The comedy “Woe from Wit,” written by A. S. Griboedov at the beginning of the 19th century, is still relevant for today’s Russia. In this work, the author reveals in all depth the vices that afflicted Russian society at the beginning of the last century. However, reading this work, we find in it heroes of the present day.
Alexander Sergeevich Griboedov is the creator of the brilliant comedy “Woe from Wit,” which scattered into hundreds of “catchphrases” and expressions, becoming like a collection of aphorisms. The author initially called the comedy “Woe to Wit,” indicating the main reason for human ill-being in contemporary society. Chatsky is an intelligent man, passionate and passionate nature, looking for real work, but not finding a use for it; a mind that wants to serve “the cause, not individuals”...
But in the society where he is forced to live, the opposite is valued - pride, or rather, arrogance, reverence for the faces of only the rich, and it does not matter how well-being was achieved.
Here everyone envyes not their intelligence, but their luck and rank; not merits to the fatherland - the main thing is: you need to be “at the feeding trough”, “be with the key yourself and deliver the key to your son.”
Some kind of “very sophisticated” sense of self-esteem, if it is valued in money. This is a corrupt society, everything here is bought and sold, a price is determined for everything, this bargaining is only covered up with beautiful and lofty phrases, but the essence is the same. When there is a person who calls everything by its proper name, who wants to be sincere and unselfish, who values science, friendship, and love, then he will instantly be called crazy.
The comedy of Alexander Sergeevich Griboedov is a complex synthesis of three literary methods, a combination, on the one hand, of their individual features, and on the other, a holistic panorama of Russian life early XIX century.
That is why the play by A.S. Griboyedov’s “Woe from Wit” remains relevant in our time.
To better understand the ideological and artistic content of “Woe from Wit” and the socio-political issues of the comedy, let’s remember characteristics historical era reflected in the play.
There are certain difficulties with dating Woe from Wit, primarily due to the fact that the author did not leave precise instructions about the beginning of work on the play.
Researchers call 1816, 1818, and 1821. The only documented time is when the work was completed: 1824.
Griboyedov had a “prophetic dream”; in the dream the following dialogue took place:
“What do you want? - You know it yourself. - When should it be ready? “Definitely in a year.” This event was the impetus for active work on comedy.
Griboyedov was personally acquainted with Grand Duke Nikolai Pavlovich, with the Governor General of St. Petersburg Miloradovich, with Minister Lansky, and with other prominent dignitaries. However, the playwright was unable to publish the comedy or stage it on stage.
There was not a cultured noble family that did not have a list or copy of the comedy "Woe from Wit." This manuscript, containing many erasures, from which the lists that were scattered throughout the country were compiled, has also been preserved and is called the “Gandrovsky Manuscript.”
Unexpectedly, luck smiled on Griboyedov: Bulgarin, who was friendly towards him, decided to publish the theatrical almanac “Russian Waist for 1825.” At the end of 1824, the almanac was published and contained the comedy “Woe from Wit” (in incomplete form).
Traces of editing were preserved in the manuscript, which Griboedov, leaving for Persia in 1828, gave to Bulgarin. There is an inscription on it: “I entrust my grief to Bulgarin. Faithful friend of Griboyedov. June 5, 1828"
During Griboedov's lifetime, the play was well known, but it was known only in handwritten copies, since it was not published in full and was not staged in the theater. The text of the comedy, which is known to modern readers and viewers, was compiled by the literary scholar N.K. Piksanov based on an in-depth study of numerous author’s manuscripts.
In the comedy A.S. Griboedov’s “Woe from Wit”, the problem of the mind is one of the key ones. This, in fact, is evidenced by the name. Therefore, this problem should be considered, perhaps, the very first, when talking about comedy, its themes and figurative system.
The word “mind” was used quite often above. But at first it is not entirely clear what the author and his characters mean by this concept; it is necessary to specify it within the framework of the comedy. And indeed, speaking of the fact that Chatsky is smart, we remember the stupid, from his point of view, Maxim Petrovich, Uncle Famusov, and the words of his nephew: “Huh? what do you think? In our opinion, he’s smart.” In this regard, based on other images of the work (Molchalin, Sophia and others), we can conclude that Griboedov considered two types of mind: “intellectuality” and “adaptability,” also called the “everyday” mind, which is often akin to stupidity.
So, “Woe from Wit,” despite the complexity of the problem, gives us hope for “enlightenment at the end of the tunnel,” so to speak, in the person of such smart and highly educated people as Chatsky. And Famus society looks something deathly pale and dying in its attempts to resist this.
Ideological meaning comedy lies in the opposition of two social forces, ways of life, worldviews: the old, serfdom, and the new, progressive; in exposing everything that was backward and proclaiming the advanced ideas of that time. The struggle of the “present century” with the “past century” is the struggle of Chatsky, a leading man of his time, and the backward Famus society. Representatives of the Moscow nobility are deprived of any civic thoughts and interests. They see the meaning of life, first of all, in enrichment; they are careerists and envious people. They are in power and occupy a high social position.
Satirically denouncing the local and bureaucratic nobility, the entire feudal-serf system, A.S. Griboyedov clearly saw the positive social forces of his era, the emergence and growth of new, progressive aspirations and ideas.
In the comedy, the conflict ends with the general recognition of Chatsky as crazy, and the love drama ends with the exposure of the love affair led by Molchalin. At the end of the play, Chatsky feels abandoned by everyone, and his feeling of alienation from the society to which he once belonged intensifies. The denouement of the love drama affects the main conflict: Chatsky leaves all contradictions unresolved and leaves Moscow. In a clash with Famusov’s society, Chatsky is defeated, but, losing, he remains undefeated, since he understands the need to fight the “past century,” its norms, ideals, and life position.
Depicting in the comedy “Woe from Wit” the socio-political struggle between the conservative and progressive camps, social characters, morals and way of life in Moscow, Griboyedov reproduces the situation of the entire country. “Woe from Wit” is a mirror of feudal-serf Russia with its social contradictions, the struggle of the passing world and the new one, called to win.
The comedy "Woe from Wit" is at the intersection of various artistic aesthetics. Classicist tendencies are combined in it with elements of romanticism and realism. A similar synthesis of artistic models is found in Western European drama. The originality of Griboedov's artistic experience lies in the specificity of the conflict of the work, in the development of images, in the semantics of the title.
The very score of the character’s behavior illustrated the ideas of the Decembrists, who believed that it was necessary to express progressive views everywhere: both at the ball and in the noble assembly. The social character, the publicity of the hero’s monologues, the subversive pathos of his social position were read from the image of disagreement contained in the surname: Chatsky is a smoker, expressing seditious ideas.
The thesis-theme included in the title can be extended to all characters, and is illustrated by the existential forms of their self-realization. The category of mind, so popular in the literature of the 18th century, is rethought by Griboyedov in the context of changed ethical and aesthetic priorities and issues relevant to the beginning of the 19th century. The comedy contrasts two types of “reasonable” behavior: the first is of a purely protective nature; the second involves the destruction of archaic dogmas.
Formally, the author resolves the conflict situation in favor of Famus society, but the philosophical correctness of the ideological position belongs to Chatsky. Such a denouement demonstrates the triumph of a personified idea over a world subordinated to the dictates of outdated morality.
The realistic nature of comedy lies in the creation of a special artistic world in which each hero experiences his own “woe from the mind.” Famusov is depicted as a noble gentleman, to whom all of Moscow comes, but at the end of the play he is afraid of becoming a universal laughing stock and the second meaning of his surname (from the Latin fama - “rumor”) is revealed in the character’s remark: “Ah! My God! What will Princess Marya Alekseevna say? Sophia's character is set in accordance with the images of positive heroines of previous literature, but in the comedy her wisdom extends to the idealization of an unborn lover and the desire to live up to the romantic ideals that she comprehended from French books.
The plot of the comedy reflects life in Famusov's house. Each guest represents a certain type of behavior, elevated by the author to the level of sociocultural generalization. Repetilov embodies the idea of profanation of high ideals.
Griboedov's innovation also lies in the creation of a new genre for Russian literature. “Woe from Wit” can be classified as a type of love-domestic comedy, but dramatic pathos, permeating the conflict, does not allow us to limit the genre nature of the work by indicating the experiences of the main character and the misunderstanding of him by the surrounding society. The presence of two intrigues destroys the usual classicist structure, known from the comedies of Moliere, and introduces parallel storylines into Griboyedov’s work. The compositional elements of a dramatic conflict - love-domestic and socio-political - coincide in the beginning and end. The culmination of the socio-political intrigue is Chatsky’s monologue, in which the hero attacks the servile attitude of Famus society towards everything foreign.
What is the ideological and stylistic originality of comedy? Let us turn, first of all, to the conflict. Against the backdrop of traditional classical dramas, vaudevilles, and Shakhovsky's caustic comedies, the conflict in Griboedov's comedy is distinguished by its psychological and philosophical novelty and depth.
The originality of the conflict dictates the originality of the genre. Household comedy, comedy of manners, satire - all these definitions are clearly not enough to define the genre of “Woe from Wit”. If you wish, you can find farcical elements in comedy, which, in general, were not an innovation in those days. For example, replicas of Skalozub, the princess, the appearance of Repetilov. In Griboedov's play, all this is uniquely combined with the romantic sublimity of Chatsky. But this is not a tragedy and not romantic drama for reading.
Distrust of life takes its revenge, and the development of both personal and social intrigues leads the smartest Chatsky to disaster and disappointment in life.
Thus, we can call Griboyedov’s work philosophical drama, the main conflict of which is the conflict between living life and our abstract concepts about it.
Considering the genre uniqueness of the play, one cannot help but turn to its stylistic features. Griboedov's innovative play combines features of classicism and realism. In creating the play, Griboyedov developed a special, new poetics. “As I live, so I write, freely and freely,” says Griboedov in a letter to Katenin.
Let's take, for example, completely new speech characteristics of the characters. The language in which the heroes of the comedy communicate contributes to their individualization and at the same time typification. “A mixture of French with Nizhny Novgorod”, the saturation of colloquial elements of the language in which Famusov’s society communicates, clearly shows us with whom we are dealing.
An almost onomatopoeic depiction of the speech of secular young ladies (for example: Natalya Dmitrievna’s “satin turlure”), the clear, dry speech of Skalozub, the apt, biting words of Khlestova, the aphoristic statement of Chatsky - all this allows us to agree with the words of Pushkin: “... I don’t care about poetry I say: half will become proverbs.” Let's remember just a few of them: “Blessed is he who believes, he is warm in the world”, “an intelligent person cannot help but be a rogue”, “nowadays they love the dumb”, “ happy hours do not observe”, “evil tongues are worse than a pistol” and many, many others.
