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12.04.2019

Reference materials for preparing for the OGE in literature

9th grade

(Literary terms and concepts)

There are three types of fiction: epic(from Greek Epos, narrative), lyrical(a lyre was a musical instrument, accompanied by chanting poems) and dramatic(from Greek Drama, action).

When presenting this or that subject to the reader (meaning the subject of conversation), the author chooses different approaches to it:

First approach: in detail tell about the object, about the events associated with it, about the circumstances of the existence of this object, etc.; in this case, the author’s position will be more or less detached, the author will act as a kind of chronicler, narrator, or choose one of the characters as the narrator; the main thing in such a work will be the story, the narration about the subject, the leading type of speech will be precisely narration, this kind of literature is called epic;

The second approach: you can tell not so much about the events, but about the impression, which they produced on the author, about those feelings, which they called; image inner world, experiences, impressions and will relate to the lyrical genre of literature; exactly the experience was becoming the main event of the lyrics;

Third approach: you can depict item in action, show him on stage; introduce to the reader and viewer of it surrounded by other phenomena; this kind of literature is dramatic; in a drama, the author's voice will be heard least often - in stage directions, that is, the author's explanations of the actions and remarks of the characters.

Look at the table and try to remember its contents:

Types of fiction.

EPOS

DRAMA

LYRICS

(Greek - narrative) a story about events, the fate of heroes, their actions and adventures; image of the external side of what is happening

(even feelings are shown from their external manifestation). Author

can directly express his attitude to what is happening.

(Greek - action) depiction of events and relationships between characters on stage (a special way of writing text). The direct expression of the author's point of view in the text is contained in the stage directions.

(from the name musical instrument) experiencing events; depiction of feelings, inner world, emotional state; feeling becomes the main thing

event.

Each type of literature in turn includes a number of genres.

GENRE- this is a historically established group of works united by common features of content and form; such groups include novels, stories, poems, elegies, short stories, feuilletons, comedies, etc. In literary criticism the concept is often introduced literary type, it's more broad concept than genre. In this case, the novel will be considered a type of fiction, and genres will be various types of novels, for example, adventure, detective, psychological, parable novel, dystopian novel, etc.

Examples of genus-species relationships in the literature:

Genus: dramatic; view: comedy; genre: sitcom.

Genus: epic; V id: story; genre: fantastic story etc.

historical era: ancient lyrics didn’t know the sonnet; in our time, the ode, born in antiquity and popular in the 17th-18th centuries, has become an archaic genre; Romanticism of the 19th century gave rise to detective literature, etc.

Main literary genres

Lyrics
	An enthusiastic poem in honor of some significant person or event.
Poem	A small work created according to the laws of poetic speech.
	The poem is a philosophical reflection on life, love, nature, and the passage of time.
	A poem meant to be sung.

Message	A lyrical work written in the form of an appeal to any person or persons.
Epigram	Short poem ridiculing a person.
Epic
	A short work dedicated to a specific event in a person’s life. In such brief episode From the life of a person, the author reveals the essential typical features of life.
	Events that actually happened in life are depicted, the participants of which existed in reality.
	It is distinguished by the clarity of the depiction of events, the unexpectedness of their development and outcome.
	The story depicts a series of events that illuminate an entire period of a person’s life. IN ancient Russian literature a story was any narration about events in historical or private life.
	Reflects a complex life process, big circle life phenomena shown in development. Many people usually take part in the events depicted in the novel. characters, whose destinies and interests are intertwined.
Epic novel	A novel that covers particularly complex and rich life material, spanning an entire era.
Drama
Tragedy	In this work, the character of the hero is revealed in a hopeless situation, in an unequal, intense struggle that dooms him to death.
	Any work written in the form of a conversation between the characters, without the author’s speech. A work that depicts a complex and serious conflict, an intense struggle between the characters.
	A work that reflects the funny and incongruous in life, ridicules some unhealthy social or everyday phenomenon, or funny traits of human character.
Mystery	A medieval drama performed in Latin, initially in Catholic churches, and later as a folk spectacle. Its content consisted of dramatizations of some church legend with interludes.
Melodrama	A drama whose characters are sharply divided into virtuous heroes and notorious villains. They have an unusual destiny, are endowed with exceptional feelings, find themselves in implausible acute situations that end happily. According to the laws of the genre, virtuous heroes, after many vicissitudes of fate, always win.
	A funny comedy with everyday content.
Vaudeville	A small humorous theatrical play with verses and dances, a one-act funny comedy.
Tragicomedy	Combines the features of tragedy and comedy.

Correspondence of literary genres and muses-patrons of the arts

Muses-patrons of the arts	Literary genres
Polygamy	Solemn chants - hymns.
	Love poetry - elegy
	Lyric poetry - messages
Calliope	Lyric-epic works - fable, story, story.
Melpomene	Tragedy.

Genres epic works

Genres of lyrical works

(song of praise)

(glorification of a person or event)

Epitaph

(gravestone inscription, sometimes comic)

(poems about a serene shepherd's life)

Epigram

(satire on a person)

Dithyramb

(liking one person)

Message

(address to a person in the form of a letter)

Lyric poem

Madrigal

(a poem of praise dedicated to the lady)

(poem of 14 lines)

Literary directions

Literary direction (method) – the basic principles that guide the writer when selecting, summarizing, evaluating and depicting life facts in artistic images.

Signs of a literary movement:

unites writers of a certain historical era;

a general understanding of life values and aesthetic ideals;

general type of hero;

style of artistic speech;

characteristic plots;

favorite genres;

choice artistic techniques images of life;

writers' way of thinking;

writer's personality type;

worldview and worldview of writers.

Classification literary trends

classicism sentimentalism romanticism realism

Classicism:

Classicism (from the Latin classicus first-class) is a movement that arose in the art and literature of Western Europe and Russia in the 17th-18th centuries as an expression of the ideology of absolute monarchy. It reflected the idea of rationalistic harmony, strict orderliness of the world, and faith in the human mind. It developed at the beginning of the 20th century as neoclassicism.

