Solve literature questions online. Reference materials for preparing for the OGE in literature

Reference materials for preparing for the OGE in literature

9th grade

(Literary terms and concepts)

Literary types and genres.

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

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

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

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

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

Look at the table and try to remember its contents:

Types of fiction.

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

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

Examples of genus-species relationships in the literature:

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

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

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

Main literary genres

Correspondence of literary genres and muses-patrons of the arts

Genres of epic works

Genres of lyrical works

Literary directions

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

Signs of a literary movement:

unites writers of a certain historical era;

general understanding life values and aesthetic ideal;

general type of hero;

style of artistic speech;

characteristic plots;

favorite genres;

choice of artistic techniques for depicting life;

writers' way of thinking;

the personality of the writer;

worldview and worldview of writers.

Classification of literary movements

classicism sentimentalism romanticism realism

Classicism:

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

Division of genres

Sentimentalism: representatives, distinctive features, literary forms.

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

Literary forms

Romanticism: representatives, distinctive features, literary forms.

Romanticism is a movement in the art and literature of Western Europe and Russia of the 18th - 19th centuries, consisting in the desire of authors to contrast the reality that does not satisfy them unusual images and plots suggested to them by life events. A romantic artist strives to express in his images what he wants to see in life, what, in his opinion, should be the main, determining one. Arose as a reaction to rationalism.

Literary forms

Realism: representatives, distinctive features, literary forms.

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

Literary forms

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

Basic Plot Elements

Extra-plot elements

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Basics of versification.

Rhythm.

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

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

Rhyme.

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

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

idle - varied

harsh - pine

Stanza.

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

Rhyme

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

You're right with one air outline

I'm so sweet

All the velvet is mine with its living blinking

Only two wings.

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

I'm sitting behind bars in a damp dungeon.

A young eagle raised in captivity,

My sad comrade, flapping his wing,

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

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

The hops are already drying up on the mew.

Behind the farmsteads, on the melon fields,

In cool weather sun rays

Bronze melons are turning red...

The rhyme in a stanza can be more complex.

Poetic dimensions

Poetic meters in Russian versification are disyllabic And trisyllabic.

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

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

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

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

Iambic trimeter :

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

My inkwell... _ _́ _ _́ _ _́

Iambic tetrameter:

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

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

Iambic pentameter:

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

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

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

The word “trochee” translated from Greek means “dancer” from the word “choir”, “dance”, “round dance”.

Trochee trimeter :

In the haze of invisibility _́ _ _́ _ _́ _

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

Trochee tetrameter:

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

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

(A.S. Pushkin)

Pentameter trochee:

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

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

(M.Yu. Lermontov)

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

Trisyllabic verse meters

Consider the lines of the poem “Railroad”:

Glorious autumn! Healthy, vigorous

The air invigorates tired forces...

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

_́ _ _ _́ _ _ _́ _ _ _́ _

_́ _ _ _́ _ _ _́ _ _ _́

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

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

Once upon a time in the cold winter time

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

_ _́ _ _ _́ _ _ _́ _ _ _́ _

_ _́ _ _ _́ _ _ _́ _ _ _́

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

Algorithm for determining poetic meter.

Place the emphasis.

Identify unstressed vowels.

Write down the resulting diagram.

Determine the size.

I those be nothing GO Not ska andat .

I those bI Not meet VO zhu neither hat t.

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

Not re wat syaneither on ThuO name bookat t.

A. Fet.

- trimeter anapest

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

Why are you looking greedily at the road?

Away from your cheerful friends?

_ _ _́ _ _ _́ _ _ _́ _

_ _ _́ _ _ _́ _ _ _́

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

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

(_ _́ _ ), and anapest (_ _ _́ )

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

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

Themes and motives in the lyrics

Subject

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

Intimate lyrics

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

B.L. Parsnip “Winter Evening”.

Landscape lyrics

A.A. Fet “Wonderful picture...”

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

Lyrics of friendship

B.Sh. Okudzhava "Ancient student song".

Theme of the poet and poetry

M.I. Tsvetaeva “Rolandov Horn”.

Patriotic and civil lyrics

ON THE. Nekrasov "Motherland"

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

Philosophical lyrics

F.I. Tyutchev "The Last Cataclysm"

I.A. Bunin "Evening".

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

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

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

Motive

From French motif - lit. movement.

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

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

Leitmotif

A leading motif in one or many works.

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

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

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

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

Internet resources:

http://russlovesnost.

http://shkola. lv

http://4ege. ru

http:// thff (Creative Freedom forum).

http://www. liceum 1.net

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


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

• knowledge of biographies of poets and writers,
• knowledge of the content of works included in the school curriculum,
• ability to analyze texts and compare them,
• the ability to draw up portraits of heroes and evaluate their actions,
• mastery of lexical expressiveness and language literacy,
• ability to rationally use time during the exam (3 hours 55 minutes).
Where to start preparing?
1. Get acquainted with the demo version, specification and codifier for the subject.
2. Read works of art from the list approved by FIPI.
3. While reading, write down the main points that will be necessary for the answers.
4. Practice solving problems.
The information posted in the CKnow Knowledge Base will help you complete the second and third points. Be sure to check it out! And you can start practicing solving tasks that you may encounter in a real exam on this page. Below you are offered a demo and training options.


