the consciousness of his own development and freedom. Nikolai Petrovich looked at him from under the fingers of the hand with which he continued to rub his forehead, and something stabbed him in the heart... But he immediately blamed himself. “This is how our fields have gone,” he said after a long silence. - And this ahead, it seems, is our forest? - asked Arkady. - Yes, ours. Only I sold it. This year they will mix it. - Why did you sell it? — Money was needed; Moreover, this land goes to the peasants. - Who don’t pay you rent? “That’s their business, but by the way, they’ll pay someday.” “It’s a pity for the forest,” Arkady remarked and began to look around. The places they passed through could not be called picturesque. The fields, all the fields, stretched all the way to the sky, now rising slightly, then falling again; Here and there small forests could be seen, and, dotted with sparse and low bushes, ravines twisted, reminding the eye of their own image on the ancient plans of Catherine’s time. There were rivers with dug-out banks, and tiny ponds with thin dams, and villages with low huts under dark, often half-swept roofs, and crooked threshing sheds with walls woven from brushwood and yawning gates near empty barns, and churches, sometimes brick with plaster that had fallen off here and there, or wooden ones with leaning crosses and ruined cemeteries. Arkady's heart gradually sank. As if on purpose, the peasants were all worn out, on bad nags; roadside willows with stripped bark and broken branches stood like beggars in rags; emaciated, rough, as if gnawed, cows greedily nibbled grass in the ditches. It seemed that they had just escaped from someone’s menacing, deadly claws - and, caused by the pitiful appearance of the exhausted animals, in the midst of the red spring day there arose the white ghost of a bleak, endless winter with its blizzards, frosts and snows... “No,” thought Arkady , - this poor region does not amaze you with either contentment or hard work; it’s impossible, he can’t stay like this, transformations are necessary... but how to carry them out, how to start?..” So Arkady thought... and while he was thinking, spring took its toll. Everything around was golden green, everything was wide and softly agitated and shiny under the quiet breath of a warm breeze, everything - trees, bushes and grass; everywhere the larks poured out in endless ringing streams; the lapwings either screamed, hovering over the low-lying meadows, or silently ran across the hummocks; the rooks walked beautifully black in the tender greenery of the still low spring crops; they disappeared into the rye, which had already turned slightly white, only occasionally did their heads appear in its smoky waves. Arkady looked and looked, and, gradually weakening, his thoughts disappeared... He threw off his greatcoat and looked at his father so cheerfully, like a young boy, that he hugged him again. “Now it’s not far,” Nikolai Petrovich noted, “you just have to climb this hill, and the house will be visible.” We will live a glorious life with you, Arkasha; You will help me with the housework, unless you get bored with it. We now need to get close to each other, get to know each other well, don’t we? “Of course,” said Arkady, “but what a wonderful day it is today!” - For your arrival, my soul. Yes, spring is in full splendor. However, I agree with Pushkin - remember, in Eugene Onegin:

How sad your appearance is to me,
Spring, spring, time for love!
Which...

- Arkady! - Bazarov’s voice came from the carriage, - send me a match, I have nothing to light my pipe with. Nikolai Petrovich fell silent, and Arkady, who began to listen to him not without some amazement, but also not without sympathy, hastened to take a silver box of matches from his pocket and sent it to Bazarov and Peter. - Would you like a cigar? - Bazarov shouted again. “Come on,” answered Arkady. Peter returned to the stroller and handed him, along with the box, a thick black cigar, which Arkady immediately lit, spreading around him such a strong and sour smell of seasoned tobacco that Nikolai Petrovich, who had never smoked, involuntarily, although imperceptibly, so as not to offend his son, turned his nose away . A quarter of an hour later, both carriages stopped in front of the porch of a new wooden house, painted gray and covered with a red iron roof. This was Maryino, Novaya Slobodka or, according to the peasant name, Bobyliy Khutor.

He's really free (French).

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