For one hundred and fifty years it has been interpreted by criticism " immortal comedy» Alexander Sergeevich Griboyedov. It would seem that back in the 19th century everything was said about “Woe About Wit”. The images of the heroes are examined from all sides, the thought and pathos are interpreted to suit every taste. The whole flower of Russian literature and criticism of all directions spoke about “Woe from Wit” - from Belinsky to Apollo Grigoriev, from Pushkin to Dostoevsky. The range of assessments was so wide that Chatsky appeared either as a pathological clever man, or as a pathological fool, or as a pure Westerner, or as a Slavophile.
Blok called “Woe from Wit” a work “unsurpassed, unique in world literature, unsolved to the end, symbolic in the true sense of the word...” This is an assessment of an artist whose scale and whose influence on Russian culture of the 20th century are enormous and whose references to comedy in his own creativity are so frank, it gives the right and obliges us to carefully read the familiar text of “Woe from Wit” again and again - this is the key to interpreting the meaning of many subsequent literary works - and to look in this text for new answers to pressing questions of Russian history.
A.S. Griboedov initially called the comedy “Woe to Wit,” indicating the main reason for the ill-being of a person in his contemporary society. Chatsky is an intelligent person, an ardent and passionate nature, looking for real work, but not finding a use for himself; the mind that wants to serve “the cause, not the persons”... But in the society where he is forced to live, the opposite is valued - pride, or rather, arrogance, reverence for the faces of only the rich, and it does not matter how well-being was achieved.
Here everyone envyes not their intelligence, but their luck and rank; The main thing is not merits to the fatherland: you must be “at the feeding trough”, “be with the key yourself and deliver the key to your son.”
Some kind of “very sophisticated” sense of self-esteem, if it is valued in money. This is a corrupt society, everything here is bought and sold, a price is determined for everything, this bargaining is only covered up with beautiful and lofty phrases, but the essence is the same. When there is a person who calls everything by its proper name, who wants to be sincere and unselfish, who values science, friendship, and love, then he will instantly be called crazy.
The comedy of Alexander Sergeevich Griboyedov is a complex synthesis of three literary methods, a combination, on the one hand, of their individual features, and on the other, a holistic panorama of Russian life at the beginning of the 19th century.
Griboedov considered two types of mind: “intelligence” and “adaptability,” also called the “everyday” mind, which is often akin to stupidity.
The ideological meaning of comedy lies in the opposition of two social forces, ways of life, worldviews: the old, serfdom, and the new, progressive; in exposing everything that was backward and proclaiming the advanced ideas of that time. The struggle of the “present century” with the “past century” is the struggle of Chatsky, a leading man of his time, and the backward Famus society. Representatives of the Moscow nobility are deprived of any civic thoughts and interests. They see the meaning of life, first of all, in enrichment; they are careerists and envious people. They are in power and occupy a high social position.
Depicting in the comedy “Woe from Wit” the socio-political struggle between the conservative and progressive camps, social characters, morals and way of life in Moscow, Griboyedov reproduces the situation of the entire country. “Woe from Wit” is a mirror of feudal-serf Russia with its social contradictions, the struggle of the passing world and the new one, called to win.
The comedy "Woe from Wit" is at the intersection of various artistic aesthetics. Classicist tendencies are combined in it with elements of romanticism and realism.
The realistic nature of comedy lies in the creation of a special artistic world in which each hero experiences his own “woe from the mind.” Famusov is depicted as a noble gentleman, to whom all of Moscow comes, but at the end of the play he is afraid of becoming a universal laughing stock and the second meaning of his surname (from the Latin fama - “rumor”) is revealed in the character’s remark: “Ah! My God! What will Princess Marya Alekseevna say? Sophia's character is set in accordance with the images of positive heroines of previous literature, but in the comedy her wisdom extends to the idealization of an unborn lover and the desire to live up to the romantic ideals that she comprehended from French books.
The plot of the comedy reflects life in Famusov's house. Each guest represents a certain type of behavior, elevated by the author to the level of sociocultural generalization. Repetilov embodies the idea of profanation of high ideals.
Griboedov's innovation also lies in the creation of a new genre for Russian literature.
“Woe from Wit” can be classified as a type of love comedy, but the dramatic pathos that permeates the conflict does not allow us to limit the genre nature of the work by indicating the experiences of the protagonist and his misunderstanding by the surrounding society. Against the backdrop of traditional classical dramas and vaudevilles, the conflict of Griboedov’s comedy is distinguished by its psychological and philosophical novelty and depth.
The originality of the conflict dictates the originality of the genre. Everyday comedy, comedy of manners, satire - all these definitions are clearly not enough to define the genre of “Woe from Wit”. If desired, farcical elements can be found in comedy. In Griboyedov's play, all this is uniquely combined with the romantic sublimity of Chatsky. But this is not a tragedy or a romantic drama to read.
Distrust of life takes its revenge, and the development of both personal and social intrigues leads the smartest Chatsky to disaster and disappointment in life.
Thus, we can call Griboedov’s work a philosophical drama, the main conflict of which is the conflict between living life and our abstract concepts about it.
Considering the genre uniqueness of the play, one cannot help but turn to its stylistic features.
Griboedov's innovative play combines features of classicism and realism.
Let's take, for example, completely new speech characteristics of the characters. The language in which the heroes of the comedy communicate contributes to their individualization and at the same time typification. “A mixture of French with Nizhny Novgorod”, the saturation of colloquial elements of the language in which Famusov’s society communicates, clearly shows us with whom we are dealing.
An almost onomatopoeic depiction of the speech of secular young ladies (for example: Natalya Dmitrievna’s “satin turlure”), the clear, dry speech of Skalozub, the apt, biting words of Khlestova, the aphoristic statement of Chatsky - all this allows us to agree with the words of Pushkin: “... I don’t care about poetry I say: half will become proverbs.” Let's remember just a few of them: “Blessed is he who believes, he is warm in the world”, “an intelligent person cannot help but be a rogue”, “nowadays they love the dumb”, “happy people do not watch the clock”, “evil tongues are worse than a pistol” and many - a lot others.
For one hundred and fifty years, the “immortal comedy” of Alexander Sergeevich Griboyedov has been interpreted by critics. It would seem that back in the 19th century everything was said about “Woe About Wit.” The images of the heroes are examined from all sides, the thought and pathos are interpreted to suit every taste. The range of assessments was so wide that Chatsky appeared either as a pathological clever man, or as a pathological fool, or as a pure Westerner, or as a Slavophile.
Blok called “Woe from Wit” a work “unsurpassed, unique in world literature, unsolved to the end, symbolic in the true sense of the word...”
Poshis Lyudmila Vladimirovna
Explanatory note
- System structure
Fiction as the art of words. Folklore. Genres of folklore. Genres of literature: story, poem, lyric poem, song, elegy. Subject. Idea. Plot. Composition. Stages of action development: exposition, plot, climax, denouement, epilogue. Portrait. Scenery. Remark. Speech characteristics of the hero: dialogue, monologue. Fine and expressive means in a work of art: comparison, epithet, metaphor (including personification). Hyperbola. Allegory. Sound design: alliteration, assonance. Poetic meters: trochee, iambic. Rhyme. Stanza.
Also in grade 5 we study 2 works (according to the program of T.F. Kurdyumova), which are included in the codifier. These are poems by A.S. Pushkin's "Winter Morning" and " Winter road" These examples confirm that preparation for the exam must begin in grade 5.
Each teacher should begin preparing for the Unified State Exam with his own theoretical basis regarding the features and procedure of the exam. Methodological techniques that will allow you to include elements of preparation for the Unified State Exam in the lesson format also require updating.
I believe that the following system components are mandatory:
- Familiarity with the goals and objects of control.
- Study of control measuring instruments Unified State Exam materials 2011 Literature: Codifier of Specification Content Elements.
- A clear presentation of the structure of the examination paper, based on the demo version of the CMM.
- Careful study of FIPI analytical reports on exam results. This will allow you to identify difficult points and follow the recommendations for preparing for the Unified State Exam in literature.
- Inclusion of the tasks formulated in parts B and C into the context of the lesson.
- Use of problematic questions formulated in part C as intermediate and final written works on literature. Teaching full-length written expression.
- Mandatory mastery of the minimum theoretical concepts defined by the standard of education and included in the content of the Unified State Examination and development of techniques for applying this knowledge in the analysis of a literary text.
- Characteristics of goals and objects of control
In accordance with the requirements for the level of training of graduates, fixed in the Federal component of the state educational standard, the Unified State Examination in Literature is focused on identifying the skills to perceive, analyze and interpret a literary work as an artistic whole, and compare various works, relying on knowledge of the historical and literary context, and also create a detailed written statement on a literary topic. The Unified State Examination in Literature promotes the development of common approaches to defining goals
literary education, maintaining a unified educational space in the presence of various author’s programs and concepts. The objects of control in the subject are those content elements of knowledge and skills that are specified in the provisions of the Federal component of the state educational standard and in the Codifier of content elements and requirements for the level of preparation of graduates of general education institutions for the unified state exam in literature.
- Characteristics of control measuring materials of the Unified State Exam 2012 according to the literature
Control measuring materials make it possible to establish the level of mastery by graduates of the Federal component of the state standard of secondary (complete) general education, to check the graduates’ understanding of the content of the studied works of art, the formation of their general understanding of the historical and literary process, theoretical and literary concepts and the ability to use them in the process of text analysis . When developing the KIM, a competency-based approach to identifying the level of general educational training of examinees in literature is taken into account: the examination model is based on the reading, literary and communication-speech skills of students as key competencies that form a qualified reader.
- Specification of control measuring materials for the Unified State Exam in 2012
- Purpose of KIM Unified State Examination
- Documents defining the contents of CMM
- Approaches to selecting content and developing the structure of the Unified State Exam KIM
- Structure of KIM Unified State Examination
- Distribution of CMM tasks by content, types of skills and methods of action
- Testable skills
- Distribution of CMM tasks by difficulty level
- Evaluation system for individual tasks and examination work as a whole
- Minimum number of Unified State Exam points
- Execution time for CMM variant
- CMM option plan
- Additional materials and equipment
- Conditions for the exam (requirements for specialists)
- Recommendations for preparing for the exam
- Changes in the 2012 CMM compared to the 2011 CMM
- Codifier
The 2012 codifier, as in previous years, is based not only on the standard of secondary (complete) general education, but also on the standard of basic general education in literature, which does not lead to the removal from the examination material of the most important topics that were traditionally present both in the state ( final) control, and in programs for applicants to universities.