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

M.Yu. Lermontov The main motives of the lyrics Mishchenko S.N.

Open tasks. Assignment for choosing Lyrics 1) The image of the lyrical hero of poetry M.Yu. Lermontov. (Using the example of two or three poems of your choice.) 2) What is the uniqueness of the lyrical hero of M.Yu. Lermontov? (Using the example of at least two poems of your choice.) 3) How are they connected in the poetry of M.Yu. Lermontov's thoughts on creativity and the theme of loneliness? (Using at least 2 poems of the student’s choice as an example.) 4) What is the uniqueness of M.Yu.’s patriotism? Lermontov? (Using the example of at least 2 poems of the student’s choice.) 5) As in the lyrics of M.Yu. Does Lermontov reveal the tragedy of his worldview? (Using the example of at least two poems of your choice.) 6) How is the theme of the poet’s appointment revealed in the lyrics of M.Yu. Lermontov? (Using the example of two or three poems of your choice.) 7) As in the lyrics of M.Yu. Does Lermontov reveal the poet’s attitude towards God? (Using at least 2 poems of the student’s choice as an example.) 8) The image of the lyrical hero of M.Yu. Lermontov. (Using the example of two or three poems of your choice.) 9).As in the lyrics of M.Yu. Are Lermontov's theme of love and the motive of loneliness connected? 10. Compare the poem by M.Yu. Lermontov “No, it’s not you I love so passionately...” with the poem below by A.K. Tolstoy “With a gun over his shoulders, alone, in the moonlight...”. What motifs and images do these poems have in common? 11. Compare the poem by A.S. Pushkin “To Chaadaev” with a poem by M.Yu. Lermontov "Farewell, unwashed Russia...". What do you see as the differences in the mood of the lyrical heroes of these works? 12. Compare the poems of M.Yu. Lermontov “Death of the Poet” and F.I. Tyutchev “January 29, 1837”, dedicated to the death of A.S. Pushkin. How do the two poets’ understanding of the essence of the tragedy differ?

Poems: “Sail”, “Death of a Poet”, “Borodino”, “When the yellowing field is agitated...”, “Duma”, “Poet” (“My dagger shines with a golden finish...”), “Three Palms”, “Prayer” (“In a difficult moment of life...”), “Both boring and sad”, “No, it’s not you I love so passionately...”, “Motherland”, “Prophet”, “Clouds”, “Leaf” ", "Angel"

Motif of freedom and will “July 10, 1830” “Desire” Freedom and will are the central motifs of Lermontov’s lyrics, obligatory conditions for the existence of an individual. These similar concepts are not synonyms for the poet. The theme of freedom is political in nature. Initially it arises on the basis of Pushkin’s freedom-loving poetry. In the 30s, the concept of “freedom” had a social content: Again, you, proud ones, rose up for the independence of the country. ... There is earthly judgment for kings too. "July 10, 1830" Lermontov put freedom above all blessings: Give me once for life and freedom, Like a share alien to me, Take a closer look at me. "Wish".

Farewell, unwashed Russia, Country of slaves, country of masters, And you, blue uniforms, And you, people obedient to them. Perhaps, behind the ridge of the Caucasus I will hide from your kings, from their all-seeing eyes, from their all-hearing ears. “Farewell, unwashed Russia...” is one of Lermontov’s most strident political speeches. For the first time in Russian literature, condemnation and rejection were heard not of any individual aspects of Russian reality, but of the entire Nicholas Russia - the “unwashed country” of “slaves” and “masters”. Let's try to figure out what the epithet “unwashed” means for the name of the fatherland that the poet loved. The word contains a historical characteristic that includes the backwardness, underdevelopment, and uncivilization of contemporary Russia for the poet. In this country, the authorities and the people are opposed, which is conveyed using an antithesis, which is detailed in the second and third lines: “blue uniforms” (designation of gendarmes, metonymy) are contrasted with “loyal people” (“given into power, placed at the disposal of someone” ). The second stanza, from the topic of Russia and political freedom, moves the conversation to a subjective level, to the topic of personality. From spiritual slavery in Russia - to escaping “behind the wall of the Caucasus” - to freedom. Do you think M.Yu. does not contradict? Lermontov in his angry pathos to himself - the author of "Borodin" and "Songs about... the merchant Kalashnikov"? Justify your answer. Prove that the bitterness in this poem does not deny the poet’s love for the Fatherland, but emphasizes it with its pain.

What should you remember when comparing the lyrics of Pushkin and Lermontov? Comparing the two poems, we can see the differences in the worldview of the two great Russian poets of the first half of the 19th century. But behind the difference in poetic worlds lies the difference between two generations of noble intelligentsia and, more broadly, the difference between two historical eras. The Pushkin generation is, in the words of Yu. Tynyanov, a generation of people “with a leaping gait,” people whose distinctive feature was “impatience of the soul” and readiness for heroism. We find a portrait of Lermontov’s generation in the poem “Duma.” Its distinctive feature is inability to action, to action (“Before danger, they are shamefully cowardly / and despised slaves before power”), since his will is paralyzed by “cognition and doubt.” himself in the spirit of victory of 1812, lived with a feeling of the limitlessness of human possibilities, and no vicissitudes of fate could break his spirit, but after December 14, 1825, Lermontov lost faith in his capabilities, internal freedom became an unattainable ideal for him. It is significant that in the poem. Lermontov's "Farewell, unwashed Russia..." freedom for a fugitive-exile is also illusory (is it possible to hide from the "all-seeing eye" and "all-hearing ears" of the tsar's "pashas"?), as in "The Prisoner". Pushkin, without a shadow of doubt about his own right to freedom, wrote in the poem “To the Poet”: You are a king: live alone. Along the free path\Go where your free mind takes you, Improving the fruits of your favorite thoughts,\Without demanding rewards for noble deeds.\They are in you. ... For Pushkin, if social freedom is an unrealizable ideal, then “secret freedom,” creative freedom, is the natural norm of the poet’s existence. Lermontov is a “captive knight”, a “prisoner” in the grip of time and society, who challenged fate. As F. Bodenstedt, who knew him, wrote: “Lermontov... could not resist the fate that pursued him, but at the same time did not want to submit to it. He was too weak to overcome it; but also too proud to allow himself to be overcome.

