Copyright Competition -K2
The word "hero" ("heros" - Greek) means a demigod or deified person.
Among the ancient Greeks, heroes were either half-breeds (one of the parents is a god, the other is a human), or outstanding men who became famous for their deeds, for example, military exploits or travel. But, in any case, the title of hero gave a person a lot of advantages. They worshiped him and composed poems and other songs in his honor. Gradually, the concept of “hero” migrated to literature, where it has stuck to this day.
Now, in our understanding, a hero can be either a “noble man” or a “worthless man” if he acts within the framework of a work of art.
The term “hero” is adjacent to the term “character”, and often these terms are perceived as synonyms.
Person in Ancient Rome they called the mask that the actor put on before the performance - tragic or comic.
A hero and a character are not the same thing.
A LITERARY HERO is an exponent of plot action that reveals the content of the work.
CHARACTER is any character in the work.
The word “character” is characteristic in that it does not carry any additional meanings.
Take, for example, the term “actor.” It is immediately clear that it must act = perform actions, and then a whole bunch of heroes do not fit this definition. Starting from Papa Pippi Longstocking, the mythical sea captain, and ending with the people in “Boris Godunov”, who, as always, are “silent”.
The emotional and evaluative connotation of the term “hero” implies exclusively positive qualities = heroism\heroism. And then it will not fall under this definition yet more people. Well, how about, say, calling Chichikov or Gobsek a hero?
And now literary scholars are fighting with philologists - who should be called a “hero” and who a “character”?
Time will tell who will win. For now we will count in a simple way.
A hero is an important character for expressing the idea of a work. And the characters are everyone else.
A little later we'll talk about the character system in work of art, there will be talk about the main (heroes) and secondary (characters).
Now let's note a couple more definitions.
LYRICAL HERO
The concept of a lyrical hero was first formulated by Yu.N. Tynyanov in 1921 in relation to the work of A.A. Blok.
Lyrical hero - the image of a hero in lyrical work, experiences, feelings, thoughts which reflect the author’s worldview.
The lyrical hero is not an autobiographical image of the author.
You can't say " lyrical character" - only a "lyrical hero".
THE IMAGE OF A HERO is an artistic generalization of human properties, character traits in the individual appearance of the hero.
LITERARY TYPE is a generalized image of human individuality, most characteristic of a certain social environment at a certain time. It connects two sides - the individual (single) and the general.
Typical does not mean average. The type concentrates in itself everything that is most striking, characteristic of an entire group of people - social, national, age, etc. For example, the type of Turgenev girl or a lady of Balzac's age.
CHARACTER AND CHARACTER
IN modern literary criticism character is the unique individuality of a character, his inner appearance, that is, what distinguishes him from other people.
Character consists of diverse traits and qualities that are not combined by chance. Every character has a main, dominant trait.
Character can be simple or complex.
A simple character is distinguished by integrity and staticity. The hero is either positive or negative.
Simple characters are traditionally combined into pairs, most often based on the opposition “bad” - “good”. Contrast sharpens the virtues goodies and belittles the merits of negative heroes. Example - Shvabrin and Grinev in “The Captain’s Daughter”
A complex character is the hero’s constant search for himself, the hero’s spiritual evolution, etc.
A complex character is very difficult to label as “positive” or “negative.” It contains inconsistency and paradox. Like Captain Zheglov, who almost sent poor Gruzdev to prison, but easily gave food cards to Sharapov’s neighbor.
STRUCTURE OF A LITERARY CHARACTER
A literary hero is a complex and multifaceted person. It has two appearances - external and internal.
To create the appearance of the hero they work:
PORTRAIT. This face, figure, distinctive features physique (for example, Quasimodo’s hump or Karenin’s ears).
CLOTHING, which can also reflect certain character traits of the hero.
SPEECH, the features of which characterize the hero no less than his appearance.
AGE, which determines the potential possibility of certain actions.
PROFESSION, which shows the degree of socialization of the hero, determines his position in society.