Representatives	Western European literature	Russian literature
	Corneille, Boileau, Moliere, Racine	A.P. Sumarokov, M.M. Kheraskov, M.V. Lomonosov, G.D. Derzhavin, D.I. Fonvizin, Ya.B. Knyazhnin
Distinctive features	Inherits the traditions of the art of antiquity
	The actions and deeds of the heroes are determined from the point of view of reason
	A work of art is a logically constructed whole
	Strict division of heroes into positive and negative (character schematization). Heroes are idealized.
	The plot and composition obey accepted rules (the rule of three unities)
	The narrative must be objective
	The importance of civil issues content

Division of genres

High	Low
Tragedy, poem, ode	Comedy, fable, satire
They feature heroes, tell stories about public life, stories	They operate ordinary people, tells about everyday life

Sentimentalism: representatives, distinctive features, literary forms.

Sentimentalism (from French sentimental – sensitive) – literary movement, which arose in the art and literature of Western Europe and Russia at the end of the 17th - early XIX century. Opposes the abstraction and rationality of classicism. It reflects the desire to depict human psychology.

Representatives	Russian literature
Representatives	N.M. Karamzin, A.N. Radishchev, V.V. Kapnist, N.A. Lviv
Distinctive features	Portrayal of human psychology
	The actions and deeds of the heroes are determined from the point of view of feelings, the sensitivity of the heroes is exaggerated
	Idealization of reality, subjective image of the world
	In the center of the image are feelings, nature
	Representatives of the lower classes are endowed with a rich spiritual world
	The ideal is moral purity, innocence.

Literary forms

Epic	Lyrics	Drama
Sentimental story, message, travel notes	Elegy, folk songs	Philistine drama

Romanticism: representatives, distinctive features, literary forms.

Romanticism is a movement in the art and literature of Western Europe and Russia XVIII- XIX centuries, consisting in the desire of authors to contrast the reality that does not satisfy them with unusual images and plots, suggested to them by life phenomena. A romantic artist strives to express in his images what he wants to see in life, what, in his opinion, should be the main, determining one. Arose as a reaction to rationalism.

Representatives	Foreign literature	Russian literature
	J.G. Byron, I. Goethe, I. Schiller, E. Hoffmann, P. Shelley, C. Nodier	V.A. Zhukovsky, K.N. Batyushkov, K.F. Ryleev, A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol
Distinctive features	Unusual characters, exceptional circumstances
	A tragic duel between personality and fate
	Freedom, power, indomitability, eternal disagreement with others - these are the main characteristics of a romantic hero
	Interest in everything exotic (landscape, events, people), strong, bright, sublime
	A mixture of high and low, tragic and comic, ordinary and unusual
	The cult of freedom: the individual’s desire for absolute freedom, for the ideal, for perfection

Literary forms

Epic	Lyrics	Drama
Novel, story, ballads and thoughts, poems	Elegiac lyrics, landscape lyrics, philosophical lyrics	Problem-historical drama

Realism: representatives, distinctive features, literary forms.

Realism (from Latin realis) is a movement in art and literature, the main principle of which is the most complete and accurate reflection of reality through typification. Appeared in Russia in the 19th century.

Representatives	Russian literature
Representatives	A.S. Griboyedov, A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol, I.S. Turgenev, L.N. Tolstoy, F.M. Dostoevsky and others
Distinctive features	Depiction of characters in interaction with the outside world
	For a writer, details of the interior, portrait, landscape are important
	Character typing
	Portrayal of characters and events in development
	Historically specific society, events, era
	Focus on conflict: hero - society

Literary forms

Epic	Lyrics	Drama
Novel, story, poem, story	Song, elegy, satire	Tragedy, comedy, historical chronicles

Piece of art - literary work, the distinctive feature of which is the depiction of life, the creation of an artistic image using words.

The course of events in the work is determined by:
composition	conflict	plot	plot
The structure of the work, the arrangement of its components, the order of presentation of events.	A disagreement, a clash that underlies the struggle of the characters in a work of art.	A series of interconnected and consistently developing life events, constituting the direct content of the epic work.	A sequential account of events or incidents (in chronological order) depicted in a work of fiction.
One of the main means by which a writer characterizes characters.	The conflict can be both external (the hero and circumstances) and internal (the hero struggles with his shortcomings).	The plot reflects the clashes and contradictions characteristic of life, the relationships between people and the writer’s assessment and attitude towards them.	The plot may coincide with the plot, or it may diverge from it.

Basic Plot Elements

Prologue	A unique introduction to the work emotionally and eventfully prepares the reader to perceive the content of the work.
Exposition	Introductory, initial part of the plot, depiction of external conditions, living conditions, historical events. Does not affect the course of subsequent events in the work.
The beginning	An event from which an action begins, entailing all subsequent significant events in it.
Action Development	Description of everything that is happening, the course of events.
Climax	The moment of greatest tension in the development of the action of a work of art.
Denouement	The position of the characters that has developed in the work as a result of the development of the events depicted in it is the final scenes.
Epilogue	The final part of the work, in which the further fate of the heroes and the development of events can be determined. It can also be a short story about what happened after the completion of the main storyline.

Extra-plot elements

Introductory episodes	“Inserted” episodes that are not directly related to the plot of the work, but are given as memories in connection with the events described.
Lyrical digressions	They can be actually lyrical, philosophical and journalistic. With their help, the author conveys his feelings and thoughts about what is depicted. These can be the author’s assessments of heroes and events or general reasoning on any subject, an explanation of one’s goal and position.
Artistic framing	Scenes that begin and end an event or work, adding a special meaning to it.

SUBJECT - Subject, main content of reasoning, presentation, creativity. (S. Ozhegov. Dictionary of the Russian language, 1990.)

