Ways to portray a character
In order to analyze the methods of depicting a character in specific works, it is necessary to familiarize yourself with the methods of depicting him.
Let's look at ways to portray a character. L.A. Kozyro, in his textbook for students “The Theory of Literature and the Practice of Reading Activity”, denotes two characteristics that make up the image of a character. These are external and internal characteristics.
IN literary work psychologism is a set of means used to display the inner world of the hero - for detailed analysis his thoughts, feelings and experiences.
This method of depicting a character means that the author sets himself the task of showing the character and personality of the hero directly from the psychological side, and making this way of understanding the hero the main one. Often, methods of depicting the hero’s inner world are divided into “from the inside” and “from the outside.”
The inner world of the character “from the inside” is depicted with the help of internal dialogues, his imagination and memories, monologues and dialogues with himself, sometimes through dreams, letters and personal diaries. The image “from the outside” consists of describing the character’s inner world through the symptoms of his psychological state that manifest themselves externally.
Most often this portrait description the hero - his facial expressions and gestures, speech patterns and manner of speaking, this also includes detail and description of the landscape as an external element reflecting the internal state of a person. Many writers use descriptions of everyday life, clothing, behavior and housing for this type of psychologism.
Psychologism is a set of means used to depict the inner world of a character, his psychology, state of mind, thoughts, experiences.
Epic and dramatic works have broad learning potential inner life person. A carefully individualized reproduction of the experiences of characters in their interrelation and dynamics is designated by the term psychologism.
External characteristics serve as a means of: a) objectification of the image-character and b) expression of the subjective author's attitude to him .
Sorokin V.I. The Tory of Literature lists twelve different means of depicting a character.
If the reader has no idea of the character's appearance, it becomes very difficult to perceive the character as a living being. Therefore, the reader’s acquaintance with a character begins, as a rule, with a description of his face, figure, hands, gait, manner of holding himself, dressing, etc., that is, with a portrait description of the character.
Each talented writer has his own style of depicting portraits of heroes. A portrait depends not only on the author’s style, but also on the environment that the writer depicts, that is, it indicates the social affiliation of the character. Thus, in A.P. Chekhov’s story “Children,” the portrait of the “cook’s son” Andrei contrasts with the images of well-fed, well-groomed noble children: “The fifth partner, the cook’s son Andrei, a dark-skinned, sickly boy, in a cotton shirt and with a copper cross on his chest, stands motionless and dreamily looks at the numbers.”
A portrait helps to reveal intellectual capabilities, moral qualities, psychological condition character.
Portrait characteristics are used to create not only the image of a person, but also the image of an animal. But we are interested precisely in the ways of depicting the image of a person.
A portrait as a means of creating a character’s image is not present in every work. But even a single portrait detail helps create an image.
A literary portrait is understood as an image in work of art the entire appearance of a person, including his face, physique, clothing, behavior, gestures, and facial expressions.
When creating an image-character, many writers describe his appearance. They do this in different ways: some depict in detail the portrait of the hero in one place, collected; others in different places of the work note individual features of the portrait, as a result of which the reader ultimately gets a clear idea of its appearance. Some writers use this technique almost always, others rarely, this is due to the peculiarity of the artist’s individual manner, the genre of the work, and many other conditions of creativity, but always the writer, when describing the appearance of the character, strives to emphasize such details that allow him to more vividly imagine both the external and internal appearance of the hero - to create a living, visually tangible image and to identify the most significant character traits of a given character, and express the author’s attitude towards him.
It is noted that every portrait is characterological to one degree or another - this means that by external features we can at least briefly and approximately judge the character of a person. In this case, the portrait can be provided with an author's commentary, revealing the connections between the portrait and the character.