Bringing the Codifier into full compliance with regulatory documents led to the exclusion from it of several works that were not named either in the 2004 standard or in the educational minimums of 1998-1999:
- A.P. Chekhov. Story "Gooseberry";
- S.A. Yesenin “The golden grove dissuaded me...”;
- V.V. Mayakovsky “Conversation with the financial inspector about poetry”;
- M.I. Tsvetaeva. Poems: “Dawn on the Rails”, “Roland’s Horn”;
- O.E. Mandelstam. Poem "Batyushkov";
- A.A. Akhmatova. Poems: “Creativity”, “I learned to live simply, wisely...”.
Codifiers recent years were largely focused on the profile level of the educational standard in literature. Starting from 2010, the codifier fully contains the elements of the content being tested, named in the mandatory minimum content of secondary (complete) general education included in the profile level standard.
It should be emphasized that the codifier of content elements is formed primarily on the basis of the list of works, which is included in the Mandatory minimum content of the main educational programs basic general and secondary (complete) general education in literature (basic and specialized levels). The structure of the Unified State Exam KIM in literature takes into account the following four methods of presentation: educational material in the above list, differing in varying degrees of detail of the material:
1) the name of the writer is given, indicating the specific work(s);
2) the name of the writer is named with an indication of a review study of a specific work (this is how, for example, the novel “The History of a City” by M.E. Saltykov-Shchedrin and the novel “Doctor Zhivago” by B.L. Pasternak are presented);
3) the name of the writer is named without indicating specific works, the choice of which is left to the author of the program or teacher (this is how, for example, the work of N.S. Leskov and A.P. Platonov is presented);
4) a list of names of writers is proposed and the minimum number of authors whose works are required for study is indicated: the choice of writers and specific works from the proposed list is given to the author of the program or teacher (this is how, for example, the section “Literature of the second half of the twentieth century” is presented).
CMMs have two sections. Section 1 includes a list of content elements tested at the Unified State Examination in Literature. This list is compiled on the basis of the section “Mandatory minimum content of basic educational programs” of the Federal component of state standards of basic general and secondary (complete) general education in literature (basic and specialized levels), as well as taking into account the Mandatory minimum content of basic general and secondary (complete) General education 1998 and 1999. Section 2 contains a list of requirements for the level of training of graduates, the achievement of which is tested at the unified state exam in literature.
The codifier has two applications. Annex 1 is a list of content elements included in the 2010 codifier based on the Mandatory minimum content of basic general and secondary (complete) general education in literature (orders of the Ministry of Education of Russia No. 1236 of 05.19.98 and No. 56 of 06.30.99) (poems are in italics , added to the codifier in 2010) Appendix 2 - list of content elements included in the codifier taking into account the requirements of the state standard of secondary (complete) general education (profile level).
IN Appendix 1 a list of content elements included in the codifier is given on the basis of the Mandatory minimum content of basic general and secondary (complete) general education in literature (orders of the Ministry of Education of Russia No. 1236 of May 19, 1998 and No. 56 of June 30, 1999).
IN Appendix 2 a list of content elements added to the codifier is given taking into account the requirements of the state standard of secondary (complete) general education (profile level).
- Demo version of CMM
The given criteria for assessing the completion of tasks with a detailed answer (type “C”), included in this option, will allow you to get an idea of the requirements for the completeness and correctness of the format of the detailed answer. This information will allow graduates to develop a strategy for preparing for the Unified State Exam,
The 2012 literature examination paper did not undergo significant changes compared to the 2011 KIM, which is a natural result of the search for the most adequate model, carried out experimentally in 2003-2008. Some adjustments have been made to the wording of the criteria for checking and assessing the completion of tasks with a detailed answer.
The currently used model is based on a system of multi-level testing of graduates’ skills to perceive and analyze works of art in their genre and generic specifics, based on historical, literary and theoretical and literary knowledge. The literary text occupies a central place in the examination work. Literary texts (in whole or in fragments) are included for analysis in the first two parts of the examination paper. When completing the task of the third part, the graduate must rely on a literary text from memory ( this skill is assessed by a special third criterion “Reasonability of using the text of the work”). The level of a graduate's training in literature is determined, first of all, by testing the examinee's ability to interpret a literary text and create coherent monologues on a literary topic.
Structurally, the examination work is structured in stages: from questions requiring knowledge of specific concepts and terms to tasks of a general nature with a focus on meaningful analysis and interpretation of a literary text.
The 2012 examination paper has the following structure. The work consists of 3 parts.
Part 1 tasks involve analysis of the text of an epic or dramatic (or lyric-epic) work. This part includes 7 tasks with a short answer (B1-B7), requiring the writing of a word or combination of words, and 2 tasks (C1, C2) with a detailed answer of 5-10 sentences.
C1 - a detailed discussion about the role and place of this fragment in the work, themes, issues and other features of the work. For example, what explains the negative reaction of Ranevskaya and Gaev to Lopakhin’s project to save the estate?
C2 - inclusion of the analyzed work in the literary context: justification of the connection of this literary text with other works according to the aspect of comparison specified in the task. For example, in which works of Russian classics the basis of the plot is the clash of representatives different eras and in what ways can these works be compared with “The Cherry Orchard”? (Give 2-3 examples indicating the authors.)
Part 2 tasks involve the analysis of a lyrical work (poem or lyric poem). This part includes 5 tasks with a short answer (B8-B12) and 2 tasks with a detailed answer in the amount of 5-10 sentences (C3, C4).
C3 - a detailed discussion about the content of the work (plot, theme, images, etc.), about the features of the figurative and emotional impact poetic text). For example, as in the poem by F.I. Tyutchev's "Noon" expresses the poet's idea of the inspiration of nature?
C4 - inclusion of the analyzed work in the literary context (similar to task C2). For example, which of the Russian poets reflected the richness of the natural world and what is the purpose of F.I.’s poem? Tyutchev's "Noon" is in tune with the works of these poets? (Give 2-3 examples.)
Part 3 assignment(C5) involves the creation of a full-length coherent statement on a literary topic, formulated in the form of a problematic question (the examinee is given a choice of three topics). For example:
C5.1. What is the place and significance of the image of Savelich in the novel by A.S. Pushkin's "The Captain's Daughter"?
C5. 2. What role did investigator Porfiry Petrovich play in the fate of Rodion Raskolnikov? (Based on the novel “Crime and Punishment” by F.M. Dostoevsky.)
C5.3. What is the complexity and drama? inner world lyrical heroine M.I. Tsvetaeva?
The proposed combination of tasks is designed to reveal the level of development of the main groups of educational skills among graduates, corresponding to a number of the most important subject competencies - reading, literary criticism and communication-speech.
In each version of the examination paper, the tasks in Part 3 correspond to three content blocks:
1. Old Russian literature, literature of the 18th century. and first half of the 19th century V.
2. Literature of the second half of the 19th - early 20th centuries.
3. Literature of the XX century.
Structure of the Unified State Examination test in literature
Part 1
(analysis of the text of an epic or dramatic (or lyric epic) work)
7 tasks with short answer:
IN 1
AT 2
AT 3
AT 4
AT 5
AT 6
AT 7
Total: 7 points
C1 - tasks with a detailed answer of a limited volume (5-10) sentences. A detailed discussion about the role and place of this fragment in the work, themes, issues and other features of the work - 3 points
C2- inclusion of the analyzed work in the literary context: justification of the connection of this literary text with other works according to the aspect of comparison specified in the task - 3 points
Part 2
(analysis of a lyric work)
5 short answer tasks:
AT 8
AT 9
AT 10
AT 11
AT 12
Total: 5 points
C3 - tasks with a detailed answer of a limited volume (5-10) sentences. A detailed discussion about the content of the work (plot, theme, images, etc.), about the features of the figurative and emotional impact of a poetic text - 3 points
C4--inclusion of the analyzed work in a literary context (similar to task C2) - 3 points
Part 3
Creation of a full-length coherent statement on a literary topic. A complete, detailed answer to a problematic question, based on
- Literary works
- Author's position
- Own vision of the problem
- Theoretical and literary knowledge
15 points
Final score: 39 points
- General conclusions and recommendations for preparing for the Unified State Exam in Literature 2011.
The problems identified during the analysis of the 2011 exam results made it possible to focus on the following: recommendations:
- To improve the most important skills that ensure successful mastery of the educational course: skills of analysis and interpretation of literary text, as well as comparative and analytical skills that allow establishing both intra- and intertextual connections.
- Consider specific works in a broad historical and literary context.
- Work to increase the degree of students’ assimilation of a complex of theoretical and literary concepts.
- To develop the ability to use theoretical and literary concepts in the analysis of literary material, in independent written reasoning on a literary topic.
- Ensure high-quality repetition of program works studied in grades 8-10.
- Special attention devotegender-genre specificity of literary works.
- When studying plays, focus students' attention on generic characteristics dramas.
Analysis exam papers showed that it is advisable to stop at this important aspect, as a consideration of a work of art taking into account its gender and genre specificity. It is difficult to determine the generic specificity of the following works:
- ON THE. Nekrasov “Who Lives Well in Rus'”
- A.S. Pushkin "The Bronze Horseman"
- M.Yu. Lermontov “Song about Tsar Ivan Vasilyevich, a young guardsman and a daring merchant Kalashnikov»,
- A. T. Tvardovsky “Vasily Terkin”.
When turning to a dramatic work, a graduate must remember the stage component of this type of literature and, when analyzing, not operate only with the categories of an epic that is similar in a number of features (plot, system of images, problematics, conflict, artistic detail, etc.). Ignoring such concepts as “exposition”, “commencement”, “climax”, “denouement”, “mise-en-scène”, “role”, “remark”, “author’s remarks”, etc., the graduate will be unprepared for tasks of a basic level of complexity (with a short answer), and free, detailed reasoning on a literary topic (tasks C). Bearing in mind the small number of dramatic works included in the curriculum, when studying them, it is necessary to focus on the generic specifics, without understanding which it is impossible to fully and adequately read or watch the play.
Questions related to genre originality works being studied. In exam versions, tasks that touch on the question of the genre of a particular work may require only a definition (for example: “Indicate the genre to which this poem belongs”), or may require an answer in the mode of detailed reasoning (“What allows us to classify this poem as a genre elegy?"). A question about the genre can be included in the topic of the essay (problem question in part 3 of the exam): “What gave the author of “Eugene Onegin” the basis to call his creation a “free novel”?”, “Why is the sad story about the death of the cherry orchard classified as a comedy? » and so on. In this regard, it should be noted those cases when we are talking about the original author’s definition of the genre of the work. (For example, Gogol’s “Dead Souls” is a poem). Examinees do not always correctly indicate the genre of A. N. Ostrovsky’s play “The Thunderstorm” or Chekhov’s “The Cherry Orchard.” There are cases when the question of genre cannot be posed unambiguously. An example is the legendary “The Tale of Igor’s Campaign” or the novel (story) by A. S. Pushkin “The Captain’s Daughter”. In other cases, the genre definition requires its full development (epic novels by L. N. Tolstoy and M. A. Sholokhov). In the third case, we are dealing with an author’s subtitle, which can have genre status (for example, the poem “Vasily Terkin” is called by the author “A Book about a Fighter”). All these nuances require attention both in the process of analyzing works in class and at the stage of preparation for the final certification in the subject. If there are different “genre versions” in relation to one work, one should either highlight the main, dominant definition, or present some alternative that gives the right to use both definitions (for example, a novel (novel-chronicle, novel-chronicle) by M. E. Saltykova - Shchedrin “The History of a City”). The question is most simply resolved in relation to historically formed genres, in particular lyrical genres (ode, epistle, elegy, excerpt, romance). They need to be updated when studying specific works. As follows from the analysis, the gender-genre affiliation of a work of art is the “starting point” of its consideration at various levels, a certain initial “key” to revealing its meanings. Gender-genre specificity changes the very perspective of viewing the work.