SUBJECT (Greek Thema) - 1). Subject of presentation, image, research, discussion; 2). Statement of the problem, which predetermines the selection of life material and the nature of the artistic narrative; 3). The subject of a linguistic utterance (...). (Dictionary of Foreign Words, 1984.)

Already these two definitions can confuse the reader: in the first, the word “theme” is equated in meaning to the term “content,” while the content of a work of art is immeasurably broader than the topic, the topic is one of the aspects of the content; the second makes no distinction between the concepts of topic and problem, and although topic and problem are philosophically related, they are not the same thing, and you will soon understand the difference.

The following definition of the topic, accepted in literary criticism, is preferable:

SUBJECT - this is a life phenomenon that has become the subject of artistic consideration in a work. The range of such life phenomena is SUBJECT literary work. All the phenomena of the world and human life constitute the artist's sphere of interests: love, friendship, hatred, betrayal, beauty, ugliness, justice, lawlessness, home, family, happiness, deprivation, despair, loneliness, struggle with the world and oneself, solitude, talent and mediocrity, joys of life, money , relationships in society, death and birth, secrets and mysteries of the world, etc. and so on. - these are the words that name life phenomena that become themes in art.

The artist’s task is to creatively study a life phenomenon from sides that are interesting to the author, that is express the topic artistically. Naturally, this can only be done posing a question(or several questions) to the phenomenon under consideration. This question that the artist asks, using the figurative means available to him, is problem literary work.

So, PROBLEM is a question that does not have a clear solution or involves many equivalent solutions. The problem differs from the ambiguity of possible solutions tasks. The set of such questions is called PROBLEMATICS.

The more complex the phenomenon of interest to the author (that is, the more complex the chosen subject), the more questions (problems) it will raise, and the more difficult these questions will be to resolve, that is, the deeper and more serious it will be problems literary work.

The topic and problem are historically dependent phenomena. Different eras dictate to artists different topics and problems. For example, the author of the ancient Russian poem of the 12th century “The Tale of Igor’s Campaign” was worried about the topic of princely strife, and he asked the questions: how to force the Russian princes to stop caring only about personal gain and to be at enmity with each other, how to unite the disparate forces of the weakening Kyiv state? The 18th century invited Trediakovsky, Lomonosov and Derzhavin to think about scientific and cultural transformations in the state, about what an ideal
ruler, raised in literature the problems of civic duty and equality of all
citizens without exception before the law. Romantic writers were interested in the mysteries of life and death, penetrated into dark corners human soul, solved the problems of human dependence on fate and the unsolved demonic forces of interaction between a talented and extraordinary person and a soulless and mundane society of ordinary people.

The 19th century, with its focus on the literature of critical realism, turned artists to new themes and forced them to think about new problems:

Through the efforts of Pushkin and Gogol, the “little” man entered literature, and the question arose about his place in society and relationships with “big” people;

The women's issue became the most important, and with it the so-called public "women's issue"; A. Ostrovsky and L. Tolstoy paid a lot of attention to this topic;

the theme of home and family acquired a new meaning, and L. Tolstoy studied the nature of the connection between upbringing and a person’s ability to be happy;

the unsuccessful peasant reform and further social upheavals aroused keen interest in the peasantry, and the theme of peasant life and fate, discovered by Nekrasov, became leading in literature, and with it the question: what will be the fate of the Russian peasantry and all of great Russia?

The tragic events of history and public sentiment brought to life the theme of nihilism and opened up new facets in the theme of individualism, which were further developed by Dostoevsky, Turgenev and Tolstoy in attempts to resolve the questions: how to warn the younger generation from the tragic mistakes of radicalism and aggressive hatred? How to reconcile generations of “fathers” and “sons” in a turbulent and bloody world? How do we understand the relationship between good and evil today and what is meant by both? How can you avoid losing yourself in your quest to be different from others? Chernyshevsky turns to the topic of public good and asks: “What to do?” so that a person Russian society could he honestly earn a comfortable living and thereby increase public wealth? How to “equip” Russia for a prosperous life? Etc .

note! A problem is a question, and it should be formulated primarily in interrogative form, especially if formulating problems is the task of your essay or other work on literature.

Sometimes in art, a real breakthrough is precisely the question posed by the author - a new one, previously unknown to society, but now burning, vitally important. Many works are created to pose a problem.

So, IDEA (Greek Idea, concept, representation) - in literature: the main idea of a work of art, the method proposed by the author for solving the problems he poses. A set of ideas, a system of author’s thoughts about the world and man, embodied in artistic images is called IDEAL CONTENT a work of art.

Thus, the scheme of semantic relationships between the topic, problem and idea can be represented as follows:

Life phenomenon →	A question that allows you to explore a life phenomenon using figurative language →
Subject →	Problem →