The correspondence of portrait features to character traits is a rather conditional and relative thing; it depends on the views and beliefs accepted in a given culture, on the character artistic convention. In the early stages of cultural development, it was assumed that spiritual beauty corresponded to a beautiful external appearance; negative characters portrayed as ugly and disgusting. Subsequently, the connections between the external and the internal in a literary portrait become significantly more complicated. In particular, already in the 19th century, an inverse relationship between portrait and character became possible: a positive hero can be ugly, and a negative one can be beautiful.
Thus, we see that a portrait in literature has always performed not only a depictive, but also an evaluative function.
Kozyro L.A. in his work he names three types of portraits - portrait description, portrait-comparison, portrait-impression.
Portrait description is the simplest and most frequently used form of portrait characterization. It consistently, with varying degrees of completeness, gives a kind of list of portrait details.
Kozyro L.A. gives an example: “Chechevitsyn was the same age and height as Volodya, but not so plump and white, but thin, dark, covered with freckles. His hair was bristly, his eyes were narrow, his lips were thick, in general he was very ugly, and if he had not been wearing a school jacket, then in appearance he could have been mistaken for the cook’s son” (A. P. Chekhov. “Boys” ) .
Sometimes the description is provided with a general conclusion or an author's comment regarding the character of the character revealed in the portrait. Sometimes the description emphasizes one or two leading details.
Portrait comparison is more complex look portrait characteristics. It is important not only to help the reader more clearly imagine the hero’s appearance, but also to create in him a certain impression of the person and his appearance.
An impression portrait is the most complex type of portrait. The peculiarity is that there are no portrait features and details here as such, or very few; all that remains is the impression made by the hero’s appearance on an outside observer or on one of the characters in the work.
Often a portrait is given through the perception of another character, which expands the functions of the portrait in the work, since it also characterizes this other character.
It is necessary to distinguish between static (remaining unchanged throughout the entire work) and dynamic (changing throughout the text) portraits.
A portrait can be detailed and sketchy, representing only one or several of the most expressive details.
We agree with the conclusion of L.A. Kozyro that a portrait in a literary work performs two main functions: pictorial (makes it possible to imagine the person depicted) and characterological (serves as a means of expressing the content of the image and the author’s attitude towards it).
The next characteristic that scientists note is the objective (material) situation that surrounds actor. It also helps characterize the character from the outside.
Character is revealed not only in his appearance, but also in what things he surrounds himself with and how he relates to them. This is what writers use to artistic characteristics character...Through subject characteristics, the author also creates an individual character and a social type, and expresses an idea.
The image of a hero in a work of fiction is made up of many factors - character, appearance, profession, hobbies, circle of acquaintances, attitude towards oneself and others. One of the main ones is the character’s speech, which fully reveals and inner world, and lifestyle.
One should be careful not to confuse concepts when analyzing the speech of characters. Often, the speech characteristics of a character are understood as the content of his statements, that is, what the character says, what thoughts and judgments he expresses. In fact, speech characteristics are something else.
You need to look not at “what” the characters say, but at “how” they say it. Look at the manner of speech, its stylistic coloring, the nature of the vocabulary, the construction of intonation-syntactic structures, etc.
Speech is the most important indicator of a person’s national and social affiliation, evidence of his temperament, intelligence, talent, degree and nature of education, etc.
A person’s character is also clearly manifested in his speech, in what and how he says. The writer, when creating a typical character, always endows his heroes with an individualized speech characteristic of them.
Kozyro L.A. says that actions and actions are the most important indicators of a character’s character, his worldview, everything spiritual world. We judge people primarily by their deeds.
Sorokin V.I. calls this means “hero behavior.”
A person’s character is especially clearly manifested, of course, in his actions... A person’s character is especially clearly manifested in difficult situations in life, when he finds himself in an unusual, difficult situation, but a person’s everyday behavior is also important for characterization - the writer uses both cases.
The author of a work of fiction draws the reader's attention not only to the essence of the character's actions, words, experiences, thoughts, but also to the manner of performing actions, i.e., to forms of behavior. The term behavior of a character is understood as the embodiment of his inner life in the totality of external features: in gestures, facial expressions, manner of speaking, intonation, in body positions (postures), as well as in clothes and hairstyle (including cosmetics). A form of behavior is not just a set of external details of an action, but a kind of unity, totality, integrity.