Two “Prisoners” by A.S. Pushkin. Prisoner I'm sitting behind bars in a damp dungeon. A young eagle raised in captivity, My sad comrade, flapping his wing. He pecks at bloody food under the window, pecks and throws it, and looks out the window, as if he had the same idea with me; He calls me with his gaze and his cry And wants to say: “Let’s fly away! We are free birds; it’s time, brother, it’s time! To where the mountain turns white behind the cloud, To where the sea edges are blue, To where only the wind walks... yes I !.. 1822 M.Yu. Lermontov. Prisoner Open the prison for me, Give me the radiance of the day, A black-eyed maiden, A black-maned horse! , The door is heavy with a lock; Black-eyed is far away, In its magnificent mansion, A good horse in a green field Without a bridle, alone, at will, galloping, cheerful and playful, Spreading its tail in the wind, I am alone - there is no joy: The walls are bare all around, The ray shines dimly. lamps With dying fire; You can only hear: behind the doors With sound-measured steps The unresponsive sentry walks in the silence of the night.

Two "Prisoners" of two great poets give us the opportunity to detect with exceptional clarity and relief "shifts in time" in the first half of the 19th century. For a poet, any restriction of freedom is unbearable. In the first stanza of Pushkin’s “The Prisoner,” we see that the prisoner is deprived of freedom of movement (“I’m sitting”), limited in space (“behind bars”), deprived of light (“in prison”) and, moreover, is in conditions that are not suitable for life (“in a damp dungeon”). The initial situation itself gives rise to a feeling of hopelessness. However, Pushkin enhances this feeling, emphasizing the depressing unnaturalness of what is happening, the tragedy of lack of freedom. The eagle is also deprived of freedom (“fed in captivity”). The picture of the world in the first stanza is drawn as a distortion of the real norm of life. The lyrical hero and the character of the poem, the eagle, are “comrades” in misfortune. Stanza II reflects the thirst for freedom and flight, here a protest against fate is brewing, because beyond this world there is another, where the eagle calls the prisoner (“Let’s fly away!”). In III In the stanza, space opens up to infinity. We see that in the poem two planes of existence coexist, external and internal, physical and spiritual. Pushkin’s lyrical hero is physically enslaved - spiritually absolutely free and describes the process of spiritual liberation of a person, the triumph of the spirit over external circumstances. the lyrical hero turns out to be realized, and his spiritual realization is no less real than his physical one. M.Yu. Lermontov borrowed the theme of the poem from A.S. Pushkin, but with his “Prisoner” he refutes his predecessor and idol. Pushkin is the antithesis of the title, and Lermontov’s poem is a confirmation of his absolute correctness. The lyrical plot develops in different ways. In Pushkin: I stanza: hopelessness; Stanza II: hope; III stanza: joy of life. In Lermontov: I stanza: joy of life; Stanza II: loss of hope; III stanza: hopelessness. Lermontov's lyrical hero, to the same extent as Pushkin's lyrical hero, is overwhelmed by a thirst for freedom, but, unlike him, he does not believe in the feasibility of his desires, and “secret freedom” is unknown to him. His freedom is will as the limitlessness of possibilities (“like the wind, I will fly away”). He is deprived of this will, which is always associated with freedom of movement in space and freedom of action, and he does not know another.

The turning point in the mood of society was clearly expressed in another poem that inherited Pushkin’s plot, this poem by F.I. Tyutchev “From the clearing the kite rose...”: From the clearing the kite rose High into the sky he soared; Higher and higher, it curls further - And now it has gone beyond the horizon! Mother Nature gave him Two powerful, two living wings - And here I am, in sweat and dust, I, the king of the earth, rooted to the earth!.. 1835 What does this poem have in common with the poem by A.S. Pushkin, and what does it have in common with the poem M.Yu. Lermontov? Which lines in this poem would you call Pushkin in spirit, and which Lermontov? The movement of time reveals itself not only in the style and nature of government, in the way of life and priority values ​​of society - in what we call historical facts and events, it permeates a person’s worldview. Poetry is one of the best ways in world culture to capture this attitude. The development of Pushkin's plot by F.I. Tyutchev and M.Yu. Lermontov is the clearest confirmation of this. Rethinking a poetic plot is an accessible and natural path for the artist to self-knowledge and knowledge of the era, since new accents are placed not only by the poet, but also by time. The reader, by comparing, can see what the most detailed historical chronicle does not and cannot always preserve in cultural memory. The poem was written in 1835. For F.I. Tyutchev, man is as much a mystery as nature. The poet is faced with the question of the relationship between nature and man. Man is a thinking creature. Due to the fact that he is endowed with reason, he is separated from nature. In the poem “The Kite Arose from the Clearing,” human thought irresistibly strives to comprehend the unknown, but it is in no way possible for it to go beyond the “earthly circle.” For the human mind there is a limit, predetermined and inevitable. The sight of a kite rising from the field and disappearing into the sky leads the poet to the following thoughts: “Mother Nature gave him / Two powerful, two living wings - And here I am in sweat and dust, I, the king of the earth, rooted to the earth!