Visual and expressive means in a work of art
Concept	Definition	Examples
Trope is a figure of speech built on the use of words or expressions in a figurative meaning, meaning (from the Greek tropos-turn).
Allegory	Allegorical depiction of an abstract concept or phenomenon of reality with the help of a concrete one lifestyle. Allegory is often used in fables.	Cunning allegorically depicted in the form of a fox, greed- in the guise of a wolf, deceit in the form of a snake.
Hyperbola	A figurative expression consisting of an exorbitant exaggeration of the strength, significance, size of the depicted phenomenon.	...a rare bird will fly to the middle of the Dnieper. (N.V. Gogol, “Terrible Revenge”).
Irony	Subtle hidden mockery, one of the types of humor. Irony can be good-natured, sad, angry, caustic, angry, etc.	Did you sing everything? This is the case... (I.A. Krylov, “Dragonfly and Ant”).
Litotes	This is an understatement of the size, strength, and significance of the depicted object.	For example, in works of oral folk art - a little boy, a hut on chicken legs. Steel knife - steel nerves. Bee from cells wax Flies for field tribute.
Metonymy	Transfer of meaning (name) based on the contiguity of phenomena.	So eat some more plate, my dear! (I.A. Krylov, “Demyanov’s ear”) - in in this example This does not mean the plate itself as a piece of utensils, but its contents, i.e. ear. All flags will be visiting us.
Personification (prosopoeia)	One of the techniques of artistic depiction consists in the fact that animals, inanimate objects, and natural phenomena are endowed with human abilities and properties: the gift of speech, feelings and thoughts.	Will be comforted silent sadness And frisky will think about it joy… (A.S. Pushkin, “To the Portrait of Zhukovsky”).
Sarcasm	Evil and caustic mockery, highest degree irony, one of the most powerful means of satire.	Helps to detect the unseemly essence of a person’s behavior or motives, shows the contrast between subtext and external meaning.
Synecdoche	Replacing the name of a life phenomenon with the name of its part instead of the whole.	As a girl, she didn't stand out in any way in the crowd of browns. dresses (I.A. Bunin, “Easy Breathing”).
Comparison	Definition of a phenomenon or concept in artistic speech by comparing it with another phenomenon that has common characteristics with the first. A simile either simply indicates similarity (he was like...) or is expressed using similar words like, exactly, as if and so on.	He was looks like evening clear... (M.Yu. Lermontov, “Demon”).
Periphrase	Replacing the name of an object or phenomenon with a description of its essential features and characteristics that define it, creating a vivid picture of life in our minds.	It's a sad time! Ouch charm! (about autumn). (A.S. Pushkin, “Autumn”).
Epithet	A figurative definition characterizing the property or quality of a person, phenomenon, or object.	Cloud spent the night golden On the chest giant cliff. (M.Yu. Lermontov, “The Cliff”).
Antithesis	A stylistic figure of contrast in artistic or oratory speech, consisting in a sharp opposition of concepts, positions, images, states, interconnected by a common design or internal meaning.	They got along. Wave and stone Poetry and prose, ice and fire Not so different from each other. (A.S. Pushkin, “Eugene Onegin”).
Oxymoron	A stylistic figure or a stylistic error, a combination of words with the opposite meaning (that is, a combination of incompatible things). An oxymoron is characterized by the deliberate use of contradiction to create a stylistic effect. From a psychological point of view, an oxymoron is a way of resolving an inexplicable situation. Oxymoron is often found in poetry.	And the day has come. Gets up from his bed Mazepa, this frail sufferer, This corpse alive, just yesterday Moaning weakly over the grave. (A.S. Pushkin, “Poltava”).
Stylistic figures are syntactic structures built in a special way; they are necessary to create a certain artistic expressiveness.
Anaphora (unity of principle)	A turn of poetic speech consisting of the repetition of consonances of individual words. Sound unity of command consists in the repetition of individual consonances.	The black-eyed girl Black-eyed horse!.. (M.Yu. Lermontov, “Desire”).
Antithesis	A turn of poetic speech in which, to enhance expressiveness, directly opposite concepts, thoughts, and character traits of the characters are sharply contrasted.	They got along. Water and stone. Poetry and prose, ice and fire Not so different from each other... (A.S. Pushkin, “Eugene Onegin”).
Gradation	Gradual strengthening or worsening - one of the stylistic figures consists of grouping definitions with increasing or decreasing meaning.	Don't think about running! It's me Called. I'll find it. I'll drive it. I'll finish it. I'll torture you! (V.V. Mayakovsky, “About This”).
Inversion	Violation of the direct order of words, rearrangement of parts of a phrase, giving it special expressiveness, unusual sequence of words in a sentence.	And the maiden's song is barely audible Valleys in deep silence. (A.S. Pushkin, “Ruslan and Lyudmila”).
Oxymoron	A phrase consisting of a combination of sharply contrasting, internally contradictory features in the definition of phenomena.	Sounding silence, sweet pain and so on.
Rhetorical appeal	(from the Greek rhetor - speaker) rhetorical appeals are very characteristic of poetic speech and are quite often used in texts of journalistic style. Their use makes the reader or listener an interlocutor, a participant in a conversation.	Or is the Russian unaccustomed to victories?
Default	It consists in the fact that the thought remains not fully expressed, but the reader guesses what was left unsaid. Such a statement is also called interrupted.
Ellipsis	Omission in speech of some easily implied word, part of a sentence, most often a predicate.

Phonetic means of expression
Euphony	It consists of beauty and naturalness of sound.
Alliteration	Repetition of identical, consonant consonant sounds to enhance the expressiveness of artistic speech.	The Neva swelled and roared, A cauldron bubbling and swirling... (A.S. Pushkin, “The Bronze Horseman”).
Assonance	Repetition of homogeneous vowel sounds in a line, phrase, stanza.	It's time! It's time! The horns are blowing... (A.S. Pushkin, “Count Nulin”).
Sound recording	Using the sound composition of a word, its sound to enhance the expressiveness of poetic speech.	For example, onomatopoeia, which can be used to convey the singing of birds, the clatter of hooves, the noise of the forest and river, etc.
Visual means of syntax
Syntactic parallelism(from Greek parallelos - walking next to)	One of the techniques of poetic speech. It consists of comparing two phenomena by depicting them in parallel in order to emphasize the similarities or differences between the phenomena. For syntactic parallelism characteristic feature is the uniformity of phrase construction.	curly birch, There is no wind, but you make noise: My heart is zealous There is no grief, but you are in pain. (1) For ten years he selected option after option. (2) It’s not a matter of school hard work and patience - he knew how to invent new combinations, come up with new questions. (3) This is how Johann Bach constructed his fugues, extracting inexhaustible variations from one theme. In this example, to connect sentences 2 and 3, we use syntactic parallelism and lexical repetition.
A rhetorical question	A turn of poetic speech consisting of expressing a statement in interrogative form. Their use makes the reader or listener an interlocutor, a participant in the conversation.	Or is it new for us to argue with Europe? Or is the Russian unaccustomed to victories? (A.S. Pushkin, “To the Slanders of Russia”).
Exclamation, exclamatory sentence.	This is a type of sentence that contains emotional relationships expressed in a syntactic way (particles what, for, how, which, like this, well and etc.). By these means, the statement is given the meaning of a positive or negative evaluation, feelings of joy, sadness, fear, surprise, etc. are conveyed.	Oh, how bitter you are, desperately, later, you need youth! (A. Tvardovsky, “Beyond the Distance”). Do you love me? Yes? Yes? Oh, what a night! Wonderful night! (A.P. Chekhov, “The Jumper”).
Appeal	A turn of poetic speech, consisting in an emphasized, sometimes repeated address of the writer to the hero of his work, to natural phenomena, to the reader, in the hero’s address to other characters.	Don't sing in front of me, beauty. (A.S. Pushkin, “Don’t Sing...”). And you, Arrogant descendants! (M.Yu. Lermontov, “The Death of a Poet”).
Non-union (asyndeton)	A turn of poetic speech that consists of the omission of connecting conjunctions between words and sentences. Their absence gives speech speed, expressiveness, and conveys rapid intonation.	Swede, Russian - stabs, chops, cuts. Drumming, clicks, grinding. The thunder of guns, stomping, neighing, groaning... (A.S. Pushkin, “Poltava”).
Polyunion (repeating alliances)	A turn of poetic speech consisting of the repetition of the same conjunctions.	And the spruce turns green through the frost, And the river glitters under the ice... (A.S. Pushkin, “Winter Morning”).