- Organization of work on part B
- Typical questions about epic works
- In a literary work, what is the name of the monologue that the hero pronounces “to himself”? Inner monologue
- What is the name in literary criticism for a device that helps describe a hero (“weak”, “frail”)? // What are the names of figurative definitions, which are a traditional means of artistic representation? Epithet
- The events in the work are narrated from the perspective of a fictional character. What is the name of the character in the work who is entrusted with the narration of events and other characters? Narrator
- What is the name of the genre of literature to which the work belongs? Epic
- What is the deliberate use of identical words in a text that enhances the significance of a statement? Repeat
- What term refers to the way of displaying the internal state of characters, thoughts and feelings? Psychologism
- What is the name of an expressive detail that carries an important semantic load in a literary text? Detail
- The fragment begins and ends with a description of the fire in Smolensk, etc. Indicate the term that denotes the arrangement and relationship of parts, episodes, images in a work of art. // What term denotes the organization of parts of the work, images and their connections? Composition
- Indicate the type of trope, which is based on the transfer of the properties of some objects and phenomena to others (“flame of talent”). Metaphor
- Indicate the genre to which the work belongs. Novel, story, tale, fairy tale...
At the beginning of the episode, a description of the night village is given. What term is used to denote such a description? // What term is used to denote a description of nature? Scenery
- What type of genre does the novel belong to? Social-philosophical, psychological, social-everyday...
- Indicate a trope that is a replacement of a proper name with a descriptive phrase.
- A symbolic image, the meaning of which goes beyond the subject matter. Symbol
- What term is used to designate the part of the work that depicts the circumstances preceding the main events of the plot? Exposition
- What term denotes the totality of events, turns and twists and turns of action in a work? Plot
- What term refers to the final component of a work? Epilogue
- Artistic time and space are the most important characteristics of the author’s model of the world. What traditional spatial reference does Goncharov use to create the image of a symbolically rich closed space? House
- What artistic category allows you to convey the conjugacy of the past, present and future? Time
- How is the form of allegory characteristic of fables called a parable? Allegory
- Indicate the name of the technique of artistic exaggeration, in which verisimilitude gives way to fantasy or caricature. Grotesque
- What is the name of the type of description in literary works that allowed the author to recreate the furnishings of a home? Interior
- Typical questions about dramatic works
- Within what literary movement was this work created? Classicism, realism
- What term refers to the form of speech of characters that represents an exchange of remarks? Dialogue
- Determine the genre of the work.
Griboyedov "Woe from Wit" - comedy
Gogol "The Inspector General" - comedy
Ostrovsky “The Thunderstorm” - drama
Chekhov "The Cherry Orchard" - comedy
Gorky “At the Bottom” - drama
- One of the characteristic techniques of classicism is to reveal the character of the hero through his surname. What are these surnames called? Speakers
- In literary criticism, what are characters who do not appear on stage called?
- What is the name of the hero who expresses the author's position? Reasoner
- The fragment depicts an acute clash of positions between the heroes. What is such a collision called in the work? Conflict
- Type of conflict? Public, love, social
- What stage in the development of the action does this fragment belong to? Commencement, climax, denouement
- Indicate the name of the type of literature to which the play belongs...? Drama
- What term refers to the author's explanations and comments in the text of the play? Remarque
- What is the name of the extended statement of one character? Monologue
- Name the term that refers to the statements of the characters in the play. // What is a single phrase of an interlocutor in a stage dialogue called in dramaturgy? Replica
- What is the name of the part of the act (action) of a dramatic work in which the composition characters remains unchanged? Scene
- What is the term that is used in literary criticism to denote an expression that has become popular? // The actor utters a succinct, laconic phrase: “Without a name, there is no person.” What is the name of this type of sayings?// What are the names of the sayings of heroes that are distinguished by brevity, capacity of thought and expressiveness? Aphorism
- The given scene contains information about the characters, the place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by the named features. // What term is usually used to designate the part of the work where the circumstances preceding the main events of the plot are depicted? Exposition
- What is the main means of characterization in this fragment of the play? Speech
- Name the medium of artistic representation
- Typical questions about lyrical works
- What is the name of the type of lyricism to which this poem belongs? // What genre-thematic type of poetry does this poem belong to?
- What is the name of a stylistic figure based on a change in the direct order of words?// What stylistic figure, consisting of a violation of the generally accepted word order, does the poet use to create...? Inversion
- A term used in literary criticism to describe a figurative and expressive means that allows one to transfer meaning by similarity from one object to another? (Mean of allegorical expressiveness). Metaphor
- Indicate the name of the stylistic device that the poet uses by starting lines with the same word. Anaphora
- What is the character of the rhyme called? Circular, cross, adjacent
- What poetic genre does this poem belong to?
- What is the name of the poetic device based on the repetition of vowel sounds? Assonance
- What is the poetic technique of repeating identical consonant sounds called?
- Determine the meter in which the poem is written.
- Enter the term used to call artistic definition. Epithet
- What is the name of the technique that allows you to give the world human feelings and experiences? Personification
- What is the name of the versification system in which this poem was written?
- What is a combination of lines held together by a common rhyme and intonation called in literary criticism? Stanza
- What is the term used to denote the consonance of the ends of poetic lines? Rhyme
- What is the name of a technique based on a combination of incompatible concepts? Oxymoron
- Name the type of trope based on the comparison of objects or phenomena. Comparison
- What is the simplest unit of plot development called? Motive
- What term is used to call a set of lines consisting of quatrains, each of which is an organized combination of poetic lines. Quatrain
- What is the name of the method of allegory that involves depicting an abstract idea through concrete images? Allegory
- What is the name of a generalized image that includes many associative features? Symbol
- What artistic category allows you to create the effect of “conjugation” of the past and the present? Time
- What is the name of the technique that consists of replacing a word with a descriptive expression indicating important properties, qualities, signs of an object or phenomenon? Periphrase
- To enhance the emotional significance of the statement, the author uses the form of a question that does not require an answer. What is this means of expression called? A rhetorical question
- Name the type of composition characterized by the repetition of the same motif, line, etc. at the beginning and end of the work. Ring
- What literary movement does creativity belong to...?
- What is the name of artistic technique, based on sharp opposition?
- The second and third stanzas are built on a comparison of pictures of nature and the human condition. What is this technique called in literary criticism?
- The second and fourth stanzas are almost identical in content. What is this technique called?
- What artistic category allows you to create the illusion of interpermeability of two worlds? Space
- What is the name of the poetic concept that affirms the intrinsic value of artistic creativity?
- Organization of work on part C.
First of all, the teacher must clearly understand what problematic questions the graduate will have to answer in part C. Further in the work, approximate formulations of problematic questions that are used by the developers of CMMs are proposed. When studying works of art included in the codifier, I organize the work in such a way that these issues are included in the analysis of the work. The topics for intermediate or final written works on literature are also these problematic issues.
Particular attention must be paid to improving techniques for working with an episode or scene. Involving literary context, when in a joint search we find works of one or different writers, in whose work the specified problem or named motif, artistic technique, etc. is reflected, has become an integral part of the work in the literature lesson.
And, of course, a prerequisite for preparing Part C is a thorough study of the criteria for checking and assessing the completion of tasks with a detailed answer. When checking written work, I rely on the criteria for checking and assessing the completion of tasks with a detailed answer, developed for the Unified State Exam in Literature, while adding criteria such as spelling and punctuation errors. I try to provide written reasons for the grade given.
Analysis of a lyrical work is especially difficult for modern schoolchildren. Here I use the experience of Natalya Georgievna Denisova, a literature teacher from the city of Norilsk. Having studied the theory of immanent analysis and tested it in practice, she developed her own version, a scheme for the immanent analysis of a poem, which is reflected in the article “Immanent analysis of the text as an element of preparation for the Unified State Exam in Literature.” (http://festival.1september.ru/articles/519055/). The use of clichés for the immanent analysis of a poem, I think, in a number of cases can be appropriate and appropriate.
Clichés for the immanent analysis of a poem
| Definition of genre (love, philosophical, civil, landscape, symbolist) | The poem "..." belongs to...lyrics The poem is a vivid example of... lyrics The poem can be classified as ... lyrics |
| Identification of the lyrical plot, the experiences of the lyrical hero | The content of the poem is based on the experiences of the lyrical hero... It can be said that lyrical hero… |
| Topic - the question that the author deals with | The author “…” develops a traditional theme... This poem is dedicated... This poem can be considered as a reflection (reasoning) about... |
| Ideological level (idea, emotion) | The author wanted to convey to the reader the idea that... With this poem, the author wanted to say that... The author’s opinion is expressed here... The poem clearly captures the mood (joy, despondency, delight, hope) ... the motive of sadness sounds... |
| Isolation of compositional parts (if any) - climax part, digressions, contrasting parts, ring composition | The poem consists of... stanzas... The work was built... It has a clear structure.. The climax of the poem occurs at... |
| Interpretation of the name | The poem is named so because... |
| Characteristics of images (nouns-images) - | In the first stanza images (nouns) appear... In the second stanza the author says... |
| Artistic and expressive means | A chain of tropes stretches through the stanzas... The author, characterizing the images, uses artistic and expressive means... Here the author is helped by the use... An important role is played by... |
| Actions and states (problem verbs) | The author uses verbs whose content reflects the issues raised in the text ... notes(what?) ...describes (what?) ...concerns (what?) ... draws attention to (what?) ... reminds (of what?) |
| Space, time | The space is presented in a very interesting way... (description of the room and everything in it, from general to particular, from particular to general, the description is presented from top to bottom, a description of the space in width, access to the level of the sky, space...) The author in the work touches on time frames (past, present, future) |
| Stylistic level (vocabulary, rhyme, syntax) | The author uses (high, low) vocabulary in the work The author used (parallel, cross, encircling) rhyme... The poem was written using... rhyme... The stanzas have... rhyme... The poem uses such syntactic means as... (repetitions: anaphors, epiphores, inversion, parallelism, rhetorical questions, exclamations, omissions) The sentences used are constructed... |
| Phonic level (verse size, sound writing: alliteration, assonance) | ...The rhythmic pattern is based on trochee pentameter... The rhythm of the poem is based on trochee pentameter...The size of the poem is ... A special selection of consonant vowels (consonants) enhances the impression... |
Examples of problematic questions formulated in part C
"The Tale of Igor's Campaign"
Why is “The Tale of Igor’s Campaign” sometimes called a “military tale” and in what works of Russian literature of the 20th century can one find features of such a genre as a “military tale”?