The theme of the homeland Lermontov developed this theme throughout his life. Initially, it sounds in a traditional key: love for the land that gave life, the first joys and the first sorrows (“I saw the shadow of bliss...”. In 1829, the poem “The Turk’s Complaints” was created, denying that Russia where “man groans from slavery and chains."

The theme of the Motherland in Lermontov's lyrics "Motherland", "Borodino", "Two Giants", VII. MOTHERLAND I love my fatherland, but with a strange love! My reason will not defeat her. Neither glory bought with blood, nor peace full of proud trust, nor cherished legends of dark antiquity stir in me a joyful dream. But I love - for what, I don’t know myself - Her cold silence of the steppes, Her boundless swaying forests, The floods of her rivers, like seas; I love to ride along a country road in a cart and, with my slow gaze piercing the shadows of the night, meet on the sides, sighing for an overnight stay, the trembling lights of sad villages; I love the smoke of burnt stubble, a convoy train spending the night in the steppe, and a pair of white birches on a hill in the middle of a yellow field. With a joy unknown to many, I see a full threshing floor, a hut covered with straw, a window with carved shutters; And on a holiday, in a dewy evening, I’m ready to watch until midnight the dance with stomping and whistling, accompanied by the talk of drunken peasants. (M.Yu. Lermontov, 1841) 2. How does the image of the Motherland appear in Lermontov’s poem? 4. Why does the poet call his love for his homeland “strange”? 5. What is unique about the composition of the poem? 6. For what purpose is anaphora used in the first stanza of the poem? RUSSIA Again, as in the golden years, Three worn-out harnesses fray, And painted knitting needles get stuck in loose ruts... Russia, poor Russia, Your gray huts are to me, Your wind songs are to me, Like the first tears of love! I don’t know how to feel sorry for you And I carefully carry my cross... Whichever sorcerer you want Give away the robber’s beauty! Let him lure and deceive, - You will not be lost, you will not perish, And only care will cloud Your beautiful features... Well, then? One more care - One tear makes the river noisier And you are still the same - the forest, and the field, And the patterned scarf up to the eyebrows... And the impossible is possible, The long road is easy, When the road flashes in the distance An instant glance from under the scarf, When it rings with longing prison The dull song of the coachman!.. (A.A. Blok, 1908) 3. Compare the poem by M.Yu. Lermontov “Motherland” with the poem below by A.A. Block "Russia". What brings these works together?

"Motherland" Time of creation. The poem “Motherland” was written in 1841, when Lermontov had just returned to Russia from the Caucasus. The theme is love for the homeland. The main thought (idea) The poet contrasts his love for his homeland with official, official patriotism. He talks about his deep connection with Russian nature, with the people, the sorrows and joys of his life. The genre of the poem is elegy. Poetic meter - iambic seven-foot and pentameter, rhyming system. - cross. Compositionally, the poem is divided into two parts - this is due to the duality of love for the homeland, which he speaks of as “strange love.” In the first part of the poem we are talking about the “inexplicability” of the lyrical hero’s feelings for his homeland, about the impossibility of an unambiguous attitude towards it. The poem begins with the statement: “I love my fatherland...” - and then the lyrical hero makes a reservation: “but with a strange love.” And then there are contrasts that speak of the inconsistency of the poet’s feelings for his homeland: “glory” in the third line - as if an argument from reason - is immediately reduced by “blood,” “weighted” with the epithet “bought.” But at the same time, “dark antiquity” becomes a source of “cherished legends.” Important role In the second part of the poem, space plays, which is described by the poet. Through these descriptions, it is not a “rational” feeling that is expressed, but one that comes from the depths of the soul. The poet moves from depicting large-scale paintings (“boundless swaying” of forests, “sea-like” river floods) to examining, “snatching” from the overall picture specific, private details: “a couple of white birches”, “a hut covered with straw”, a window “with carved shutters." Lermontov's image of the Motherland is far from romantic. Most of the epithets in the second part are extremely precise and specific, devoid of metaphor: “country” path, “burnt stubble”, “yellow” cornfield, “whitening” birches, “dewy” evening. At the end of the poem, a synthesis of the natural and folk world takes place, in which the lyrical hero is included. The inexplicability of the hero's love for his homeland is emphasized. This feeling does not embellish reality. But it is precisely this, this unadorned reality, that is worthy of love. It is the essence of the homeland.