Basics of versification.

Rhythm.

Word rhythm in the Greek language from which it came to us, it means “harmony, proportionality.” How does this proportionality arise? What condition is necessary for rhythm to occur? What does the beating of our heart and the moving pendulum of a clock have in common? the measured noise of the surf and the sound of the wheels of a moving train?

Rhythm - is the repetition of something at regular intervals. It is this repetition that creates randomness and proportionality.

Rhyme.

The harmony of the verse is created by the coincidence of line endings and rhymes. The lines seem to echo like an echo, repeating each other, sometimes changing their sound slightly. Re-read A.A.’s poem out loud again. Feta “The summer evening is quiet and clear...”. Find lines that rhyme.

Rhyme- This is a repetition of sounds that connect the endings of two or more lines.

idle - varied

harsh - pine

Stanza.

Stanza- a group of poetic lines, combined lines, united by rhyme. A stanza can be three lines - tercet, out of four – quatrain.

Rhyme

The following types of rhyme are distinguished:
Name	Definition
Depending on the place of emphasis
	The stress falls on the last syllable
	The last syllable is unstressed
Dactylic	The stress falls on the third syllable from the end of the line
Hyperdactylic	The stress falls on the fourth syllable from the end of the line
Depending on the order of rhyming lines
Adjacent, steam room	Lines that follow each other rhyme (AA)
	Three consecutive lines rhyme (AAA)
Cross	Rhyming lines go one after another (ABAB)
Encircling, ring	Of the four lines, the 1st and 4th, 2nd and 3rd rhyme with each other (ABBA)
Ternary	Complex alternation in six lines (AABAAB)
Depending on the repetition of the ending sounds of rhyming lines
	Frost roses
Assonance	Broom tables

Underline the rhyming words in Fet's poem “Butterfly” and connect them. You see that the first line rhymes with the third, the second with the fourth. Arises cross rhyme.

You're right with one aerial outline

I'm so sweet

All the velvet is mine with its living blinking

Only two wings.

If adjacent lines rhyme, it is born steam room rhyme, as in Pushkin’s poem “The Prisoner”:

I'm sitting behind bars in a damp dungeon.

A young eagle raised in captivity,

My sad comrade, flapping his wing,

It's pecking at bloody food under the window...

Finally, the rhyme can be annular when the first line of the quatrain rhymes with the fourth, and the second with the third, as in Bunin’s poems:

The hops are already drying up on the mew.

Behind the farmsteads, on the melon fields,

In the cool rays of the sun

Bronze melons are turning red...

The rhyme in a stanza can be more complex.

Poetic dimensions

Poetic meters in Russian versification are disyllabic And trisyllabic.

Two-syllable sizes called a poetic meter with a line of two syllables.

In Russian versification there are two two-syllable meters: iambic And trochee.

Iambic– a two-syllable poetic meter with stress on the second syllable (_ _́).

Let's see how A.S. uses iambic. Pushkin.

Iambic trimeter :

Friend of the idle thought, _ _́ _ _́ _ _́ _

My inkwell... _ _́ _ _́ _ _́

Iambic tetrameter:

There is a green oak near Lukomorye; _ _́ _ _́ _ _́ _ _́ _

The golden chain on the oak tree... _ _́ _ _́ _ _́ _ _́

Iambic pentameter:

One more last legend - _ _́ _ _́ _ _́ _ _́ _ _́ _

And my chronicle is finished _ _́ _ _́ _ _́ _ _́ _ _́

Trochee– two-syllable meter with stress on the first syllable (_́ _).

The word "trochee" translated from Greek language means “dancing” from the word “choir”, “dance”, “round dance”.

Trochee trimeter :

In the haze of invisibility _́ _ _́ _ _́ _

The month of spring has come... _́ _ _́ _ _́ _

Trochee tetrameter:

Through the wavy fogs _́ _ _́ _ _́ _ _́ _

The moon is making its way... _́ _ _́ _ _́ _ _́

(A.S. Pushkin)

Pentameter trochee:

I go out alone on the road _́ _ _́ _ _́ _ _́ _ _́ _

Through the fog the flinty path shines... _́ _ _́ _ _́ _ _́ _ _́

(M.Yu. Lermontov)

Iambic and trochee are the most popular meters in Russian poetry; for example, 80-85% of poems are written in iambic tetrameter.