LIFE HISTORY. Information about the origin of the hero, his parents/relatives, the country and place where he lives, gives the hero sensually tangible realism and historical specificity.
The internal appearance of the hero consists of:
WORLDVIEW AND ETHICAL BELIEF, which provide the hero with value guidelines, give meaning to his existence.
THOUGHTS AND ATTITUDES that outline the diverse life of the hero’s soul.
FAITH (or lack thereof), which determines the presence of the hero in the spiritual field, his attitude towards God and the Church.
STATEMENTS AND ACTIONS, which indicate the results of the interaction of the soul and spirit of the hero.
The hero can not only reason and love, but also be aware of emotions, analyze his own activities, that is, reflect. Artistic reflection allows the author to identify the hero’s personal self-esteem and characterize his attitude towards himself.
CHARACTER DEVELOPMENT
So, a character is a fictional animate person with a certain character and unique external characteristics. The author must come up with this data and convincingly convey it to the reader.
If the author does not do this, the reader perceives the character as cardboard and is not included in his experiences.
Character development is a rather labor-intensive process and requires skill.
Most effective way- this is to write down on a separate sheet of paper all the personality traits of your character that you want to present to the reader. Straight to point.
The first point is the hero’s appearance (fat, thin, blond, brunette, etc.). The second point is age. The third is education and profession.
Be sure to answer (first of all, to yourself) the following questions:
- how does the character relate to other people? (sociable\closed, sensitive\callous, respectful\rude)
- How does the character feel about his work? (hardworking/lazy, creative/routine, responsible/irresponsible, proactive/passive)
- How does the character feel about himself? (has self-esteem, self-critical, proud, modest, arrogant, vain, arrogant, touchy, shy, selfish)
- how does the character feel about his things? (neat/sloppy, careful with things/careless)
The selection of questions is not random. The answers to them will give a FULL picture of the character's personality.
It is better to write down the answers and keep them before your eyes throughout the entire work on the work.
What will this give? Even if in the work you do not mention ALL QUALITIES of personality (for minor and episodic characters it is not rational to do this), then all the same, the author’s FULL understanding of his characters will be transmitted to the reader and will make their images three-dimensional.
ARTISTIC DETAIL plays a huge role in creating/revealing character images.
An artistic detail is a detail that the author has endowed with significant semantic and emotional load.
A bright detail replaces entire descriptive fragments, cuts off unnecessary details that obscure the essence of the matter.
An expressive, successfully found detail is evidence of the author’s skill.
I would especially like to note such a moment as CHOOSING A CHARACTER NAME.
According to Pavel Florensky, “names are the essence of categories of personal knowledge.” Names are not just named, but actually declare the spiritual and physical essence of a person. They form special models of personal existence, which become common to each bearer of a certain name. Names are predetermined spiritual qualities, actions and even the fate of a person.
The existence of a character in a work of fiction begins with the choice of his name. It is very important what you name your hero.
Compare the options for the name Anna - Anna, Anka, Anka, Nyura, Nyurka, Nyusha, Nyushka, Nyusya, Nyuska.
Each of the options crystallizes certain personality qualities and provides the key to character.
Once you have decided on a character name, don’t change it (unnecessarily) as you go along, as this can confuse the reader’s perception.
If in life you tend to call your friends and acquaintances diminutively and disparagingly (Svetka, Mashulya, Lenusik, Dimon), control your passion in writing. In a work of art, the use of such names must be justified. Numerous Vovkas and Tankas look terrible.
CHARACTER SYSTEM
A literary hero is a clearly individual person and at the same time clearly collective, that is, he is generated by the social environment and interpersonal relationships.
It is unlikely that your work will feature only one hero (although this has happened). In most cases, the character is at the intersection of three rays.
The first is friends, associates (friendly relationships).
The second is enemies, ill-wishers (hostile relations).
Third - others strangers(neutral relationship)
These three rays (and the people in them) create a strict hierarchical structure or CHARACTER SYSTEM.