Can the dream of the Grand Duke of Kyiv be called prophetic?
What moral issues does the author of “The Tale of Igor’s Campaign” address in his work?
Which works of Russian classics used dreams as the most important means of poetics?
How does the author of “The Lay” relate to his hero, and in what works of Russian literature can one find examples of the author’s ambiguous view of heroes or events?
How do lyrical and heroic motifs correlate in “The Lay”?
Why does the author of “The Lay...” call his work a “word”, a “story”, and a “song”?
G. R. Derzhavin
What, according to Derzhavin, is the true reward of poetic talent, and which Russian poets developed this same theme in their work?
How does the lyrical hero of the poem understand the immortal glory of the poet?
What is the main idea of Derzhavin’s poem “Monument”?
V.A. Zhukovsky
Why is the theme often heard in Zhukovsky’s poetry? other world, and which Russian poets addressed similar topics?
What features of oral folk art are reflected in the ballad “Svetlana”?
What interpretation does the traditional ballad motif of fate receive in “Svetlana”?
DI. Fonvizin "Undergrowth"
What can you say about the education system in the Prostakov family?
What works of Russian writers reflect the morals of the nobles and what brings these works closer to Fonvizin’s play?
D5, i.1 Why D.I. Fonvizin devotes so much space in this fragment to discussions about the “great sovereign” and which Russian writers tried to create the image of an ideal ruler on the pages of their works?
Why did the name of Fonvizinsky Mitrofanushka become a household name?
Is the ending of the comedy “The Minor” funny or tragic?
Why is a comedy denouncing feudal reality called a “comedy of education”?
Are people or morals the main object of ridicule and reproach in comedy?
A.S. Griboedov "Woe from Wit"
What feelings does Famusov have towards Kuzma Petrovich?
How, from your point of view, does the author relate to Famusov?
For what purpose does Sophia invent and tell her dream?
What role does the topic of gossip play in comedy and in what works of Russian literature did the fear of “evil tongues” influence the actions and fates of the characters?
What is Famusov formula life success and which heroes of Russian classics are close to Famusov in their views on the world and man?
What is the inconsistency of the image of Sophia and what Russian heroines classical literature similar to her?
What prevents Sophia from being classified as a “Famus society”?
If Chatsky personifies the “present century” in the comedy, then to which “century” should Sophia be attributed?
What are the similarities and differences in the attitude of Chatsky and Sophia to Famus society?
Is Chatsky a romantic hero?
In which works of Russian literature does the theme of love rivalry develop and in what ways are their heroes comparable to the characters in Griboyedov’s comedy?
Does the author see Chatsky as an ideal hero?
Why are there many off-stage and episodic characters in comedy?
Is Sophia the main culprit of Chatsky’s “millions of torments” or did she get her own “millions of torments”?
What is the meaning of comparing the image of Chatsky with the image of Repetilov?
Why can’t we unconditionally agree with Chatsky’s assessment of Molchalin (“there’s only a little intelligence in him”)? What is Molchalin's mind?
Why does Sophia prefer the inconspicuous Molchalin to the brilliant Chatsky?
What determined Sofia Famusova’s love choice?
Why didn’t Chatsky believe Sophia when she admitted that she liked Molchalin?
Who do you think Sophia is: a like-minded person of Chatsky or a defender of Famus society?
What is hidden behind Goncharov’s phrase “The Chatskys live and are not translated in society”
How do you understand the words: Chatsky is a universal typological figure?
Gogol "The Inspector General"
What is the reason for the mayor’s visit to Khlestakov?
Why is the city named conventionally in the play (city N) and in what works of Russian classics does the city become the subject of artistic depiction?
What works of Russian writers depict the morals of officials and what makes these works similar to Gogol’s play?
What is the main reason for Khlestakov’s temporary reign in the district town?
How does Osip’s speech reveal his attitude towards Khlestakov and in what works of classical literature are images of servants created that help reveal the author’s intention?
What is the real state of charitable institutions and how does it characterize the city authorities? How and in what ways do various works of Russian classics echo Gogol’s “The Government Inspector”? What is the symbolic meaning of the “silent scene” in comedy?
What are the main features of Gogol’s satire and which of the Russian writers is the successor of his traditions?
V. Gogol “The Overcoat”
What famous type of literary heroes can Akaki Akakievich be classified as?
Why did fate treat Akakiy Akakievich so cruelly after he found his dream? What do you think psychological picture Gogol's "little man"?
N.V. Gogol "Dead Souls"
Are the semantic associations between captain Kopeikin and the “knight of the penny” Chichikov accidental?
Why didn't Chichikov manage to get rich?
Why does Gogol place Chichikov's life story only in the last chapter?
Can Nozdryov be considered a “dead soul”?
Is Manilov a harmful or harmless person?
Why does Gogol open the gallery of images of landowners with Manilov and end with Plyushkin?
Why did Gogol include the life story of the “hardworking owner” Plyushkin in the text of the poem? Why did the author decide to “hide the scoundrel” as the main character?
What, in your opinion, is the psychological portrait of Gogol’s “little man”?
What “horizon of expectations” does the title “Dead Souls” convey?
A. S. Pushkin
What does the “sad star” symbolize in Pushkin’s poem? “The flying ridge of clouds is thinning...” and which works of Russian literature have a “star” theme?
What memories did the beautiful mysterious pictures of nature awaken in the poet? (based on the poem “The flying ridge of clouds is thinning...”)
What works of Russian lyric poetry thematically resonate with the poem? “The flying ridge of clouds is thinning...”?
How different poetic means help express the idea of the poem “To Chaadaev”? What is the peculiarity of Pushkin’s freedom-loving lyrics and which of the Russian poets reveals the theme of freedom in their lyrics?
What gave the basis to V.G. Belinsky to call Pushkin a “harbinger of humanity”? (Using the example of one or more works)
What does the lyrical hero of Pushkin’s poem mean? "Poet”, when he calls on the poet “not to value the people’s love”?
Which of the Russian lyricists addressed the theme of the high purpose of the poet and in what ways these works are consonant with Pushkin’s "To the poet"?
Like in a poem “I.I. Pushchina" conveyed the idea of the pricelessness of true friendship?
Which of the Russian writers addressed the theme of friendship in their work and what brings their works closer to Pushkin’s poem?
What gave Pushkin’s contemporaries reason to consider him a “singer of friendship”?
What themes does the poet respond to in the poem? "Cloud"?
Describe the emotional tone of the poem "Cloud"
What is the philosophical meaning of the poem "Cloud", and which of the Russian poets followed the Pushkin tradition in depicting nature and man?
In Art. " Conversation between a bookseller and a poet" in the person of two antagonists - a fiery romantic and a sober, sensible bookseller - the clash of dreams and reality, poetry and prose of life is shown. Why, at the end of the work, does the poet, without giving up his main positions, admit that his opponent is right?
What are the leading themes or main motifs of the poem? «
Winter road"?
What is the peculiarity of the perception of the world and nature in Pushkin’s landscape lyrics, and which Russian poets addressed the theme of nature in their work?
Do you agree with the opinion of literary critic Etkind that the composition of the poem “Demons” is “symmetrical”?
Do you agree with the opinion of D.I. Pisarev, that “Onegin is nothing more than Mitrofanushka Prostakov, dressed and combed in the metropolitan fashion of the 1820s?
Who deserves the description “magnanimous sovereign” more: Catherine the Second, who forgave Grinev, or Pugachev, who spared him?
Why is Pushkin’s novel, the main event of which was the Pugachev uprising, called “The Captain’s Daughter”?
What are the signs historical work can be highlighted in “The Captain's Daughter” and which Russian writers depicted historical events in their works?
Why did the modest daughter of Captain Mironov occupy such a position? significant place in the plot of the novel? Why did the author of “Eugene Onegin” strive to reflect the “low nature”, sacrificing the “high syllable”?
What gives the author reason to consider Tatyana a “sweet ideal”?
Why did Tatyana reject Onegin, despite her love for him?
How is Tatiana's inner world revealed in the scenes of explanation with Onegin?
Why does the author break up with the hero so suddenly at the end of the novel?
Is the lonely and disillusioned Eugene Onegin a romantic hero?
Onegin's melancholy - is it given to fashion or a deep inner experience?
Prove that the novel is built on the principle of “mirror” (Lotman) composition?
Why were two extraordinary personalities - Onegin and Tatyana - unable to find happiness in love? For what purpose did Pushkin preface the first chapter of the novel with the poem “Conversation between a Bookseller and a Poet” in 1825?
Why exactly in the finale of the 6th chapter of the novel is the theme of the author’s farewell to youth, poetry and romanticism?
Why VG. Belinsky called Pushkin’s novel “an encyclopedia of Russian life”?
M.Yu. Lermontov
How was the poet’s romantic ideal embodied in Lermontov’s lyrics?
What causes the sad tone of Lermontov’s “Monologue”?
Which of the Russian poets addressed the theme of personality and era, and in what ways are these poems comparable to Lermontov’s poem “Monologue”?
What philosophical problems are reflected in the poem “Angel”?
What are the main motives of Lermontov’s lyrics and which Russian poets can be called successors of his traditions?
How do the composition and poetic devices of the poem “Beggar” help the author express the main poetic idea?
What is unique about the romantic hero Lermontov and which Russian poet can be called his creative successor?
How does Lermontov define his main artistic task in the novel?
For what purpose did Lermontov violate the chronological order of the chapters?
What are the main ways of depicting the character of a hero in a novel and which of the Russian writers of the 19th century continued this tradition?
What works of Russian writers present contradictory, restless heroes and what brings them together with the hero of Lermontov’s novel?
Why does the author constantly change narrators?
Why does the novel consist not of chapters, but of separate completed stories?
Why is Pechorin classified as a “superfluous person”?
What qualities of Pechorin are revealed in the duel scene and the heroes of which works of Russian classics are tested by a duel?
Why exactly does the story “Fatalist” end the novel?
Why is Maxim Maksimych the narrator only in the first chapter?
Which Russian writers tested their heroes with friendship? How are these heroes close to Pechorin? How do Pechorin's words about friendship explain his relationships with the people around him?