Option to answer the question. 3. Compare the poem by M.Yu. Lermontov “Motherland” with the poem below by A.A. Block "Russia". What brings these works together? At the beginning of the poem, Lermontov notes that he loves his homeland with “strange love.” His feelings are inexplicable, because, as the author himself says, he likes not only the richness of landscape colors and the beauty of Russian nature, but also the poverty and ordinariness of village life. . His gaze is turned to peasant Russia; the lyrical hero of this poem is a man who looks at his homeland through the eyes of a peasant. At the same time, Lermontov uses everyday vocabulary, using words such as “jump”, “dancing”, “peasants”, “stomping”, “whistle”. The theme of Russia is clearly highlighted by Blok. Blok’s love is also peculiar, strange, because, like Lermontov, he turns his gaze to the poverty, poverty and ordinariness of his native land. What he sees in front of him, his Motherland, although gray and full of sadness, is very important to the poet: Russia, poor Russia, Your gray huts are to me, Your wind songs are to me, Like the first tears of love! But even in this village life, he managed to find something bright and beautiful that decorates and makes his homeland richer: painted knitting needles, a patterned shawl, beautiful features. Blok's images are truly beautiful and beautiful. In this poem, Blok animates Russia, painting it as a mysterious woman. This woman herself is gentle and sweet, despite her simplicity, but since her “golden years” have passed, she has noticeably become impoverished. The poet writes that no matter what, his homeland will not be lost. The points of view of Lermontov and Blok are very similar. Poets paint a realistic Russia, praising its simplicity and everyday life. But, unlike Lermontov, in his poem Blok uses beautiful images and compares Russia with the tears of his first love. Lermontov only depicts his Motherland, paints its image, and Blok tells us that his Motherland, although “poor Russia,” will never disappear and will not succumb to “sorcerers.”

“Borodino” “Borodino” became a genuine literary discovery. For the first time in Russian literature, the greatest historical event was seen through the eyes of an ordinary participant, perceived and conveyed from the point of view of the people. All the best in Russia, according to the poet, is in the past. The heroic people who defended and defended the country in the War of 1812 are contrasted with Lermontov’s contemporaries. All of Russia is called upon to remember the “Day of Borodin” as one of the most heroic and greatest days. In the present, according to the poet, nothing is worthy of people's memory. Time of creation The poem was written in 1837. Topic: Depiction of the people's feat Patriotic War 1812. Reflections on the fate of a people in history. Main thought (idea) The poet affirms the idea of ​​the people as the main figure of history. According to V. G. Belinsky, the key idea of ​​“Borodino” is “a complaint about the present generation, slumbering in inaction, envy of the great past, full of glory and great deeds.” Poetics The genre of the poem is a historical ballad. Poetic meter is an alternation of iambic pentameter and iambic trimeter. A simple soldier tells about the feat of the people, about the great historical battle, his story has amazing integrity. The soldier was able to see in his story not just the battery he was on, and not just one area of ​​the battle. He sees history, but not from the command post and not from the top of eternity, but from his battery. The narrator’s simple “I” develops into “we”: I hammered the shell into the cannon tightly,\And I thought: I’ll treat my friend! Wait a minute, brother, monsieur!\ At that same second, the narrator’s “I” merged with the mass of attackers: Let’s go and break the wall, Let’s stand with our heads for our homeland!

In one word, the poet reflects the entire psychology of the Napoleonic soldier, accustomed and accustomed to easy victories and quick seizures of other people's property: ... And it was heard until dawn how the Frenchman rejoiced... Lermontov contrasted the jubilation of Napoleonic soldiers with the holy determination of the Russian soldier to fight to the death, until the last: But our open bivouac was quiet: Who cleaned the shako, all beaten up, Who sharpened the bayonet, grumbling angrily, Biting his long mustache. From the details, the poet created a picture of the psychological stress of soldiers before a mortal, inevitable battle. Lermontov chooses a fairytale style of battle narration - his hero describes the events in ordinary folk language. The refrain is also important, which is key to understanding the poem: Yes, there were people in our time, Not like the current tribe, Bogatyrs - not you! The poet emphasizes the contrast between the glorious heroic past and the contemporary world, in which disappointment and emptiness deprive a person of strength. We can say that the folk spirit of the poem “Borodino” is the embodiment of real service to the high ideal, in search of which Lermontov’s lyrical hero is in search.

1.2.3. Compare the poem by M.Yu. Lermontov “Motherland” with the poem by S.A. Yesenin “Go you, Rus', my dear...”. How do you see the similarity between the positions of the two poets? *** Goy you, Rus', my dear, Huts - in the vestments of the image... There is no end in sight - Only the blue sucks the eyes. Like a visiting pilgrim, I look at your fields. And near the low outskirts the poplars wither loudly. Smells like apple and honey Through the churches, your meek Savior. And there is a humming sound behind the bush. There is a merry dance in the meadows. I’ll run along the crumpled stitch Into the freedom of the green fields, A girl’s laughter will ring out towards me, like earrings. If the holy army shouts: “Throw away Rus', live in paradise!” I will say: “No need for paradise, Give me my homeland.” (S.A. Yesenin.1914)