Characters are divided by the degree of author's attention (or the frequency of depiction in the work), the purposes and functions that they perform.
Traditionally, there are main, secondary and episodic characters.
The MAIN CHARACTER (heroes) are always at the center of the work.
Main character actively masters and transforms artistic reality. His character (see above) predetermines events.
Axiom - the main character must be bright, that is, his structure must be spelled out thoroughly, no gaps are allowed.
SECONDARY CHARACTERS are located, although next to the main character, but somewhat behind, in the background, so to speak, of the artistic depiction.
The characters and portraits of minor characters are rarely detailed, more often they appear dotted. These heroes help the main characters to open up and ensure the development of the action.
Axiom – minor character cannot be brighter than the main thing.
Otherwise, he will pull the blanket over himself. An example from a related area. Film "Seventeen Moments of Spring". Remember the girl who pestered Stirlitz in one of the last episodes? (“They say about us mathematicians that we are terrible crackers.... But in love I am Einstein...”).
In the first edition of the film, the episode with her was much longer. Actress Inna Ulyanova was so good that she stole all the attention and distorted the scene. Let me remind you that there Stirlitz was supposed to receive important encryption from the center. However, no one remembered about the encryption; everyone reveled in the bright clownery of an EPISODIC (completely passable) character. Ulyanov, of course, is sorry, but director Lioznova made the absolutely right decision and cut out this scene. An example to think about, though!
EPISODIC HEROES are on the periphery of the world of the work. They may have no character at all, acting as passive executors of the author's will. Their functions are purely official.
POSITIVE and NEGATIVE HEROES usually divide the system of characters in a work into two warring factions (“red” - “white”, “ours” - “fascists”).
The theory of dividing characters according to ARCHETYPES is interesting.
An archetype is a primary idea expressed in symbols and images and underlying everything.
That is, each character in the work should serve as a symbol of something.
According to the classics, there are seven archetypes in literature.
So, the main character could be:
- The protagonist – the one who “accelerates the action”, the real Hero.
- An antagonist - completely opposite to the Hero. I mean, a Villain.
- Guardian, Sage, Mentor and Helper - those who assist the Protagonist
Minor characters are:
- A bosom friend – symbolizes support and faith in the Main Character.
- Skeptic - questions everything that happens
- Reasonable - makes decisions based solely on logic.
- Emotional – reacts only with emotions.
For example, Rowling’s Harry Potter novels.
The main character is undoubtedly Harry Potter himself. He is opposed by the Villain - Voldemort. Professor Dumbledore=The Sage appears periodically.
And Harry's friends are the reasonable Hermione and the emotional Ron.
In conclusion, I would like to talk about the number of characters.
When there are many of them, this is bad, since they will begin to duplicate each other (there are only seven archetypes!). Competition among the characters will cause discoordination in the minds of the readers.
The most sensible thing is to stupidly check your heroes by archetypes.
For example, in your novel there are three old women. The first is cheerful, the second is smart, and the third is just a lonely grandmother from the first floor. Ask yourself – what do they represent? And you will understand that a lonely old woman is superfluous. Her phrases (if there are any) can easily be conveyed to the second or first (old ladies). This way you will get rid of unnecessary verbal noise and concentrate on the idea.
After all, “The idea is the tyrant of the work” (c) Egri.
© Copyright: Copyright Competition -K2, 2013
Certificate of publication No. 213010300586
reviews
“Turgenev Notes of a Hunter” - Large living room. The hunter is a storyteller. Main house currently. “Orphans do not remain children for long. Brief historical literary reference. Contents of "Notes of a Hunter". The cycle of stories as a genre concept (cyclization). I didn't have a mother; my mother was like a stepmother to me. Map of the Oryol region. The main theme and idea of "Notes of a Hunter".
“Bazarov and Kirsanov” - Peasantry. Quarrel between P.P. Kirsanov and E. Bazarov. Fathers and sons. Test based on the novel by I.S. Turgenev. Text assignment. Bazarov. P.P. Kirsanov. Collection of material on heroes. Attitude towards others. Education. Ideological differences between Bazarov and the elder Kirsanovs. Nihilism. Ideological conflict. Main lines of dispute.