Forms of behavior give a person’s inner being (attitudes, attitudes, experiences) clarity, certainty, and completeness.
Sometimes a writer, when creating an image of a character, reveals his character not only indirectly, by depicting his portrait, actions, experiences, etc., but also in a direct form: he speaks on his own behalf about the essential traits of his character.
Self-characterization is when the character himself talks about himself, about his qualities.
Mutual characterization is the evaluation of one character on behalf of other characters.
A characterizing name when the character’s name reflects his qualities and characteristics.
In the work of Sorokin V.I. this means is designated as a “characterizing surname.”
All this related to external characteristics. Let's look at methods of internal characterization.
The method of revealing the image-character is the direct depiction of his inner world. Reconstructing a character's spiritual life is called psychological analysis. Every writer and every work psychological analysis takes on its own unique forms.
One of these techniques is an internal monologue, which records the flow of thoughts, feelings, and impressions currently possessing the hero’s soul.
The most important technique psychological characteristics For many writers, a character is a description of the person depicted from the point of view of this character.
Chekhov “Grisha”: “Grisha, a small, plump boy, born two years and eight months ago, is walking with his nanny along the boulevard…. Until now, Grisha knew only a quadrangular world, where in one corner there was his bed, in another - his nanny's chest, in the third - a chair, and in the fourth - a burning lamp. If you look under the bed, you will see a doll with a broken arm and a drum, and behind the nanny’s chest there are a lot of different things: spools of thread, pieces of paper, a box without a lid and a broken clown. In this world, in addition to the nanny and Grisha, there is often a mother and a cat. Mom looks like a doll, and the cat looks like dad’s fur coat, only the fur coat doesn’t have eyes or a tail. From the world called the nursery, a door leads into a space where they dine and drink tea. There is Grisha’s chair on high legs and a clock hanging there that exists only to swing a pendulum and ring. From the dining room you can go into a room where there are red chairs. Here there is a dark spot on the carpet, for which Grisha is still shaking their fingers. Behind this room there is another one, where they are not allowed and where dad flashes - a person in highest degree mysterious! The nanny and mother are clear: they dress Grisha, feed him and put him to bed, but why dad exists is unknown.”
Very great importance For the depiction of a living person, it is necessary to show what he thinks and feels at different moments - the writer’s ability to “move into the soul” of his hero.
A character's worldview is one of the means of characterizing a character.
Depicting the views and beliefs of characters is one of the most important means of artistic characterization in literature, especially if the writer depicts the ideological struggle in society.
Exists hidden analysis the spiritual life of the heroes, when it is not their psyche that is revealed directly, but how it is expressed in the actions, gestures, and facial expressions of people.
F. Engels noted that “... a personality is characterized not only by what it does, but also by how it does it.” To characterize the characters, the writer uses the image characteristic features her actions.
Highlight the biography of the hero. It can be framed, for example, as a backstory.
For the purpose of artistic characterization, some authors set out the life story of the characters or tell individual moments from this story.
It is important not only which ones artistic media the author uses to create an image-character, but also the order of their inclusion in the text. All of these artistic means allow the reader to draw conclusions about the author’s attitude towards the hero.
Creatively working artists find many different techniques to show the appearance and inner world of a person. They use all the different means for this, but each in their own way, depending on the individual style of creativity, on the genre of the work, on the dominant literary direction at the time of its activity and on many other conditions.
The image of a character consists of external and internal characteristics.
The main external characteristics include:
Portrait characteristic
Description of the subject situation
· Speech characteristics
· Self-characteristics
· Mutual characteristic
· Characteristic name
To the main internal characteristics relate:
· Internal monologue description of the person portrayed from the point of view of this character
· Character's worldview
Character's imagination and memories
Character's dreams
· Letters and personal diaries
This list does not exhaust the abundance of means that writers use for artistic characterization.