E Erokhin. Why does Lermontov call his love for his homeland “strange”? (according to the lyrics of M.Yu. Lermontov) Love for the homeland is a special feeling, it is inherent in every person, but at the same time it is very individual. Is it possible to consider him “strange”? It seems to me that here we are rather talking about how the poet, who spoke about the “unusuality” of his love for his homeland, perceives “ordinary” patriotism, that is, the desire to see the virtues, positive features inherent in his country and people. To a certain extent, Lermontov’s romantic worldview also predetermined his “strange love” for his homeland. After all, a romantic always opposes the world around him, not finding a positive ideal in reality. The words spoken by Lermontov about his homeland in the poem “Farewell, unwashed Russia...” sound like a sentence. This is “the country of slaves, the country of masters,” the country of “blue uniforms” and the people devoted to them. The generalized portrait of his generation, drawn in the poem “Duma,” is also merciless. The fate of the country is in the hands of those who “squandered” what was the glory of Russia, and they have nothing to offer to the future. Perhaps now this assessment seems too harsh to us - after all, both Lermontov himself and many other outstanding Russian people belonged to this generation. But it becomes clearer why the person who expressed it called his love for his homeland “strange.” This also explains why Lermontov, not finding an ideal in modernity, turns to the past in search of what really makes him proud of his country and its people. That is why the poem “Borodino”, which tells about the feat of Russian soldiers, is structured as a dialogue between “past” and “present”: “Yes, there were people in our time, / Not like the current tribe: / Bogatyrs - not you!” The national character is revealed here through the monologue of a simple Russian soldier, whose love for his homeland is absolute and selfless. It is significant that this poem is not romantic, it is extremely realistic.

Lermontov's most fully mature view of the nature of patriotic feeling is reflected in one of his last poems, meaningfully titled “Motherland.” The poet still denies the traditional understanding of why a person can love his homeland: “Neither glory bought with blood, / Nor peace full of proud trust, / Nor cherished legends of dark antiquity...”. Instead of all this, he will repeat three times another, the most important idea for him - his love for his homeland is “strange.” This word becomes the key: I love my fatherland, but with a strange love! My reason will not defeat her... But I love - for what, I don’t know myself... Patriotism cannot be explained rationally, but can be expressed through those pictures of the native country that are especially close to the poet’s heart. The endless expanses of Russia, with its country roads and “sad” villages, flash before his mind’s eye. These paintings are devoid of pathos, but they are beautiful in their simplicity, like the usual signs of village life, with which the poet feels his inextricable internal connection: “With joy, unfamiliar to many, / I see a complete threshing floor, / A hut covered with straw, / With carved shuttered window..." Only such complete immersion in people's life makes it possible to understand the author's true attitude towards his homeland. Of course, for a romantic poet, an aristocrat, it is strange that this is how he feels love for his homeland. But maybe it’s not only about him, but also about this mysterious country itself, about which another great poet, a contemporary of Lermontov, would later say: “You can’t understand Russia with your mind...”? In my opinion, it is difficult to argue with this, as well as with the fact that true patriotism does not require any special evidence and is often not at all explainable.

Anti-war theme “Valerik” Once - it was near Gikha, We passed through a dark forest; Breathing fire, the azure-bright vault of heaven burned above us. We were promised a fierce battle. From the mountains of distant Ichkeria, crowds of daredevils flocked to Chechnya to answer the brotherly call. Lighthouses flashed all around over the antediluvian forests; And their smoke sometimes billowed in a column, sometimes spread out in clouds; And the forests revived; Voices called wildly under their green tents. As soon as the convoy got out into the clearing, the business began; Chu! they ask for guns in the rearguard; Here they [take] guns out of the bushes, Here they drag people by the legs, And they call out loudly to the doctors; And here, from the left, from the edge of the forest, they suddenly rushed at the guns with a boom; And the detachment was showered with a hail of bullets from the treetops. Ahead, everything is quiet - there was a stream running between the bushes. Let's get closer. They launched several grenades; More progress; are silent; But over the logs of the rubble the gun seemed to shine; Then two hats flashed; And again everything was hidden in the grass. It was a menacing silence, It did not last long, But [in] this strange expectation More than one heart began to beat. Suddenly a volley... we look: they lie in rows, What do they need? The local regiments are tried and tested people... With hostility, more friendly! came behind us. The blood caught fire in my chest! All the officers are ahead... He rushed on horseback to the rubble. Those who did not have time to jump off the horse... Hurray - and it fell silent. - There are daggers, in the butts! - and the massacre began. And for two hours in the stream the battle lasted. They cut themselves cruelly Like animals, silently, with their chests on their chests, They dammed the stream with their bodies. I wanted to scoop up water... (And the heat and the battle tired Me), but the muddy wave was warm, it was red. (...) And there in the distance, like a discordant ridge, But forever proud and calm, The mountains stretched - and Kazbek Sparkled with its pointed head. And with secret and heartfelt sadness I thought: pathetic man. What does he want!.. the sky is clear, There is plenty of room for everyone under the sky, But incessantly and in vain He alone is at enmity - why?