“Biryuk” - Beast; lone wolf; unsociable, gloomy person. Ivan Sergeevich Turgenev. Interior. Find in the text and expressively read the description of the forester’s hut. Portrait. What is interior? What is a portrait? What do they say in the village about Biryuk? Biryuk. What actions does Biryuk commit? The speech and behavior of the hero. What did you learn about the main character’s character thanks to the portrait?
“I.S. Turgenev “Biryuk”” - Literature lesson. Comprehensive analysis prose text. Quiz. Conflict. Scenery. Ivan Sergeevich Turgenev. Plot and plot. Composition. I. S. Turgenev “Biryuk”. Portrait of a hero. Interior.
“Turgenev's story Asya” - Focus on the future. "Turgenev's Girl" - special female image in the story “Asya” by I.S. Turgenev. Strong character, readiness for self-sacrifice. A soul that is impossible not to love. The main stages of the life of I.S. Turgenev. Activity and independence in deciding your own destiny. Asya does not behave like noble girls.
“Asya Turgenev's lesson” - On whose behalf is the story being told? The story "Asya". Did Mr. N.N. like it? new acquaintances? Do you notice a contradiction in the character of the hero? N.A. Nekrasov-I.S. Turgenev I.S. Turgenev-L.N. Tolstoy. Why? This is exactly what Asya is like. Why N.N. ended up in a provincial German town? From the history of the creation of the story.
Recently the BBC showed a series based on Tolstoy's War and Peace. In the West, everything is the same as here - there, too, the release of film (television) adaptations sharply increases interest in the literary source. And then Lev Nikolayevich’s masterpiece suddenly became one of the bestsellers, and with it, readers became interested in all of Russian literature. On this wave, the popular literary website Literary Hub published an article “The 10 Russian Literary Heroines You Should Know.” It seemed to me that this was an interesting look from the outside at our classics and I translated the article for my blog. I'm posting it here too. Illustrations taken from the original article.
Attention! The text contains spoilers.
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We know that all happy heroines are equally happy, and each unhappy heroine is unhappy in her own way. But the fact is that in Russian literature there is little happy characters. Russian heroines tend to complicate their lives. This is how it should be, because their beauty is like literary characters largely stems from their ability to suffer, from their tragic destinies, from their “Russianness.”
The most important thing to understand about Russians female characters: their destinies are not stories of overcoming obstacles to achieve “and they lived happily ever after.” Guardians of primordial Russian values, they know that there is more to life than happiness.
1. Tatyana Larina (A.S. Pushkin “Eugene Onegin”)
In the beginning there was Tatiana. This is a kind of Eve of Russian literature. And not only because it is chronologically the first, but also because Pushkin occupies a special place in Russian hearts. Almost any Russian is able to recite the poems of the father of Russian literature by heart (and after a few shots of vodka, many will do this). Pushkin's masterpiece, the poem "Eugene Onegin", is the story not only of Onegin, but also of Tatyana, a young innocent girl from the provinces who falls in love with the main character. Unlike Onegin, who is shown as a cynical bon vivant corrupted by fashionable European values, Tatyana embodies the essence and purity of the mysterious Russian soul. Including a tendency towards self-sacrifice and disregard for happiness, which shows her known failure from the man she loves.
2. Anna Karenina (L.N. Tolstoy “Anna Karenina”)
Unlike Pushkin's Tatyana, who resists the temptation to get along with Onegin, Tolstoy's Anna leaves both her husband and son to run away with Vronsky. Like a true dramatic heroine, Anna voluntarily does not right choice, a choice for which she will have to pay. Anna's sin and its source tragic fate not that she left the child, but that, selfishly indulging her sexual and romantic desires, she forgot Tatyana’s lesson of selflessness. If you see light at the end of the tunnel, don't be fooled, it could be a train.