Conclusion to chapter 1
Thus, after reviewing the scientific literature on the research topic, the following conclusions were made.
1. An artistic image is a part of reality, recreated in a work with the help of the author’s imagination; it is the final result aesthetic activity.
2. The artistic image has its own specific features these are integrity, expressiveness, self-sufficiency, associativity, concreteness, clarity, metaphor, maximum capacity and ambiguity, typical meaning.
3. In literature, there are images-characters, images-landscapes, images-things. At the level of origin, two large groups of artistic images are distinguished: original and traditional.
4. A character is a character in a work of art with his characteristic behavior, appearance, and worldview.
5. In the same meaning as “character” in modern literary criticism The phrases “actor” and “ literary hero" But the concept of “character” is neutral and does not contain an evaluative function.
6. By degree of generality artistic images divided into individual, characteristic, typical.
7. In works of art, a special system is formed between characters. The character system is a strict hierarchical structure. The character system is a certain ratio of characters.
8. There are three types of characters: main, secondary, episodic.
· according to the degree of participation in the plot and, accordingly, the amount of text that this character is given
· according to the degree of importance of a given character for revealing aspects of artistic content.
10. The image of a character consists of external and internal characteristics.
11. The main external characteristics include: portrait characteristic, description of the subject situation, speech characteristics, description of the “character’s behavior”, author's description, self-characterization, mutual characteristic, characterizing name.
12. The main internal characteristics include: internal monologue, a description of what is being portrayed from the point of view of this character, the character’s worldview, the character’s imagination and memories, the character’s dreams, letters and personal diaries.
13. Highlight the biography of the hero. It can be framed, for example, as a backstory.
Read the fragment of the work below and complete tasks 1–9.
“Let me shake myself off, dad,” Arkady said in a slightly hoarse, but sonorous youthful voice, cheerfully responding to his father’s caresses, “I’ll get you all dirty.”
“Nothing, nothing,” Nikolai Petrovich repeated, smiling tenderly, and struck his hand twice on the collar of his son’s overcoat and on his own coat. “Show yourself, show yourself,” he added, moving away, and immediately walked with hasty steps towards the inn, saying: “Here, here, and hurry up the horses.”
Nikolai Petrovich seemed much more alarmed than his son; he seemed a little lost, as if he was timid. Arkady stopped him.
“Dad,” he said, “let me introduce you to my good friend, Bazarov, about whom I wrote to you so often.” He was so kind that he agreed to stay with us.
Nikolai Petrovich quickly turned around and, approaching a tall man in a long robe with tassels, who had just climbed out of the carriage, tightly squeezed his naked red hand, which he did not immediately give to him.
“I’m sincerely glad,” he began, “and grateful for the good intention to visit us; I hope... may I ask your name and patronymic?
“Evgeny Vasiliev,” answered Bazarov in a lazy but courageous voice and, turning away the collar of his robe, showed Nikolai Petrovich his entire face. Long and thin, with wide forehead, with a flat top, pointed nose down, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.
“I hope, my dear Evgeny Vasilich, that you will not get bored with us,” continued Nikolai Petrovich.
Bazarov’s thin lips moved slightly; but he did not answer and only raised his cap. His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.
“So, Arkady,” Nikolai Petrovich spoke again, turning to his son, “should we pawn the horses now, or what?” Or do you want to relax?
- Let's rest at home, dad; ordered to lay it down.
“Now, now,” the father picked up. - Hey, Peter, do you hear? Give orders, brother, quickly.
Peter, who, as an improved servant, did not approach the barich’s handle, but only bowed to him from afar, again disappeared under the gate.
“I’m here with a carriage, but there’s also a three for your carriage,” Nikolai Petrovich said busily, while Arkady drank water from an iron ladle brought by the owner of the inn, and Bazarov lit a pipe and went up to the coachman unharnessing the horses, “only a carriage.” double, and I don't know how your friend...