C3. Prove that one of the features of the poetics of the poem “Valerik” is the mixing of genres. C4. What is the originality of the problem “war and humanity” from M.Yu. Lermontov and in what works of Russian literature did his famous philosophical reflection on this matter continue and be further developed? The work of M.Yu. Lermontov “Valerik” (1840) is a synthesis of genre forms. The address of the lyrical “I” to the beloved in the introduction suggests that we are dealing with a genre of message common in poetry of the 19th century. The hero’s confession could well have belonged to Lermontov’s Pechorin, who had lost hope for love and had come to terms with fate: I don’t ask God for happiness\ And I endure evil in silence. But the story of a brutal battle in the mountains of Ichkeria on the Valerik River suddenly bursts into the narrative of military everyday life, whose name - “river of death” - has since received a symbolic meaning: “They cut themselves cruelly, / Like animals, silently, with their chests on their chests...”. The author's philosophical thoughts sum up the bitter results of the war tragedy: I ​​thought: a pitiful man.\What does he want!.. the sky is clear, There is plenty of room for everyone under the sky,\But incessantly and in vain\He alone is at enmity - why? The pacifist position of M.Yu. Lermontov, reflected in the poem “Valerik,” affirms the idea of ​​​​the meaninglessness of war. The heroic pathos of songs of praise about the valor of Russian weapons is becoming a thing of the past. C4. The pacifist position of M.Yu. Lermontov, reflected in the poem “Valerik,” affirms the idea of ​​​​the meaninglessness of war. The heroic pathos of songs of praise about the valor of Russian weapons is becoming a thing of the past. IN " Sevastopol stories"L.N. Tolstoy formed the author's concept of war - “in blood, in suffering, in death." For the narrator and the soldiers, war is madness; the reader witnesses how the narrator's moral consciousness is born in agony. N.A. Nekrasov’s elegy “Hearing the Horrors of War...” (1856) is also dedicated to the events of the Crimean campaign. A mother's tears are contrasted with the grief of a friend and wife. The grief of mothers does not subside over the years, and therefore evokes the poet’s sympathy: They will not see their children, who died in the bloody field. In the poem of the 20th century poet A.T. Tvardovsky “I know, it’s not my fault...” there is a hidden feeling of pain expressed in the figure of silence: “This is not about that, but still, still, still...” The main conflict of the work becomes the contrast between the living and the dead, to whom we are in unpaid debt.

Tragedy of a generation

DUMA I look sadly at our generation! Its future is either empty or dark, Meanwhile, under the burden of knowledge and doubt, It will grow old in inaction. We are rich, barely out of the cradle, from the mistakes of our fathers and their late minds, And life already torments us, like a smooth path without a goal, Like a feast at someone else’s holiday. We are shamefully indifferent to good and evil. At the beginning of the race we wither without a fight; In the face of danger they are shamefully cowardly, And in the face of power they are despicable slaves. So a skinny fruit, ripe before its time, pleasing neither our taste nor our eyes, hangs between the flowers, an orphaned stranger, and the hour of their beauty is the hour of its fall! We have dried up the mind with fruitless science, melting with envy from neighbors and friends the best hopes and a noble voice with the disbelief of ridiculed passions. 1.2.1Why does the lyrical hero condemn the generation of his time? 1.2.2How does the title of the poem reflect its content? 1.2.3. How and why does the tone of Lermontov’s “Duma” change from beginning to end? We barely touched the cup of pleasure, But we did not save our youthful strength; From every joy, fearing satiety, We have extracted the best juice forever. Dreams of poetry and the creation of art do not stir our minds with sweet delight; We greedily treasure the remnant of feeling in our chests - Buried by stinginess and a useless treasure. And we hate, and we love by chance, Without sacrificing anything, neither malice nor love, And some kind of secret cold reigns in the soul, When fire boils in the blood. And the luxurious amusements of our ancestors bore us, Their conscientious, childish debauchery; And we rush to the coffin without happiness and without glory, Looking back mockingly. In a gloomy and soon-forgotten crowd, we will pass over the world without noise or trace, without abandoning to the centuries a fertile thought, or the genius of the work begun. And our ashes, with the severity of a judge and a citizen, will be insulted by a descendant with a contemptuous verse, by the bitter mockery of a deceived son Over a squandered father. (M.Yu. Lermontov)

Lermontov's works reflect the thoughts and moods of the era of the 30s of the 19th century, the time of political reaction. In Lermontov's mature lyrics, reflections appear on the fate of his generation, and the motives of disappointment and loneliness intensify. At the same time, criticism of the lack of spirituality of secular society becomes even sharper; the poet seeks balance and harmony with the world around him and does not find it. Lermontov most fully comprehended the pain for the fate of his generation, doomed to live in timelessness, an inert generation, in the Duma. The poem is a mixture of elegy and satire. The first property is expressed in the form of the work itself, its size and volume. The second is in the content, since the author not only evaluates his generation, but also criticizes it with his characteristic causticity. "Duma" is a look at a generation from both inside and outside. Lermontov emphasizes this with pronouns: “our generation,” “life is already tormenting us,” “we are withering without a fight.” And on the other hand: “its future,” “it will grow old in inaction.” The author appears in the poem not as an angry accuser, but as a person who feels the entire sin of his generation. His denunciations largely refer to himself. The poem is a conversation not with enemies, but with those who are able to hear the poet and share his spiritual quest. Not only is life to blame for the hero’s troubles, but he himself did not fulfill his destiny. “Indifference”, a feeling of emptiness and meaninglessness of existence permeates all spheres of intellectual and spiritual life, becomes comprehensive and is comprehended at different levels: - on the philosophical (lack of the future and the illusory value of the past); - worldview (knowledge and doubt are considered a burden due to their uselessness); - moral (indifference to good and evil); - psychological (cowardice, inability to fight). However, the fact that the “sad elegy” takes on the features of satire indicates the peculiarities of the author’s position. He is indignant, ridicules, but thereby “affirms a certain positive ideal. The ending of the poem contains the theme of the future - the coming fair trial. And then bitter mockery becomes the only possible expression of the attitude of his descendants towards himself.