3. Sonya Marmeladova (F.M. Dostoevsky “Crime and Punishment”)
In Dostoevsky's Crime and Punishment, Sonya appears as the antipode of Raskolnikov. A whore and a saint at the same time, Sonya accepts her existence as a path of martyrdom. Having learned about Raskolnikov's crime, she does not push him away, on the contrary, she attracts him to her in order to save his soul. Characteristic here is the famous scene when they read biblical story about the resurrection of Lazarus. Sonya is able to forgive Raskolnikov, because she believes that everyone is equal before God, and God forgives. For a repentant killer, this is a real find.
4. Natalya Rostova (L.N. Tolstoy “War and Peace”)
Natalya is everyone's dream: smart, funny, sincere. But if Pushkin's Tatiana is too good to be true, Natalya seems alive, real. Partly because Tolstoy complemented her image with other qualities: she is capricious, naive, flirtatious and, for the morals of the early 19th century, a little impudent. In War and Peace, Natalya starts out as a charming teenager, exuding joy and vitality. Over the course of the novel, she grows older, learns life lessons, tames her fickle heart, becomes wiser, and her character gains integrity. And this woman, which is generally uncharacteristic of Russian heroines, is still smiling after more than a thousand pages.
5. Irina Prozorova (A.P. Chekhov “Three Sisters”)
At the beginning of Chekhov's play Three Sisters, Irina is the youngest and full of hope. Her older brother and sisters are whiny and capricious, they are tired of life in the provinces, and Irina’s naive soul is filled with optimism. She dreams of returning to Moscow, where, in her opinion, she will find her true love and she will be happy. But as the chance to move to Moscow evaporates, she becomes increasingly aware that she is stuck in the village and losing her spark. Through Irina and her sisters, Chekhov shows us that life is just a series of sad moments, only occasionally punctuated by short bursts of joy. Like Irina, we waste our time on trifles, dreaming of a better future, but gradually we understand the insignificance of our existence.
6. Lisa Kalitina (I.S. Turgenev “The Noble Nest”)
In the novel " Noble nest"Turgenev created a model of a Russian heroine. Lisa is young, naive, pure in heart. She is torn between two suitors: a young, handsome, cheerful officer and an old, sad, married man. Guess who she chose? Lisa's choice says a lot about the mysterious Russian soul. She is clearly heading towards suffering. Lisa's choice shows that the desire for sadness and melancholy is no worse than any other option. At the end of the story, Lisa becomes disillusioned with love and goes to a monastery, choosing the path of sacrifice and deprivation. “Happiness is not for me,” she explains her action. “Even when I hoped for happiness, my heart was always heavy.”
7. Margarita (M. Bulgakov “The Master and Margarita”)
Chronologically last on the list, Bulgakov's Margarita is an extremely strange heroine. At the beginning of the novel, she is an unhappily married woman, then she becomes the Master’s mistress and muse, and then turns into a witch flying on a broomstick. For Master Margarita, this is not only a source of inspiration. She becomes, like Sonya for Raskolnikov, his healer, lover, savior. When the Master finds himself in trouble, Margarita turns to none other than Satan himself for help. Having concluded, like Faust, a contract with the Devil, she is still reunited with her lover, albeit not entirely in this world.
8. Olga Semyonova (A.P. Chekhov “Darling”)
In "Darling" Chekhov tells the story of Olga Semyonova, loving and tender soul, common man who is said to live by love. Olga becomes a widow early. Twice. When there is no one nearby to love, she withdraws into the company of a cat. In his review of “Darling,” Tolstoy wrote that, intending to make fun of a narrow-minded woman, Chekhov accidentally created a very likable character. Tolstoy went even further; he condemned Chekhov for his overly harsh attitude towards Olga, calling for her soul to be judged, not her intellect. According to Tolstoy, Olga embodies the ability of Russian women to love unconditionally, a virtue unknown to men.