In what works of Russian literature of the 19th century do heroes resolve a conflict situation with a duel?
What, in your opinion, is the true reason for the mutual hostility of Pechorin and Grushnitsky?
What role do diary entries play in the composition of the novel?
Do you agree with the opinion that the fist fight between Kiribeevich and Kalashnikov is the personification of the struggle between the permissiveness of the “state” law and the morality of the law of a “private” person?
Merchant's son in a situation of “dishonor”: Stepan Paramonovich and Tikhon Ivanovich (“Thunderstorm”)
What is the meaning of the epigraph to the poem “Mtsyri”: “Tasting, I have tasted little honey, and now I am dying”?
For what purpose did Lermontov deprive the main character of his personal name in the poem “Mtsyri”?
Prove that one of the features of the poetics of the poem “Valerik” is the mixing of genres.
What is the originality of Lermontov’s problem of “war and humanity” and in what works of Russian literature did his famous philosophical reflection on this matter receive further development?
A. N. Ostrovsky “Thunderstorm”
Which artistic image more clearly embodies the “cruelty of morals” of the city of Kalinov: Dikaya or Kabanov?
What brings Tikhon and Boris together and what separates them?
What indicates the fragility of the power of boars and wild animals?
What ideological load do the final scenes of the play carry?
Why does Kuligin call the morals of the city of Kalinov cruel?
Is it possible to call cruel morals the city of Kalinov “Domostroevsky”?
Which of the Russian writers turned to depicting the life and customs of the merchants?
What motifs and images of Russian folklore are reflected in the play? How are they related to the characteristics of the main character and other characters in the play?
Do you agree with the interpretation of the image of Katerina proposed by Dobrolyubov?
Why does Kuligin call himself a “little man” and in what works of Russian literature is the theme of the “little man” revealed?
Can Tikhon, Boris and Varvara be considered victims of the “dark kingdom”?
The play "The Thunderstorm" - history tragic fate women or socio-political drama?
What caused Katerina’s protest and in what works of Russian literature of the 19th century are rebel heroes depicted?
I.S. Turgenev "Fathers and Sons"
Who won the ideological battle between Kirsanov and Bazarov?
In what way, according to Turgenev, is the complexity of the dialogue between “fathers and sons” manifested and in what works of Russian classics are the relationships between generations depicted?
Why did Bazarov have no other followers besides Kukshina and Sitnikov?
How do representatives of the two generations perceive art and nature in the novel, and in what works of Russian literature of the 19th century did they find ideological differences between “fathers and sons”?
What makes the reader doubt Bazarov’s denial of love as a high romantic feeling?
In the author’s opinion, are there any positive features in Bazarov’s nihilism?
How does the author feel about Bazarov’s nihilism?
Why did Bazarov, when meeting Nikolai Petrovich, pronounce his name in a common folk way and how is this connected with the further line of his behavior in the novel?
What is the peculiarity of Turgenev’s psychologism and which of the Russian classics is close to him in terms of ways of depicting the hero’s personality?
A. Goncharov “Oblomov”
How do they combine in the character of I.I. Oblomov’s “moral lordship” and slavery?
How do you understand the phenomenon of “Oblomovism”?
What are the reasons for the hero's lying down?
What feature of the hero does the author emphasize by surrounding the hero with beautiful screens...
Why didn’t Olga Ilyinskaya manage to “resurrect” Oblomov?
Is it possible to say that by marrying Pshenitsyna, Oblomov embodied his life ideal?
Stolz described Oblomov this way: “This is a crystal soul; there are few such people; they are rare; these are pearls in the crowd! Do you agree with the hero's opinion?
What is the meaning contained in the conflicts and characters of the novel: social and temporary or enduring and universal?
What is unique about the pair “Oblomov - Zakhar”? Which Russian writer of the 19th century created master-servant couples?
Which of the heroes of Russian classics is close to Oblomov and how can their commonality be explained?
Why is the active and purposeful Stolz friends with the apathetic Oblomov?
Why does Oblomov, lying aimlessly on the sofa, call his visitors “unhappy people”?
Features of the genre and composition of the novel “Oblomov”.
L. N. Tolstoy “War and Peace”
What is the ambiguity of Dolokhov’s character and which heroes of Russian literature exhibit qualities of character that are unexpected for other characters and readers?
Why is Pierre's time in captivity the most painful and difficult and at the same time the happiest time of his life?
How do you understand Tolstoy’s words: “There is no greatness where there is no simplicity, goodness and truth”?
Why did Pierre become disillusioned with the ideas of Freemasonry?
Why does Tolstoy avoid glorifying the image of Kutuzov?
What are the reasons for Tolstoy's antipathy towards Napoleon?
Tolstoy argued: there is no beauty and happiness where there is no goodness, simplicity and truth. How is this idea expressed in the image of Natasha Rostova?
Why did the duel with Dolokhov become the reason for the moral revolution that took place in the mind of Pierre Bezukhov?
What brings the novel closer to works of Russian classical literature, which contain the theme of a senseless, cruel prejudice - a duel?
What two “poles” can the characters of the novel be divided into and according to what principle? Which heroes cannot be classified as one or the other pole?
Explain the meaning of the words “war” and “peace” from Tolstoy’s point of view, which he expressed when he named the novel that way.
In which works of Russian classics does the theme of man in war sound and what brings these works closer to Tolstoy’s novel?
Do you agree with Tolstoy’s words about N. Rostova: the essence of her life is love?”
Why is sweet, kind, sacrificial Sonya not Tolstoy’s ideal?
Can we say that the title of the novel is “the compensated, undisclosed content of the text”?
By what principle are Tolstoy’s heroes divided into “loved” and “unloved”?
What role did old Prince Bolkonsky play in the destinies of his children?
F.M. Dostoevsky
What is the main flaw in Raskolnikov’s theory that predetermined its collapse?
Why do the fates of the novel's heroes most often turn out tragically?
Can Luzhin be considered Raskolnikov's double?
Which of the novel's heroes and why plays the most important role in refuting Raskolnikov's idea?
What role does the gospel story about the resurrection of Lazarus play in the novel?
Is Marmeladov worthy of compassion?
Which of the novel's heroes does not deserve, in your opinion, the author's indulgence?
What does Raskolnikov want to prove by killing the old pawnbroker?
What details are constantly repeated when describing St. Petersburg? What is their role in creating the image of the city in the novel?
Do you agree with the statement that the story of Raskolnikov is the story of an intellect lost in the darkness of unbelief?
N. A. Nekrasov
What topics are touched upon in the poem “I Don’t Like Your Irony”?
What contradiction is the lyrical plot of the poem “I don’t like your irony” based on?
What is the dramatic sound of the love theme in the poem “I don’t like your irony”
and which of the Russian poets is close to Nekrasov in its solution?
What is the main theme of Nekrasov’s “Uncompressed Strip” and in what works of Russian writers do similar motifs appear?
What explains the caricature in the depiction of landowners in Nekrasov’s poem?
Why is the theme of Russian heroism so tragic in the poem “Who Lives Well in Rus'”?
What is unique about the sound of the “Russian revolt” in the poem “Who Lives Well in Rus'”?
What is more terrible for the author of the poem: landowner despotism or voluntary servitude?
“The people are liberated, but are the people happy?” based on the poem “Who Lives Well in Rus'”?
How do you understand the meaning of the title of the poem “Who Lives Well in Rus'”?
What is the life of a peasant worker like in the poem “The Uncompressed Strip”?
What does it represent? main topic Nekrasov’s “Uncompressed Strip” and what works of Russian writers are consonant with Nekrasov’s poem?
How do the heroes and the author of the poem “Who Lives Well in Rus'” understand happiness?
What is the contradiction in Nekrasov’s depiction of peasant Rus'?
What events in Matryona Timofeevna’s life are preceded by her “favorite” song?
Which works of Russian classics use folk songs as the most important semantic and plot-compositional components?
How is St. Petersburg depicted in Nekrasov’s works?
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F. I. Tyutchev What is the leading theme in the poem “Silentium”? What mood is painted in the poem “Silentium”? What idea is stated in the poem "Silentium"? Which philosophical problem is the lyrical hero trying to solve in the poem “Silentium”? Which works of Russian poets touch on the problem of destructive influence? surrounding reality on the inner world of the lyrical hero? Why Tyutchev’s poem “Silentium” calls for silence and what Russians Did 19th century poets address the theme of the “inexpressible”? Can the poem “There is in the primordial autumn” be classified as philosophical lyricism? Why is Tyutchev called a poet-philosopher and what Russian poets, depicting nature, tried to comprehend the eternal questions of existence? What pathos is imbued with the poem “Oh, how murderously we love...”? What are the features of the composition of the poem “Oh, how murderously we love...”? How do you understand Tyutchev’s words “Oh, how murderously we love...” and in which poems among Russian poets does the theme of love sound tragic? Why are many of Tyutchev’s poems, which represent a kind of “landscapes in verse”, traditionally classified as philosophical poetry? Why does the late poetic manifesto “Nature is a Sphinx” sound so tragic? In what images of the poem “Still May Night” is the idea of the lyrical hero embodied? |
For what purpose are ancient Greek mythological characters mentioned in the last stanza of the poem “I Love a Thunderstorm in Early May”?
What are the main themes of Tyutchev’s poetry and the traditions of which of the Russian poets does he continue, revealing these themes?
What mood is colored by the feelings of the lyrical hero in the poem “Noon”?
What features of Tyutchev’s lyric poetry allow us to call him “a master of depicting the inner world” and in the poems of which Russian poets can one find a description of the subtlest states of the soul?
A. A. Fet
To what thematic type of lyricism can Fet’s poem “I came to you with greetings” be classified? ...»?
Which of the Russian poets addressed similar motifs in their lyrics and in what ways were their works consonant with Fet’s poem?
What is the image of the poem “With one push, drive away a living boat” symbolizes the beauty of the world that the “chosen poet” strives to feel, feel and, having enjoyed it, reproduce?
What is the relationship between tradition and innovation in Fet’s concept of the image of the “chosen poet”?
How do you understand the words of Tolstoy, who noted Fet’s “lyrical audacity”?
How do various poetic devices help the author convey leading mood poem “The night was shining. The garden was full of the moon.”?
What is unique about Fet’s poetic solution to the theme of love and in what poems of Russian poets are the same features found?
In what images of the poem “Dawn bids farewell to the earth...” are Fet’s ideas embodied?
about the infinity of existence?
M.E. Saltykov-Shchedrin
Why is the world of those in power so ugly and caricatured in the Saltykov-Shchedrin satire?
What is the theme of “The Tale of How One Man...”
What is the meaning of the ending of “The Tale...” and in the works of which authors they found a continuation of the tradition of Shchedrin’s satire.