Trisyllabic verse meters

Consider the lines of the poem “ Railway»:

Glorious Autumn! Healthy, vigorous

The air invigorates tired forces...

Let’s place the emphasis and build a verse outline:

_́ _ _ _́ _ _ _́ _ _ _́ _

_́ _ _ _́ _ _ _́ _ _ _́

You noticed that groups of three syllables are repeated: the first is stressed, the second and third are unstressed. It is a three-syllable meter with the accent on the first syllable. It is called dactyl: _́ _ _ .

Let’s take other lines - from Nekrasov’s poem “Peasant Children”, place the emphasis and build a diagram of the verse.

Once upon a time in the cold winter time

I came out of the forest; it was bitterly cold.

_ _́ _ _ _́ _ _ _́ _ _ _́ _

_ _́ _ _ _́ _ _ _́ _ _ _́

Groups of three syllables are repeated here: the first is unstressed, the second is stressed, the third is unstressed. It is a three-syllable meter with stress on the second syllable. It is called amphibrachium: _ _́ _

Algorithm for determining poetic meter.

Place emphasis.

Identify unstressed vowels.

Write down the resulting diagram.

Determine the size.

I those be nothing GO Not ska andat .

I those bI Not meet VO zhu neither hat t.

AND O TO m,What I mO lcha you LOLat ,

Not re wat syaneither on ThuO name bookat t.

A. Fet.

- trimeter anapest

Now let’s place emphasis in the lines from Nekrasov’s poem “Troika” and build a diagram of the verse.

Why are you looking greedily at the road?

Away from your cheerful friends?

_ _ _́ _ _ _́ _ _ _́ _

_ _ _́ _ _ _́ _ _ _́

Groups of three syllables are repeated: the first and second are unstressed, the third is stressed. It is a three-syllable meter with the accent on the third syllable. It is called anapaest: _ _ _́.

So, there are three three-syllable meters of verse: dactyl ( _́ _ _ ), amphibrachium

(_ _́ _ ), and anapest (_ _ _́ )

Verse sizes
Disyllabic
		The storm covers the sky with darkness...
		My first friend, my priceless friend!
Trisyllabic
		Heavenly clouds, eternal wanderers!
Amphibrachium		In the sandy steppes of Arabian land Three proud palm trees grew high.
		Don't be sad, dear neighbor...

Clue: To remember the rhythm of three-syllable meters, Nikolai Gumilyov offered young poets the following hint:

Ann A A Khmatova – dactyl; M A rin A Color e that e V A– amphibrachium; N And To O Lai G at m And lion - anapest.

Themes and motives in the lyrics

Subject

From Greek theme (the basis of the plot of the work).

Intimate lyrics

M.Yu. Lermontov “She is not proud of her beauty...”

B.L. Parsnip “Winter Evening”.

Landscape lyrics

A.A. Fet “Wonderful picture...”

S.A. Yesenin “behind the dark strand of woods...”.

Lyrics of friendship

B.Sh. Okudzhava "Ancient student song".

Theme of the poet and poetry

M.I. Tsvetaeva "Rolandov Horn".

Patriotic and civil lyrics

ON THE. Nekrasov "Motherland"

A.A. Akhmatova “I am not with those who abandoned the earth...”

Philosophical lyrics

F.I. Tyutchev "The Last Cataclysm"

I.A. Bunin "Evening".

The most important character in the lyrics is lyrical hero: exactly him inner world and shown in lyrical work, on his behalf the lyricist speaks to the reader, and the external world is depicted in terms of the impressions it makes on the lyrical hero. Note! Do not confuse the lyrical hero with the epic one. Pushkin reproduced the inner world of Eugene Onegin in great detail, but this is an epic hero, a participant in the main events of the novel. The lyrical hero of Pushkin's novel is the Narrator, the one who is familiar with Onegin and tells his story, deeply experiencing it. Onegin becomes a lyrical hero only once in the novel - when he writes a letter to Tatyana, just as she becomes a lyrical heroine when she writes a letter to Onegin.

By creating the image of a lyrical hero, a poet can make him personally very close to himself (poems by Lermontov, Fet, Nekrasov, Mayakovsky, Tsvetaeva, Akhmatova, etc.). But sometimes the poet seems to be “hiding” behind the mask of a lyrical hero, completely far from the personality of the poet himself; for example, A Blok makes Ophelia the lyrical heroine (two poems called “Ophelia’s Song”) or the street actor Harlequin (“I was covered in colorful rags...”), M. Tsvetaev - Hamlet (“At the bottom is she, where il..."), V. Bryusov - Cleopatra ("Cleopatra"), S. Yesenin - a peasant boy from a folk song or fairy tale ("Mother walked through the forest in a bathing suit..."). So, when discussing a lyrical work, it is more competent to talk about the expression in it of the feelings not of the author, but of the lyrical hero.

Like other types of literature, lyrics include a number of genres. Some of them arose in ancient times, others - in the Middle Ages, some - quite recently, one and a half to two centuries ago, or even in the last century.

Motive

From French motif - lit. movement.

A stable formal and content component of a work. Unlike the topic, it has a direct verbal fixation in the text. Identifying the motive helps to understand the subtext of the work.

The motifs of struggle, flight, retribution, suffering, disappointment, melancholy, and loneliness are traditional in the lyrics.

Leitmotif

A leading motif in one or many works.

The motive of exile in the poem by M.Yu. Lermontov "Clouds".

The motive of loneliness in the early lyrics of V.V. Mayakovsky.

Literature in tables and diagrams. Theory. Story. Dictionary. M.I.Meshcheryakova. M.: Iris-press, 2005.

Brief dictionary literary terms. Timofeev L.I. and Turaev S.V. M.: Education, 1978.