9. Anna Sergeevna Odintsova (I.S. Turgenev “Fathers and Sons”)
In the novel “Fathers and Sons” (often incorrectly translated “Fathers and Sons”), Mrs. Odintsova is a lonely woman of mature age; the sound of her surname in Russian also hints at loneliness. Odintsova is an atypical heroine who has become a kind of pioneer among female literary characters. Unlike other women in the novel, who follow the obligations imposed on them by society, Mrs. Odintsova is childless, she has no mother and no husband (she is a widow). She stubbornly defends her independence, like Pushkin's Tatiana, refusing the only chance to find true love.
10. Nastasya Filippovna (F.M. Dostoevsky “The Idiot”)
The heroine of “The Idiot” Nastasya Filippovna gives an idea of how complex Dostoevsky is. Beauty makes her a victim. Orphaned as a child, Nastasya becomes a kept woman and the mistress of the elderly man who took her in. But every time she tries to escape the clutches of her situation and create her own destiny, she continues to feel humiliated. Guilt casts a fatal shadow on all her decisions. According to tradition, like many other Russian heroines, Nastasya has several fate options, associated mainly with men. And in full accordance with tradition, she is not able to make the right choice. By submitting to fate instead of fighting, the heroine drifts towards her tragic end.
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The author of this text is writer and diplomat Guillermo Herades. He worked in Russia for some time, knows Russian literature well, is a fan of Chekhov and the author of the book Back to Moscow. So this look is not entirely outsider. On the other hand, how to write about Russian literary heroines without knowing Russian classics?
Guillermo does not explain his choice of characters in any way. In my opinion, the absence of Princess Mary or “ poor Lisa"(which, by the way, was written earlier than Pushkin's Tatiana) and Katerina Kabanova (from Ostrosky's The Thunderstorm). It seems to me that these Russians literary heroines better known among us than Lisa Kalitina or Olga Semyonova. However, this is my subjective opinion. Who would you add to this list?
Keys to Olympiad tasks on literature
7th grade
Maximum quantity: 50 points
Task 1. Name the hero of the work, indicate the author and title.
A) Portrait of Thomas, nicknamed Biryuk. I.S. Turgenev “Biryuk”
B) Fevronia – “The Tale of Peter and Fevronia”, work ancient Russian literature;
B) Peter - A.S. Pushkin “Poltava”.
Grade: 0.5 points for the correct answer, 4.5 points in total.
Task 2. Match the term and its definition.
A) – 2
B) – 3
B) – 1
D) – 5
D) – 4
Grade: 0.5 points for the correct answer, 2.5 points in total.
Task 3 . The hero from which work does not have a name. Despite this, he deserves love and respect readers. Name the work, author and hero.
Oblique left-hander from N.S. Leskov’s work “Lefty”. The main character does not have a proper name; left-handed is his nickname. Currently, left-handedness is the standard of excellence, a person gifted with amazing talent.
Grade: 3 points
Task 4. Combine the names and surnames of Russian and foreign writers.
A) – 8
B) – 5
B) – 1
D) – 3
D) – 10
E) – 9
G) – 6
Z) – 7
I) – 4
K) – 2
Grade : 0.5 points for each correctly completed task,only 5 points .
Task 5 . Find and correct the semantic error in the passage below. Explain the meaning of the word you found.
« Our colonel was born grip …»
XVAT ( colloquial) - a dexterous, agile person, full of daring.
Grade: 1 point for a correctly found word and 1 point for its interpretation,only 2 points
Task 6. Answer each of the questions “yes” (if the statement is true) or “no” (if the statement is false).
A) no
B) yes
B) yes
D) no
D) yes
Grade: 1 point for each correct answer,only 5 points
Task 7 . Pushkin's heroes often change their previous way of life, becoming, as it were, “impostors.” In which work and who became:
A) “The young lady is a peasant woman” - Lisa - Akulina
B) “Dubrovsky” - Vladimir Dubrovsky - robber
Grade: 0.5 points for the correct answer,only 2 points .
Task 8.
Find the “third wheel” in each group.