Nikolai Petrovich's coachman led the horses out.
(I. S. Turgenev. "Fathers and Sons")
The forest, piercingly brunette, outlined the water, behind it the water rose like an oblique greenish sheet. Pantelei Prokofievich fingered the handles of the scoop with stubby fingers.
- Turn it into the water! Hold it, otherwise it will cut with a saw!
- I suppose!
A large yellow-red carp rose to the surface, foamed the water and, bending its blunt forehead, again plunged into the depths.
- It’s pressing, my hand is already numb... No, wait!
- Hold it, Grishka!
- I'm holding it!
- Look under the longboat, don’t let him go!.. Look!
Taking a breath, Grigory led the carp, which was lying on its side, to the longboat. The old man was about to reach out with a ladle, but the carp, straining last strength, again went into the depths.
- Raise his head! Let the wind take a breath, it will calm down. Having led out, Grigory again pulled the exhausted carp to the longboat. Yawning with his mouth wide open, he poked his nose into the rough side and stood, shimmering with the moving orange gold of his fins.
- I fought back! - Panteley Prokofievich grunted, prying it with a ladle.
We sat for another half hour. The carp battle died down.
- Get out, Grishka. The last one must have been harnessed, we can’t wait.
We got together. Grigory pushed off from the shore. We've made it halfway. Grigory saw from his father’s face that he wanted to say something, but the old man silently looked at the farmstead’s courtyards scattered under the mountain.
“You, Grigory, that’s what...” he began hesitantly, fiddling with the strings of the bag lying under his feet, “I notice that you are, in no way, with Aksinya Astakhova...”
Gregory blushed deeply and turned away. The collar of the shirt, cutting into the muscular neck, burned by the sun, squeezed out a white stripe.
“Look, guy,” the old man continued harshly and angrily, “I’m not going to talk to you like that.” Stepan is our neighbor, and I won’t allow you to spoil him with his woman. Here things can get really nasty, but I’ll warn you in advance: if I notice, I’ll screw it up!
Pantelei Prokofievich clenched his fingers into a knotted fist, squinting his bulging eyes, watching as the blood drained from his son’s face.
“Slanders,” Grigory muttered, as if out of water, and looked straight at his father’s bluish nose.
- Keep quiet.
– There are few things people say...
- Tsk, son of a bitch!
Grigory lay down over the oar. The longboat came in leaps and bounds. The water lurking behind the stern danced in curlicues.
Both were silent until the pier. Already approaching the shore, my father reminded:
- Don’t forget, but no, to close all the games from now on. Not to leave the base. So that!
Grigory remained silent. Adjacent to the longboat, he asked:
- Should I give the fish to the women?
“Bring it to the merchants and sell it,” the old man softened, “you’ll get some money for tobacco.”
Grigory walked behind his father, biting his lips. “Take a bite, dad, even if I’m hobbled, I’ll go away to the game,” he thought, angrily gnawing at his father’s steep back of his head with his eyes.
(M. A. Sholokhov, “Quiet Don”.)“I smile now... but then I had a different feeling...” What term refers to the depiction of a person’s inner, spiritual life in a work of art?
I sailed from Hamburg to London on a small steamer. There were two of us passengers: myself and a small monkey, a female of the Uistiti breed, which a Hamburg merchant sent as a gift to his English companion.
She was tied with a thin chain to one of the benches on the deck and darted and squeaked pitifully, like a bird.
Every time I passed by, she extended her black, cold hand to me - and looked at me with her sad, almost human eyes. I took her hand and she stopped squeaking and thrashing about.
It was completely calm. The sea stretched out all around like a motionless lead-colored tablecloth. It seemed small; thick fog lay on it, covering the very ends of the masts, and blinded and tired the eye with its soft darkness. The sun hung like a dull red spot in this darkness; and before evening she would all light up and turn red in a mysterious and strange way.