Internet resources:

http://russlovesnost.

http://shkola. lv

http://4ege. ru

http:// thff (Creative Freedom forum).

http://www. liceum 1. net

Tasks 1.1.3, 1.2.3 and criteria for their verification and

assessments

The last task of part 1 (1.1.3 or 1.2.3) is a task higher level complexity and requires writing, based on the texts given in the work, a detailed, coherent answer of 5–8 sentences (the indication of volume is conditional).

The task involves comparing two texts (fragments of texts) in the indicated direction, independently extracting information from the material proposed for comparison, finding the basis for constructing benchmarking within the scope specified in the task.

Before completing this task, you must carefully read the text proposed for comparison and understand its connection with the main text. Task 1.1.3 (1.2.3) aims the examinee at transformative reproduction or some interpretation of the information contained in the texts.

Completion of task 1.1.3 (1.2.3) is assessed according to the following universal generalized criteria, independent of the content of specific texts.

Criteria for checking and assessing the completion of comparative tasks 1.1.3 and 1.2.3, requiring writing a coherent answer of 5–8 sentences

The indication of volume is conditional; the assessment of the answer depends on its content (if the examinee has deep knowledge, he can answer in a larger volume; with the ability to accurately formulate his thoughts, the examinee can answer quite fully in a smaller volume). If, when checking the task of the specified group, the expert gives 0 points according to the first criterion, the task is considered unfulfilled and is not assessed according to other criteria (0 points are given in the answer verification protocol).

Criteria	Points
1. Ability to compare works of art
a) the examinee compares texts in the direction specified in the task analysis, knows how to build a comparative characteristic
b) the examinee compares texts in the direction indicated in the task analysis, but allows violations in the construction of comparative characteristics
c) the examinee, when comparing texts, does not follow what is specified in the task direction of analysis; and (or) does not demonstrate the ability to build a comparative characteristic
2. The depth of the judgments made and the persuasiveness of the arguments
a) the examinee gives a direct, coherent answer to the question, based on the author’s position (when analyzing poems, taking into account the author’s intention), if necessary, formulates his point of view, argues his points, confirms his thoughts with text, without replacing analysis with retelling of the text; There are no factual errors or inaccuracies
b) the examinee understands the essence of the question, But does not give a direct answer to it; and (or) is limited to expressing his point of view; and/or does not provide arguments for all theses; and (or) partly replaces analysis with a retelling of the text; and/or makes 1–2 factual errors
c) the examinee fails to cope with the task: does not answer the question; and (or) replaces analysis with a retelling of the text; and (or) makes more than 2 factual errors
3. Following speech norms
a) no more than 2 speech errors were made;
b) more than 2 speech errors were made
Maximum score

Thus, the graduate must be able to:

1. Compare texts byin the direction indicated in the task analysis.

2. Build a comparative characteristic.

3. Know the content and problems of the work as a whole (or the features of the poet’s work).

4. Understand the problems of the text proposed for comparison.

5. Provide meaningful justification for comparison.

6. Make convincing arguments.

8. Formulate your own well-founded position (if the specifics of a particular task require this).

9. Do not replace reasoning with a retelling of the text.

10. Master theoretical and literary concepts.

11. Formulate the answer in accordance with speech norms.

Examples of wording for task 1.2.3.

Compare the poem “The Sea” by V.A. Zhukovsky with the poem below by F.I. Tyutchev "Sea and Cliff". How is it different?sea imagein these works?
Compare the poem by A.S. Pushkin “To the Sea” with a poem by A.N. Apukhtin “Farewell to the Village”, given below. In both works it sounds theme of farewell. What is the difference between these goodbyes?
Compare the poem by M.Yu. Lermontov “No, it’s not you I love so passionately...” with the poem below by A.K. Tolstoy “With a gun over his shoulders, alone, in the moonlight...”. WhichI bring motifs and images closer togethert these poems?
Compare the poem by A.S. Pushkin “To Chaadaev” with a poem by M.Yu. Lermontov "Farewell, unwashed Russia...". What do you seedifferences in the mood of lyrical charactersthese works?
Compare the fable of I.A. Krylov “Donkey and Nightingale” with the poem below by A.S. Pushkin "The Poet and the Crowd". Whichissues uniteboth works?
Compare the poem by V.A. Zhukovsky “The Inexpressible” with a poem by F.I. Tyutchev "Silentium". Which ideas bring people together these poems?
Compare the poems of M.Yu. Lermontov “Death of the Poet” and F.I. Tyutchev “January 29, 1837”, dedicated to the death of A.S. Pushkin. Howconceptualization differstwo poets of the essence of the tragedy that happened?

Basic theoretical and literary concepts:

topic, problem, idea, comprehension, presentation of the author; motive, image; lyrical hero, state of mind lyrical hero, mood of the lyrical hero.

Work algorithm

Read the assignment carefully.
Highlight the main words in the formulation.
Remember the literary concepts that are required to complete the assignment.
Find reasons for comparison in the texts.
Construct a comparative characteristic.

Example.

Compare the poem by M.Yu. Lermontov “The Poet” with the poem below by F.I. Tyutchev "Poetry". How do authors’ ideas about the purpose of a poet and poetry differ?

At the end of 2018, the OGE in literature became less popular among selective examination tests for secondary school graduates. In the 2018–2019 academic year, ninth-graders will have to pass five exams, including two compulsory (mathematics and Russian) and three elective. Is it worth choosing the OGE in literature? Is it difficult to prepare for it? These and other questions concern students and their parents.

GIA in literature in 9th grade is preferable for children who want to continue their education in philological classes. Success in the exam is determined by:

knowledge of biographies of poets and writers,
knowledge of the content of works included in the school curriculum,
ability to analyze texts and compare them,
the ability to draw up portraits of heroes and evaluate their actions,
mastery of lexical expressiveness and language literacy,
ability to rationally use time during the exam (3 hours 55 minutes).

Where to start preparing?

Get acquainted with the demo version, specification and codifier for the subject.
Read works of art from the list approved by FIPI.
While reading, write down the main points that will be necessary for the answers.
Practice solving problems.