A. P. Chekhov
Why was Chekhov's "The Cherry Orchard" called a warning play?
Do you agree that The Cherry Orchard is a comedy?
Why are literary scholars still arguing whether the play “The Cherry Orchard” is a comedy?
How, from your point of view, does the author relate to Lopakhin?
What prevents Lopakhin from being considered the true savior of the cherry orchard and which of the Russian writers portrayed heroic entrepreneurs?
Why does Startsev turn into Ionych?
Is it possible to agree with literary scholars who call the work “Ionych” a novel?
What does Chekhov warn about in “Ionych”?
What explains the abundance of “random” characters in the play?
Petya Trofimov calls himself an “eternal student”; a nameless fellow traveler speaks of him as a “shabby gentleman.”
How do these characteristics relate to each other?
What new did Chekhov bring to the development of Russian estate culture?
What is the meaning of the final general comparison of the heroes of the story “The Lady with the Dog” with migratory birds?
Comment on the content of Gurov's philosophical thoughts and explain what role they play in further development plot (“...he thought about how, in essence, if you think about it, everything is beautiful in this world, everything except what we ourselves think and do when we forget about the highest goals of existence, about our human dignity”).
In what works of Russian literature does love become the reason for the heroes to reassess all life values?
How are all the heroes of Chekhov’s “The Cherry Orchard” similar?
I. Bunin
How is the author’s position expressed in the story “Mr. from San Francisco”?
What are moral lessons story "Mr. from San Francisco"?
What, in your opinion, is the tragedy of the main character of the story “The Gentleman from San Francisco”?
What is the author’s attitude towards the gentleman from San Francisco and the Atlantis passengers?
What does the fate of the gentleman from San Francisco symbolize and which of the 20th century writers addressed the theme of “the well-fed”?
Why is love in Bunin's stories most often a tragic feeling?
The concept of “Bunin women” presupposes the presence of certain typological traits in the heroines (special spirituality, mystery, originality...). Can the heroine of “Clean Monday” be classified as this type?
A.A. Block
What harmonies make up the “music of the revolution” in the poem “The Twelve”
What is the role of the number 12 in the symbolism of the poem?
For what purpose does Blok give one of the Red Army soldiers the name of the Apostle Peter?
What gives grounds to classify the poem “On the Kulikovo Field” as philosophical lyric poetry?
Which of the Russian poets addressed the topic of Russian history and in what ways their poems are comparable to .
“On the Kulikovo field”?
What are the characteristic features of Blok's poetics?
What is the main thing for Blok in characterizing Rus' and in what works of Russian poets does the theme of Russia sound?
What determines the dramatic sound of Blok’s poems about Russia?
What is the meaning of identifying Rus' with the image of a woman (“Oh my Rus'! My wife!”) ?
Did Blok sing or sing the funeral service for the proletarian revolution?
What are the similarities and what are the differences between the image of the Motherland in the lyrics of Blok and Yesenin?
Tell us about the main and favorite techniques that Blok used in his works.
How did visual and expressive means allow Blok to reflect the spiritual emptiness of the lyrical hero, his weariness from life in the poem “About Valor, About Feat, About Glory…”?
How do you see the main thoughts and feelings of the lyrical hero of Art. “The wind brought it from afar...”?
M. Gorky
What is the meaning of the contrast between pride and arrogance in Gorky’s story “The Old Woman Izergil”?
What does the story of the “son of an eagle” in the story “Old Woman Izergil” make you think about and which literary heroes had a sense of superiority over others?
What, in your opinion, is Larra’s conflict with the human tribe?
Can we consider that the narrator is “the only realistic image in the early romantic stories Gorky." (Based on the story “Old Woman Izergil”)
Which of the Russian writers of the 19th century addressed the theme of the confrontation between the hero and society, and how did this confrontation manifest itself?
What did the wanderer Luke bring into the lives of the Actor and the other night shelters?
In what works of Russian writers does the theme of spiritual impoverishment of the individual sound, and in what ways can these works be compared with Gorky’s play?
How similar are the life positions of Satin and Luke and in what works of Russian literature of the 19th century are they shown? Are the characters having philosophical debates?
Why was the debate about lies and truth relevant for Gorky’s work and in which works of Russian literature does the same problem emerge?
How did the sermons of the wanderer Luke influence the fate of the night shelters?
What is the meaning of comparing the life positions of Luka, Satin and Bubnov in the play?
What characters represent the bottom dwellers in the play?
Why is the ending of the drama so tragic?
Why do the life positions of heroes so far from each other like Luka and Satine come closer towards the end of the drama? // What brings together the life philosophies of Luke and Satin // Why does Satin defend Luke in a dispute with the night shelters?
Satin-hero - an ideologist or a reasoner-hero?
Which of Gorky's literary predecessors was characterized by social criticism in relation to reality?
What was so disgusting about Larra’s character and behavior that the tribe expelled him?
What is the author's attitude towards Danko?
What, in your opinion, is Danko’s heroism and in which heroes of Russian literature is the active transformative principle embodied?
Why did Gorky make the “tramp” the main character of his works?
What do you think is the meaning of Satin’s statement “Man is the truth!”
What makes the world of the Kostylevs especially disgusting to the author?
V. Mayakovsky
What is unique about Mayakovsky’s view of the essence of poetry and the purpose of a poet?
What life phenomena are of the greatest interest to Mayakovsky the satirist and why?
What characteristic features are inherent in the poetics of early Mayakovsky?
Why are the feelings and experiences of the lyrical hero of Mayakovsky’s early works always dramatic?
How does the internal duality of the lyrical hero manifest itself? early creativity Mayakovsky and in what works of Russian poets do we find a similar type of hero?
Is it possible to say that Mayakovsky’s poetry is alien to philosophical issues?
What determines the drama of the lyrical hero in Mayakovsky's early works?
What different poetic devices help the author convey main idea poems "Listen!"
In which works of Russian lyricism does the star theme sound and in what ways is it close to the theme of the poem “Listen!”
What is unique about Mayakovsky’s love lyrics?
Why does the hero of the poem “Listen!” it’s so important to save humanity from starless torment.” How do various poetic techniques help create the image of the lyrical hero in the poem “Lilichka!”?
S. Yesenin
What is the secret of the musicality and emotional expressiveness of Yesenin’s poem “You are my fallen maple”?
Which Russian poets addressed the theme of the commonality of man and nature, and in what ways are their works consonant with Yesenin’s poem?
How do you understand N. Tikhonov’s words: “Yesenin is eternal”?
What different poetic devices help express the pathos of the poem “Song of the Dog”?
How does the poem “Song of the Dog” examine the problem of the relationship between man and nature, and in what works of Russian poets do similar motifs sound?
With the help of what artistic means does S. Yesenin reveal to us the world of nature in Spit feather grass. Dear plain..."?
In what images does the poem “Go, my dear Rus'!” embodied the poet’s ideas about the Motherland and what features of Yesenin’s lyrics allow him to be called “a truly Russian poet”?
What feelings are filled with the poem “Go you, Rus', my dear!” and which Russian poets managed to create the image of Russia - Rus' - in their works?
M.Tsvetaeva
What does M. Tsvetaeva’s poem “Homesickness!” symbolize? A long time ago..." there is a rowan bush, and which of the poets of the Silver Age has a nostalgic theme?
Why is the inner appearance of the lyrical heroine Marina Tsvetaeva so tragic?
What, in your opinion, is the peculiarity of the worldview of the lyrical heroine Tsvetaeva?
Which Russian writers addressed the theme of the homeland and in what ways are their works consonant with Tsvetaeva’s poem “Motherland”?
What are the problems of the poem “Homesickness! For a long time…"?
What theme, characteristic of Russian poetry, is touched upon in the poem “The Horn of Roland”?
What is special about the emotional structure of the poem “Homesickness! For a long time…"?
Why is Tsvetaeva’s lyrical heroine so tragically lonely?
In what works of the 19th century do lyrical heroes also acutely feel their kinship with the sea element and what is the novelty of this motif in Tsvetaeva?
A.A. Akhmatova
How do you understand Akhmatova’s words “I taught women to speak”?
Why do literary scholars call the poem “Song of the Last Meeting” a “story in verse”?
Which poets do you know have similar “stories in verse” about love?
What mood is permeated by the poem “Song of the Last Meeting”?
What is the meaning of the final stanza of the poem “Song of the Last Meeting”?
Using the example of the poem “Song of the Last Meeting”? prove the validity of Chukovsky’s statement: Akhmatova “was the first to discover that being unloved is poetic.”
Akhmatova's poems are often called deceived lyrics female love. In which works of Russian poetry does the male version of the “last meeting” theme sound and how does it differ from Akhmatova’s “female” version?
What is the inner appearance of the lyrical heroine in the poem “I had a voice...”
Which of the Russian poets turned to a patriotic theme in their work and what brings their works closer to the poem “I had a voice...”
How does the theme of maternal suffering develop in the poem “Requiem” (Catholic funeral service)?
Why did Akhmatova choose the title “Requiem” for her poem?
What is unique about the sound of the patriotic theme in Akhmatova’s lyrics?
Why is Akhmatova called “Yaroslavna of the 20th century?”
B. Pasternak
Which artistic images Do Pasternak’s poems seem unusual to you and which Russian poets of the 20th century sought to update poetic forms?
What meaning did the poet put into the final lines of the poem? "It's not nice to be famous..."
Which of the Russian poets addressed the topic of creativity and in what ways their works are consonant with Pasternak’s poem “It’s not beautiful to be famous...”?
How does the lyrical plot of the poem “February” develop? Get some ink and cry...?
List the main themes of the lyrical statement in the poem “February. Get some ink and cry...?
Which Russian poet is close to Pasternak in his vision of the world around him and why?
What is the meaning of the central symbols of the poem “February. Get some ink and cry...?
What place does “Hamlet” occupy in “The Poems of Yuri Zhivago” and why?
Why is the poem called “Hamlet” and which Russian writers in their works turned to the “eternal images” of world literature?
In what other works of Russian lyricism does the motif of the sacrifice of the destinies of Russian poets sound and what is the originality of Pasternak’s creative position?
What parallels can be drawn between the image of Hamlet and the image of the lyrical hero of Pasternak’s poem?
What does Pasternak see as the tragedy of the lyrical hero?
M. Sholokhov
Why does the author refuse to glorify the image of Andrei Sokolov?
What is the meaning of the title of the story “The Fate of Man”?
What gives grounds to consider the action of the hero of “The Fate of Man” a feat?
What works of Russian writers depict Russian characters and what brings them closer to “The Fate of Man”?
In which works of Russian classics is the theme of “fathers and sons” reflected, and in what ways do these works have something in common with Sholokhov’s “Quiet Don”?
Why does the novel “Quiet Don” begin and end with a description of the Melekhovs’ house, and in which works of Russian classics is the family’s history shown?