Long straight folds, similar to the folds of heavy silk fabrics, ran one after another from the bow of the steamer and, ever widening, wrinkled and widened, finally smoothed out, swayed, and disappeared. Whipped foam swirled under the monotonously stomping wheels; turning milky white and hissing faintly, it broke into serpentine streams - and there it merged and disappeared, too, swallowed up by the darkness.
A small bell at the stern tinkled incessantly and plaintively, no worse than the squeak of a monkey.
From time to time a seal surfaced and, having tumbled steeply, went under the barely disturbed surface.
And the captain, a silent man with a tanned, gloomy face, smoked a short pipe and angrily spat into the frozen sea.
He answered all my questions with a curt grunt; involuntarily I had to turn to my only companion - the monkey.
I sat down next to her; She stopped squeaking and again extended her hand to me.
The motionless fog enveloped both of us with a soporific dampness; and immersed in the same, unconscious thought, we stayed next to each other, like family.
I smile now... but then I had a different feeling.
We are all children of the same mother - and I was pleased that the poor animal calmed down so trustingly and leaned against me as if it were my own.
(I. S. Turgenev. “Sea Voyage”)
Specify literary direction, the principles of which are embodied in the works of I. S. Turgenev.
Explanation.
Creativity of I.S. Turgenev dates back to the second half of the 19th century, when such a literary movement as realism reached its peak.
Realism is a literary movement characterized by a truthful depiction of life; realism involves the depiction of “typical heroes in typical circumstances” (F. Engels).
Answer: realism.
Answer: realism
“The sea stretched out all around like a motionless tablecloth of lead color...” What term refers to the description of nature in a work of art?
Explanation.
The description of nature in a work of art is a landscape.
Answer: landscape.
Answer: landscape
What is the name of the means of characterizing a character based on a description of his appearance (“a silent man with a tanned, gloomy face”)?
Explanation.
A portrait in literature is one of the means of artistic characterization of a hero.
Answer: portrait.
Answer: portrait
Establish a correspondence between the characters of Turgenev’s other films prose works and their names. For each position in the first column, select the corresponding position from the second column. Write your answer in numbers in the table.
Write down the numbers in your answer, arranging them in the order corresponding to the letters:
| A | B | IN |
Explanation.
Let's establish correspondences:
A) Gerasim - “Mumu”: main character story;
B) Pavlusha - “Bezhin Meadow”: one of the boys whom the narrator met in the forest;
C) Arkady - “Fathers and Sons”: Bazarov’s friend.
Answer: 431.
Answer: 431
What is the name of significant detail V literary text(“Incessantly and plaintively... the small bell at the stern was ringing”)?
Explanation.
Part or artistic detail- this is a detail that specifies a particular image.
Answer: detail or artistic detail.
Answer: detail|artistic detail
Indicate a technique based on the figurative correlation of objects and phenomena (“The sun hung like a dull red spot”).
Explanation.
Comparison is a figurative expression built on the comparison of two objects, concepts or states that have a common feature, due to which the artistic value first subject. Most often, comparison is added through conjunctions.
Answer: comparison.
Answer: comparison
What philosophical issues does Turgenev address in his prose poem “Sea Voyage”?
Explanation.
Reflections on the greatness and eternity of nature (space) and the frailty of life are one of the cross-cutting themes of the prose poems by I.S. Turgenev. It also sounds in the poem “Sea Voyage.”
The heroes of "Sea Voyage" are two passengers: a man and a small monkey tied to one of the benches on the deck. In the infinity of the sea, in complete loneliness they felt kinship and joy when meeting each other, some kind of calm: “immersed in the same unconscious thought, we stayed next to each other, like family.” Man and animal are united by a common essence - the will to live, which becomes painful due to the constant debilitating fear of the unknown of the future. A person helps a defenseless creature overcome fear, and this makes him stronger.