, Aamphibrachs, anapest - trisyllabic;
b) romance is a lyrical genre,and the novel and the story are prose genres literature;
c) epithet, since it is a remedy artistic expression, and the episode and epilogue are parts of a work of fiction.
Grade: 1 point for the correct answer,only 3 points .
Task 9. Determine literary devices(paths) in the lines of A.S. Pushkin from the poem “Poltava”.
The east is burning with a new dawn - a metaphor; crimson smoke - epithet; like a plowman the battle rests - comparison; throwing piles of bodies onto piles – hyperbola.
Grade: 4 points
Task 10. Determine which writer or poet is described in the given fragments.
A) Jack London.
B) Viktor Petrovich Astafiev.
B) Alexander Ivanovich Kuprin.
D) Mikhail Vasilievich Lomonosov.
Grade: 4 points
Task 11. Identify the genres of the following works:
A ) A.S. Pushkin “Song of prophetic Oleg»; (ballad)
B) N.S. Leskov “Lefty”; (tale )
B) M.E. Saltykov-Shchedrin " Wild landowner»; (fairy tale )
D) I.S. Turgenev “Russian language”; (prose poem )
D) N.V. Gogol “The Inspector General”. (comedy)
Grade: 5 points.
Task 12. Creative task: the content of the work fully corresponds to the topic (1 point); there are no factual errors (1 point); the content is presented consistently (1 point); the work is distinguished by the richness of its vocabulary, the variety of syntactic structures used, and the accuracy of word usage (3 points); stylistic unity and expressiveness of the text have been achieved (2 points), there are no gross spelling, punctuation and grammatical errors (2 points).
Grade: Total 10 points.
3.1. Ballad by V.A. Zhukovsky “Svetlana”.
3.2. N.V. Gogol's story “The Night Before Christmas”.
3.3. A.P. Chekhov's story “Chameleon”.
3.4. The epic “Ilya Muromets and the Nightingale the Robber.”
3.5. Fable by I.A. Krylov “Demyanov’s ear”.
Find the “third wheel” in each group. Justify your choice.
a) trochee - two-syllable meter of versification
b) romance - lyrical genre
c) song - lyrical genre
3. Oblique left-hander from N.S. Leskov’s work “Lefty”. The main character does not have a proper name; left-handed is his nickname. Currently, a left-handed person is a standard of excellence, a person gifted with amazing talent.
Maximum 2 points.
1. (3b.) A) “Fight and search, find and don’t give up!” V. Kaverin “Two Captains”, Sasha Grigoriev
B) “Be patient, Cossack - you will become an ataman!” N.V. Gogol “Taras Bulba”, T. Bulba - Andria
C) “One for all and all for one!” A. Dumas. "The Three Musketeers", D" artagnan
some right to do so." Later, when the murder has already been committed, the characterization of the hero will be replenished to let the reader understand why it was committed: “... a poor student, disfigured by poverty and hypochondria, on the eve of a cruel illness with delirium, which may already have begun in him, suspicious, proud, who knows his own worth... in rags and boots without soles - stands in front of some quarters and endures their abuse, and here is an unexpected debt in front of his nose, an overdue bill...” Here, the reasons put forward in the first place are those that caused by social status poor student. And the author reveals what is happening in the hero’s soul, his painful experiences to the reader, describing Raskolnikov’s dreams. There is one more, perhaps the most important meaning of the dream - Raskolnikov’s internal attitude towards crime. The terrible scene and the shed blood are connected in Raskolnikov’s mind with the planned murder. Waking up, the shocked Rodion immediately remembers what he was planning to do - the upcoming murder of the old pawnbroker: “God! - he exclaimed, “is it really possible... I’ll really take an ax, hit her on the head, crush her skull... I’ll slide in the sticky warm blood... Lord, really?” This is the beginning of the “experienced idea.” While she was mastering it logically, there was no fear. But then the hero’s feelings came into their own. Human nature rebels, and a confession appears: “... after all, I knew that I couldn’t stand it... I won’t stand it... it’s vile, disgusting, low... after all, just the thought in reality made me sick and terrified ..." But, pondering this dream, Raskolnikov more clearly imagines the motives for the murder. Firstly, hatred towards the tormentors of the “nag” is growing, and secondly, the desire to rise to the position of a judge, to “have the right” to punish the presumptuous “masters” is growing. But Raskolnikov did not take into account