KIM OGE in literature consists of two parts and differs from other subjects in that they do not contain test questions, when you can choose the correct answer from the available options. The examination paper on literature consists only of tasks to which detailed answers must be given.
In the first part you will be given a choice of two options. Important! Only one option should be performed. The volume of answers to the first three tasks of the first part is 3 – 5 sentences. Do not use overly complex speech structures. Be concise and at the same time make sure that your text has a deep meaning.
The second part is the essay. Don't be afraid of him. You will be permitted to use the full text of the work of fiction. This assignment offers four works, from which you must choose one and write an essay of at least 150 words. An essay of 200 words is optimal.
“Solving the OGE in Literature” online is an opportunity to effectively prepare for the exam by completing tests on various topics.

Codifier of content elements and requirements for the level of training of students for the main state exam in LITERATURE.
The codifier of content elements and requirements for the level of training of students for the main state exam in literature (hereinafter referred to as the codifier) is one of the documents that determines the structure and content of the OGE KIM. (hereinafter referred to as KIM). The codifier is a systematic list of requirements for the level of training of graduates and tested content elements, in which each object corresponds to a specific code. The codifier is compiled on the basis of the standard of basic general education in literature (order of the Ministry of Education of Russia dated 03/05/2004 No. 1089 “On approval of the Federal component of state standards of primary general, basic general and secondary (complete) general education”).

Demonstration version of control measuring materials for conducting the main state exam in LITERATURE in 2019.
When reviewing the 2019 demo, please be aware that the activities included in the demo do not represent all of the content that will be tested in the 2019 CMM versions. Full list controlled content elements are given in the codifier of content elements and requirements for the level of training of students for the main state exam, posted on the website: www.fipi.ru.
The demo version is intended to enable any exam participant and the general public to get an idea of the structure of the future examination paper, the number and form of tasks, as well as their level of difficulty. The demo version also contains criteria for checking and assessing the completion of tasks with a detailed answer.
This information gives graduates the opportunity to develop a strategy for preparing for the literature exam in 2019.

Download and read OGE 2019, Literature, grade 9, Demo version

Specification of control measuring materials for the main state exam in LITERATURE in 2019.
The purpose of the examination work is to assess the level of general education training in literature of graduates of IX grades of general education organizations for the purpose of state final certification of graduates. The exam results can be used when admitting students to specialized classes in secondary schools.
OGE is carried out in accordance with Federal law dated December 29, 2012 No. 273-FZ “On education in the Russian Federation.”
The examination paper is compiled in accordance with the Federal component of the state standard of basic general education in literature (Order of the Ministry of Education of Russia dated March 5, 2004 No. 1089).

Download and read OGE 2019, Literature, 9th grade, Specification, Codifier, Project

The codifier is a systematic list of requirements for the level of training of graduates and tested content elements, in which each object corresponds to a specific code. The codifier is compiled on the basis of the standard of basic general education in literature (order of the Ministry of Education of Russia dated 03/05/2004 No. 1089 “On approval of the Federal component of state standards of primary general, basic general and secondary (complete) general education”).

A text fragment (or a poem, or a fable) is accompanied by a system of written tasks (three tasks for each option) aimed at analyzing the problems of a work of art and the main means of revealing the author's idea. Each of the first two tasks requires a written response of approximately 3–5 sentences and is worth a maximum of 3 points.

The third task (1.1.3 or 1.2.3) involves not only thinking about the proposed text, but also comparing it with another work or fragment, the text of which is also given in the examination paper (approximate volume - 5-8 sentences).

Part 2 of the examination paper contains four essay topics that require extensive written argumentation. The examinee chooses one of four topics proposed to him (the student is asked to spend 115 minutes to create an essay). In a lyric essay, the examinee must analyze at least two poems (their number can be increased at the examinee’s discretion). Examinees are recommended to have a volume of at least 200 words (if the essay contains less than 150 words, then such work is considered incomplete).

The essay is assessed with a maximum of 12 points.

Scale for converting points to grades:

"2"– from 0 to 6

"3"– from 7 to 13

"4"– from 14 to 18

"5"– from 19 to 23

System for assessing the performance of individual tasks and the examination work as a whole

The assessment of the completion of the examination work tasks is carried out on the basis of special criteria developed for the three specified types of tasks that require a detailed answer in different volumes.

For completing each of the two tasks of a basic level of complexity (1.1.1, 1.1.2; 1.2.1, 1.2.2), the examinee can receive a maximum of 3 points (2 points for the content criterion and 1 point for the verbal format of the answer).

Completion of a task of an increased level of complexity (1.1.3 or 1.2.3) is assessed according to three criteria: “The ability to compare works of art”; “The depth of the judgments made and the persuasiveness of the arguments”; “Following speech norms.” The first criterion is the main one: if the expert gives 0 points on it, the task is considered unfulfilled and is not assessed according to other criteria (0 points are given in the answer verification protocol). The examinee can receive a maximum of 5 points for completing task 1.1.3 or 1.2.3.

Completion of the task in Part 2 (essay) is assessed according to five criteria: “The depth of disclosure of the topic of the essay and the persuasiveness of judgments” (maximum – 3 points); “Level of mastery of theoretical and literary concepts” (maximum – 2 points); “The validity of using the text of the work” (maximum – 2 points); “Compositional integrity and consistency of presentation” (maximum – 2 points); “Following speech norms” (maximum – 3 points). Thus, the examinee can receive a maximum of 12 points for the essay. The first criterion is the main one: if the expert gives 0 points on it, the task is considered unfulfilled and is not assessed according to other criteria (0 points are given in the answer verification protocol). When evaluating an essay, its length is also taken into account. A minimum length of 200 words is recommended for examinees. If the essay contains less than 150 words (the word count includes all words, including function words), then such work is considered incomplete and is scored 0 points.

235 minutes are allotted to complete the examination work.