What works of Russian literature reveal the theme of man’s humane attitude towards living nature and in what ways can these works be compared with “Sea Voyage” by I. S. Turgenev?
Explanation.
The heroes of "Sea Voyage" are two passengers: a man and a small monkey tied to one of the benches on the deck. “...immersed in the same unconscious thought, we stayed next to each other, like family.” A person helps a defenseless creature overcome fear, and this makes him stronger.
The theme of man's humane attitude towards living nature is heard in the works of Viktor Astafiev. The stories "Tsar Fish" are about poachers violating hunting bans and fishing. The image of the king fish symbolizes nature itself. A man enters into the fight against a sturgeon of enormous size. The fight ends in favor of nature. Having lost his conscience, a man suffers defeat, and the magical king fish swims to the bottom of the Yenisei.
In Chingiz Aitmatov’s novel “The Scaffold,” the conflict between nature and “dark forces” is sharpened to the limit, and in the camp goodies turns out to be wolves. The name of the she-wolf, who loses one litter after another due to the fault of people, is Akbara, which means “great,” and her eyes are characterized by the same words as the eyes of Jesus, about whom Aitmatov made a legend integral part novel. A huge she-wolf is not a threat to humans. She is defenseless against rushing trucks, helicopters, and rifles.
Nature is helpless, it needs our protection. Russian writers call for this.
Explanation.
The depiction of a person’s inner, mental life in a work of art is called psychologism.
Answer: psychologism.
Answer: psychologism
Indicate the term that denotes the way of depicting the inner, spiritual life of the character (“He blushed to the point of tears and, frowning, walked again”).
Read the fragment of the work below and complete tasks 1–7, 13, 14.
“Welcome, Your Excellency,” she said. - Would you like to eat or would you like a samovar?
The visitor glanced briefly at her rounded shoulders and light legs in worn red Tatar shoes and answered abruptly, inattentively:
Samovar. Is the mistress here or are you serving?
Mistress, Your Excellency.
So you're holding it yourself?
Yes sir. Herself.
So what? Are you a widow, are you running the business yourself?
Not a widow, Your Excellency, but you have to live somehow. And I love to manage.
So-so. This is good. And how clean and pleasant your place is.
The woman looked at him inquisitively all the time, squinting slightly.
“And I love cleanliness,” she answered. “After all, I grew up under the masters, but I don’t know how to behave decently, Nikolai Alekseevich.”
He quickly straightened up, opened his eyes and blushed.
Hope! You? - he said hastily.
“I, Nikolai Alekseevich,” she answered.
My God, my God,” he said, sitting down on the bench and looking straight at her. - Who would have thought! How many years have we not seen each other? Thirty-five years old?
Thirty, Nikolai Alekseevich. I’m forty-eight now, and you’re nearly sixty, I think?
Like this... My God, how strange!
What's strange, sir?
But everything, everything... How don’t you understand!
His fatigue and absent-mindedness disappeared, he stood up and walked decisively around the room, looking at the floor. Then he stopped and, blushing through his gray hair, began to say:
I haven't known anything about you since then. How did you get here? Why didn't you stay with the masters?
The gentlemen gave me my freedom soon after you.
Where did you live afterwards?
Long story, sir.
You say you weren't married?
No, I wasn't.
Why? With such beauty that you had?
I couldn't do this.
Why couldn't she? What do you want to say?
What's there to explain? I suppose you remember how much I loved you.
He blushed to the point of tears and, frowning, walked off again.
“Everything passes, my friend,” he muttered. - Love, youth - everything, everything. The story is vulgar, ordinary. Over the years everything goes away. How does it say this in the book of Job? “You will remember how water flowed through.”
What God gives to whom, Nikolai Alekseevich. Everyone's youth passes, but love is another matter.
He raised his head and, stopping, smiled painfully...
(I. A. Bunin, “Dark Alleys”)
Indicate the type of literature to which I. A. Bunin’s work “Dark Alleys” belongs.