one thing - the inability of good and honest man shed blood. Having not yet killed anyone, he understands the doom of the bloody idea. A terrible decision nevertheless continues to ripen in Rodion’s soul. A conversation between a student and an officer overheard in a tavern about the murder of an old woman for the sake of money, with which one can do “a thousand good deeds and undertakings... In one life - thousands of lives saved from rot and decay. One death and a hundred lives in return - but there’s arithmetic here!..” The phrase about the multiplicity of sufferers turned out to be very important for Rodion. From that time on, Raskolnikov’s vague ideas about murder were formulated into a theory about the division of people into the elect, high above ordinary people, who meekly submit to strong personalities. Therefore, Raskolnikov is close to Napoleon. For Raskolnikov, his own “I” becomes the measure of all values. Later he will argue that an “extraordinary” person “has the right to allow his conscience to step over... other obstacles, and only if the fulfillment of his idea (sometimes saving, perhaps for all mankind) requires it.” Permission to “bleed according to conscience,” but for the sake of “destruction of the present in the name of the better,” defines Raskolnikov’s position. Dostoevsky proves how monstrous this worldview is, for it leads to disunity between people, makes a person helpless in the face of evil, turns him into a slave of his own passions and thereby destroying it. A world built on these principles is a world of arbitrariness, where everything collapses. universal human values and people cease to understand each other, where everyone has their own truth, their own right and everyone believes that their truth is true, where the line between good and evil is erased. This is the path to the death of the human race. After the murder, a new period of Raskolnikov’s inner existence began. There was a turning point in his consciousness. It was as if an abyss had opened up between him and people - he felt such loneliness, such alienation, such hopeless melancholy: “Something completely unfamiliar to him, new... had never happened to him.” “It seemed to him that he seemed to cut himself off from everyone and everything with scissors at that moment.” Raskolnikov cannot live in the old way. What he had done became an insurmountable barrier between him and everyone around him. In sorrowful loneliness, a painful comprehension of what he has done begins. And there is no end to pain and suffering. He cannot forgive himself that, out of a selfish desire to assert his strength, he committed an insane act: “... I should have found out then... am I a louse, like everyone else, or a man? Will I be able to cross or not!.. Am I a trembling creature or do I have the right.” Sufferingly, he comes to rethink moral values: “Did I kill the old lady? I killed myself." Raskolnikov's moral torment is aggravated by the fact that investigator Porfiry Petrovich guesses about his crime, and therefore meetings with him - new stage Rodion's self-examination, the source of further transformation. “Suffering is a great thing,” says Porfiry Petrovich. He advises Rodion to find a new faith and return to a worthy life and points to the only way for personal self-affirmation: “Become the sun, and they will see you.” Dostoevsky argues that only through the positive, lofty, humane can one rise. The true bearer of faith in the novel is Sonya Marmeladova. Sonya is not an exponent of the author’s consciousness, but her position is close to Dostoevsky, because for her the highest value on earth is man, human life. When Raskolnikov becomes unbearable, he goes to Sonya. Their destinies have a lot in common, a lot of tragedy. Sonya felt the main thing in Raskolnikov: that he was “terribly, infinitely unhappy” and that he needed her. Sonya believes that Raskolnikov committed a crime before God, before the Russian land and the Russian people, and therefore sends him to the square to repent, that is, to seek salvation and rebirth among people. For Raskolnikov, punishment by his own conscience is worse than hard labor. He understands that only in love and repentance can he find salvation. Gradually, Sonya becomes a part of his existence. Raskolnikov sees: religion, faith in God for Sonya is the only thing left for her “next to her unhappy father and her stepmother, crazy with grief, among hungry children, ugly screams and reproaches.”