How does the humanism of Sholokhov’s “cruel prose” manifest itself? (“Quiet Don”, “Virgin Soil Upturned”).
What is the main function of descriptions of nature in the novel “Quiet Don”?
In what literary works do the heroes’ destinies develop against the backdrop of large-scale historical events? What traditions of Russian literature did Sholokhov continue by creating an epic novel?
Why, when taking the military oath, does Grigory Melekhov think not about military duty, but about family, and how does this theme develop in the novel?
Compare “Quiet Don” with works of Russian classical literature, which relate the themes of family and service to the Fatherland.
M. Bulgakov
What works of Russian writers touch on the theme of creativity and what brings them together with the work “The Master and Margarita”?
What is the meaning of Bulgakov’s title “The Master and Margarita” (or “The White Guard”?
Which of the heroes of the novel “The Master and Margarita”, in your opinion, is punished most cruelly by Woland and why?
What role do you think the concepts of darkness and light play in the novel “The Master and Margarita”?
Why is the novel “The Master and Margarita” a novel within a novel?
Why main character Bulgakov - Master - is not called by name in the text?
Is Margarita similar to the heroines of previous literature or is it new type heroines?
Can Bulgakov’s novel “The Master and Margarita” be considered an autobiographical novel?
M. Tvardovsky
How does the lyrical hero of Tvardovsky’s poem “There are names and there are such dates...” see the guilt of his generation?
How are the works of Russian poets who addressed the topic of historical memory close to Tvardovsky’s poem “There are names and there are such dates…”?
The heroic and the ordinary in the life of a person during war (“Vasily Terkin”)
Why lyrical works Tvardovsky is called “meditation poems”?
A.I. Solzhenitsyn
What is Matryona’s righteousness and why is it not appreciated or noticed during the heroine’s lifetime? "Matryonin's yard"
What was the reason for abandoning the original title of the story “A village is not worthwhile without a righteous man”?
What do you think is the meaning of the expression “do not live by a lie” (“Matryonin’s Dvor”).
Why doesn’t Solzhenitsyn, in the story “One Day in the Life of Ivan Denisovich,” idealize “even those people he loves”?
Why in the title of the work is the hero named by name and patronymic (Ivan Denisovich)?
Can the form of narration in the story “One Day in the Life of Ivan Denisovich” be called a skaz?
N. Rubtsov
What is the role of the image of a star in the poem “It’s Light in My Upper Room”?
What are the main themes of N. Rubtsov’s poetry and which of the Russian poets of the 19th and 20th centuries is close to him in terms of the content of his poetic creativity?
conclusions
Unified State Exam results different years show that the main thing in educational preparation in the subject is a good knowledge of the text of the works.
Work on preparing for the Unified State Exam in literature should be carried out taking into account the materials of the FIPI website (www.fipi.ru): specifications, codifier, demo version. An open segment of the Federal Test Bank placed on the website will allow students to independently work out
a significant number of type B tasks. Teachers can provide invaluable assistance in preparing for the exam educational materials for chairmen and members of regional subject commissions for checking the completion of tasks with a detailed answer to the Unified State Examination papers.
A detailed study of analytical reports on exam results and methodological letters from previous years will allow you to pay attention to the most difficult questions and build your work taking into account the identified problems.
You should also use in preparation for the Unified State Exam only those educational publications developed by FIPI specialists and recommended by FIPI for preparing for the Unified State Exam (see paragraph 8).
List of used literature
- Unified State Exam 2007. Literature. Educational and training materials for
S.A. Zinin - M.: Intellect-Center, 2007.
- Unified State Exam-2007: Literature / FIPI authors-compilers: S.A. Zinin, O.B. Maryina,
- We pass the unified state exam: Literature / FIPI authors and compilers:
- Unified State Exam 2008. Federal bank of examination materials (open segment).
- Literature / FIPI author-compiler: S.A. Zinin - M.: Eksmo, 2007.
M.: Eksmo, 2008.
- Unified State Exam 2008. Literature. Educational and training materials
S.A. Zinin - M.: Intellect-Center, 2008.
- Unified State Exam-2008: Literature / FIPI authors-compilers: S.A. Zinin, O.B. Maryina,
- Unified State Exam 2009. Literature: collection of examination tasks. Federal Bank
The system of work on preparing for the Unified State Exam in literature took shape over the course of 5 years.
Some parts of the system are movable and require certain adjustments in connection with the changes that FIPI makes to the KIMs. Systematic work on preparing for the Unified State Exam, including examination materials in the context of the lesson, and following the recommendations of the Federal Institute of Pedagogical Measurements allowed us to achieve certain successes. Graduates of 2011 showed quite high results. Among my students is a graduate who scored 100 points on the Unified State Exam in literature (Zhanna Bryukhova, 11-b, class of 2011).
Plot and compositional features. The originality of the ideological and thematic content of the comedy determines the features of its construction. Goncharov said this very precisely in his critical sketch “A Million Torments”: “Two comedies seem to be embedded in one another: one, so to speak, private, petty, domestic, between Chatsky, Sophia, Molchalin and Liza: this is an intrigue of love, everyday the motive of all comedies. When the first is interrupted, another unexpectedly appears in the interval, and the action begins again, a private comedy plays out into a general battle and is tied into one knot.”
For Griboyedov’s contemporaries, such a structure was absolutely unusual, since it violated one of the basic stage rules of the “three unities” - the unity of action, according to which the play should have only one storyline. But, creating a realistic work, Griboyedov wanted to show the diversity of human manifestations and his relationships, and therefore personal and public intrigue intertwine and create the true vitality of the presented conflicts (personal and public). Responding to the reproaches of his contemporary critics for the “lack of a plan,” Griboyedov said: “The plan is simple and clear in execution. The girl, who is not stupid herself, prefers a fool to an intelligent man.”
The first of the storylines is based on a more traditional love conflict in which Chatsky, Sophia and Molchalin act. The second is associated with social conflict, which reflects the real social situation of that era. Within the framework of this conflict, Chatsky, as a representative of the progressive-minded part of the nobility, is opposed by the entire system of conservative noble society, reflected in the comedy in collective image Famusovskaya Moscow.
The inclusion of two conflicts and two storylines in the play posed new problems for the author related to the composition of the work. At first the leader is love line, with which the line of public intrigue is closely intertwined. Trying to win Sophia’s favor, Chatsky invariably encounters not only the girl’s incomprehensible coldness, but also all the norms and orders accepted in Famus society. This clash causes his angry monologues directed against the foundations of a conservative society.
The final connection of these two lines occurs in the scene of the emergence and spread of gossip about Chatsky’s madness, which is the culmination in the development of both conflicts. But if the love line can be completed here, since the impossibility for Chatsky to find reciprocity on the part of Sophia is obvious, then the development of the social conflict is not yet completed and now this line of the play comes to the fore, becoming the basis further action. Within its framework, gossip about the hero’s madness is no longer the girl’s attempt to take revenge on her unlucky lover; this is the reaction of Famus society to all the behavior, the entire system of views of Chatsky, which does not fit into the generally accepted framework, which is regarded here as madness.
So Griboyedov became a true innovator in the construction of comedy. His heroes behave in their personal sphere as it happens in life: they make mistakes, are lost in conjectures and choose a clearly wrong path, although they themselves do not know it. In the finale of the traditional comedy of classicism, vice is always punished and virtue triumphs. For Griboyedov, the ending is open: if Chatsky’s collapse in love is absolutely obvious, then the question of whether his expulsion from Famus society can be called a victory over the hero remains open. After all, if we agree with the legitimacy of comparing Chatsky with the Decembrists, which Griboyedov’s contemporaries, the Decembrists, did, then it remains to be recognized that the dispute between heroes like Chatsky and the old foundations is just beginning.
In accordance with the hierarchy of literary genres established by the aesthetics of classicism, comedy was considered low genre, but Griboyedov, like Gogol later, did not agree with this. He rethought the purpose of comedy, and this new understanding of the genre became a real innovation in the literature of that time. At the same time, Griboyedov, creating “Woe from Wit,” adhered to the laws of classicism dramaturgy, for example, the rule of three unities (they are also called Aristotelian unities, based on Aristotle’s “Poetics”): unity of action (the play must have one main plot), unity of place (the action is not transferred in space) and unity of time (the action of the play cannot cover more than 24 hours).
However, Griboyedov still manages to make a breakthrough: without changing the form and preserving in the comedy the elements of classic vaudeville, so beloved by the public at that time (love triangle, misunderstood hero-lover, more successful rival, deceived father of the family, etc.), he still refuses from classicism and creates a socio-psychological work. This is a new realistic dramaturgy, and it is based on the task of depicting reality in all its diversity. Griboyedov's merit can be called attracting the viewer's attention to everyday life and everyday life, to the real problems of today, which is achieved through a masterful depiction of Moscow life with great attention to detail.
Traditionally, a comedy consisted of five acts, but “Woe from Wit” is a comedy in four acts. Griboyedov deliberately made the ending of his comedy open: the vice was not punished, the main character did not become a winner, but left the scene after a stormy scene. Such a composition is, of course, more characteristic of the realistic tradition than the canons of the era of classicism, which once again characterizes Griboedov the playwright as an innovator.
There are two principles in the play - social and psychological. The social principle is manifested in the description of the mores of society, the interests of people and Moscow life, and the psychologism of the work is associated with the typical principle. In Griboedov's heroes one can discern universal human traits and certain types. If in the era of classicism the heroes had to act as carriers of a certain flaw, then in “Woe from Wit” they are complex and contradictory personalities. This polysemy reveals the psychologism of the work.
Another important innovation of Griboedov in the comedy genre can be called a conscious rejection of the theory of three calms put forward by Lomonosov, within which comedy was classified as a low style, which, accordingly, is characterized by a certain vocabulary. Griboyedov uses the entire range of the Russian language in his work, introducing colloquial speech into the comedy (“I live and write freely and freely,” from a letter to P. A. Katenin on February 14, 1825). Each of the heroes of “Woe from Wit” has its own speech characteristics: Chatsky’s speech is the speech of an educated person, Lisa’s speech abounds folk wisdom, Famusov’s speech is the speech of a narrow-minded tradesman, etc. Imitating live conversational speech, Griboedov skillfully built dialogues, and the monologues in the work served as an element of the psychological principle, since it was they who contributed to the self-disclosure of the characters. All this was atypical for plays of that time, and this can also be called the innovation of Griboyedov the playwright.
To summarize, we can say that Griboyedov abandoned many prescriptions and created a work based on innovative discoveries. “Woe from Wit” contains features of three literary movements - the outgoing classicism, the romanticism that replaced it, and the emerging realism.
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- how the innovation of the playwright Griboyedov manifested itself