Explanation.
Epic (in Greek means narrative, story) is one of the three genera into which literature is divided (epic, lyric, drama).
Epic in the Encyclopedic Dictionary:
Epic - (Greek epos - word - narrative), 1) the same as epic, as well as ancient historical-heroic songs (for example, epics)... 2) A literary genre (along with lyrics and drama), a narrative about events assumed in the past (as if accomplished and remembered by the narrator).
http://tolkslovar.ru/ie1934.html
Answer: epic.
Answer: epic
In the given fragment of the story, the characters exchange remarks. What is this type of artistic speech called?
Explanation.
Dialogue is a conversation between two or more people. In a literary work, especially in drama, dialogue is one of the main forms of speech characteristics of characters. Polylogue (Greek, lit. 'speech of many') - a conversation of many participants. In this case, it is assumed that the role of the speaker passes from one person to another, otherwise the conversation turns into a monologue.
Answer: dialogue.
Answer: dialogue|polylogue
Establish a correspondence between the three characters in the works of I.A. Bunin, associated with the love theme, and the corresponding titles of the works. For each position in the first column, select the corresponding position from the second column. Write your answer in numbers in the table.
Write down the numbers in your answer, arranging them in the order corresponding to the letters:
| A | B | IN |
Explanation.
She is the heroine of the story "Clean Monday".
The rich man's daughter is the protagonist of the story "The Gentleman from San Francisco."
Olya Meshcherskaya is the heroine of the story “Easy Breathing”.
Answer: 341.
Answer: 341
Tatiana Statsenko
So the task is for 2015. Our task is to give you the opportunity to practice and expand your knowledge of literature. Not all works are included in the codifier. There are questions that require the student’s ability to navigate literary processes- for this you need to know the works not only school curriculum- or based on the works of the school curriculum, be able to draw generalizing conclusions about other works. You need to be prepared for this. And the codifier for next year" Easy breath"may appear. Good luck.
Lev Nioradze 10.03.2019 14:29
Hello! I entered the answer 143, your system counted it as incorrect, giving 341 as correct. I think it's a computer error, please fix it.
Tatiana Statsenko
We have everything right. The answer should be this: 341, it cannot be anything else, because the correspondences must be given exactly.
In the above fragment, the characters have different assessments of the place of love in a person’s life. What term denotes the opposition of various life phenomena in a work of art?
Explanation.
Antithesis is a opposition, a turn in which sharply opposing concepts and ideas are combined. The contrast is a stark contrast.
Answer: antithesis.
Answer: antithesis|contrast
What is the name of an artistic technique based on the use of identical words in a phrase (“But that’s it, that’s it... How don’t you understand!”)?
Explanation.
We are talking about repetition or lexical repetition.
Repetition enhances emotional and figurative expressiveness artistic speech. The highlighted repeated words carry a certain semantic meaning.
Answer: repetition or lexical repetition.
Answer: repetition|lexical repetition
Indicate a literary movement that is based on an objective view of reality and the principles of which are embodied in “Dark Alleys.”
Explanation.
Realism - from the Latin realis - real. The main feature of realism is considered to be a truthful depiction of reality. The definition given by F. Engels: “... realism presupposes, in addition to the truthfulness of details, the truthful reproduction of typical characters in typical circumstances.”
Answer: realism.
Answer: realism
What is the drama of the above episode from the story of I. A. Bunin?
Explanation.
General Nikolai Alekseevich, already an old man, arrives at the postal station and meets here his beloved, whom he has not seen for about 35 years. He will not recognize hope right away. Now she is the owner of the inn where their first meeting once took place. The hero finds out that all this time she loved only him. At one time, class prejudices prevented the future general from marrying a commoner. But love did not leave the heart of the main character and prevented him from becoming happy with another woman, raising his son with dignity, and Nadezhda continued to love him. The drama of this episode is that nothing can be corrected, nothing can be returned and “rewritten from scratch.”