1.2.3 Compare the poem by M.Yu. Lermontov’s “Duma” with the poem of the same name given below by N.A. Nekrasova. What conclusions did this comparison lead you to? THOUGHT What is the longing and contrition about, What is the daily sadness, Murmuring, tears, regret - What are we wasting, what are we sorry for? Is it really the misfortune of a short life that is most painful for us, And happiness is so full and sweet, Why is it worth crying without it?... Minute swimmers in a stormy sea Earthly happiness is incomplete, And we have been given enough strength to overcome earthly grief. Our suffering, our torment, When we endure them with prayer, For lasting happiness there is a guarantee In a friend's house, in a holy country; The world is not eternal, people are not eternal... We will leave the house of a moment, The soul will fly free from the chest like an ethereal moth, And all the tears will become pearls, Shine in the rays of her crown, And let suffering, softer than a rose, Pave her way to her father's house. Don’t we often walk with courage Across swampy tundras and mountains, When even the world’s only blessings seem to be found behind them? Why grumble about suffering, Why not walk along the dark path of a rebellious life without grumbling, With the same courage; When, sometimes just as difficult, From the troubles of everyday life and worries That path does not lead to momentary joy, To eternal bliss? (N.A. Nekrasov)

“How often, surrounded by a motley crowd” (1840) January 1st How often, surrounded by a motley crowd, When in front of me, as if in a dream, With the noise of music and dancing, With the wild whisper of closed speeches, Images of soulless people flash in front of me, Decency pulled together masks, When they touch my cold hands With the careless courage of city beauties Long-intrepid hands, - Outwardly immersed in their splendor and vanity, I caress in my soul an ancient dream, Holy sounds of lost years. And if somehow for a moment I manage to Forget myself, - in memory of recent antiquity I fly as a free, free bird; And I see myself as a child; and all around are native places: a tall manor house and a garden with a destroyed greenhouse; A green network of grass covers the sleeping pond, And behind the pond the village smokes - and fogs rise in the distance over the fields. I enter a dark alley; The evening ray peeks through the bushes, and the yellow leaves rustle under timid steps. And a strange melancholy is already pressing in my chest: I think about her, I cry and love, I love the creature of my dreams With eyes full of azure fire, With a pink smile, like the first radiance of a young day Behind the grove. So the omnipotent lord of the wondrous kingdom - I long hours sat alone, And their memory is still alive Under the storm painful doubts and passions, Like a fresh island harmlessly among the seas Blooms on their damp desert. When, having come to my senses, I recognize the deception, And the noise of the human crowd frightens away my dream, An uninvited guest on a holiday, Oh, how I want to confuse their gaiety, And boldly throw into their eyes an iron verse, Doused with bitterness and anger!.. Dual worlds - distinguishing feature romanticism. And in this sense, we have before us a textbook example of the opposition of the real world - hypocritical, soulless, alien to the lyrical hero - and the world of a beautiful dream, where he is free and happy. Speaking about the real world, alien to the lyrical hero and created in the first stanzas, it is important to remember the image of a masquerade - the deceit, hypocrisy of “light”. True feelings are impossible in it: hands are “fearless,” which means love is false. “Sounds” turn into “the noise of music and dancing,” “the wild whisper of closed speeches.” This world creates a feeling of diversity. Glitter is the only color designation of the real world. The real world is filled with “soulless” people. In contrast, the ideal world is purely the world of the “soul” of the lyrical hero. His beautiful dream.

Involvement in the “other” world, the world of dreams, as well as the rejection of the lies and hypocrisy of reality, is the reason for the loneliness of the lyrical hero. In this regard, the most relevant are the motive of exile and the motive of loneliness in the human crowd, unable to understand and appreciate the lyrical hero (“January 1831”). The poem consists of two parts. This poem raises the same topic as in “Duma” - an analysis of modern society. The first part is devoted to the depiction of arrogant, spiritually poor people of the “big world”. In the “motley crowd” “convict speeches” are heard, “images of soulless people flash.” These “decorously pulled masks” are spiritually alien to the poet. Lermontov is also disgusted by the deceitful and insincere relationships between a man and a woman in the world. There is no true love here, everything is decided by money and rank. In order to forget, to take a break from the “glitz and bustle,” the poet plunges into memories of the time of childhood and youth that is close to his heart. Here satire gives way to elegy. Lermontov is convinced that it is impossible to live solely by attachment “to recent antiquity.” Pleasant dreams about the past are deception, or rather, self-deception. That is why Lermontov exclaims: “... having come to my senses, I recognize the deception...”. The poem ends with an angry challenge to the world of bigotry and evil, a protest against the soulless “light.”

The motive of loneliness, exile, wandering

The motive of loneliness, exile, wandering The theme of loneliness is one of the leading ones in Lermontov’s lyrics. Lermontov is a romantic poet, so often the lyrical hero of his poems is a lonely, proud person opposing society, with which he is in an insoluble conflict. He has no friend who can support him “in a moment of spiritual adversity,” no beloved. He is alone in the crowd, and at times his loneliness reaches a universal scale. “The Cliff” (1841), “In the North Face...” (1841), “Leaf” (1841) In these poems, the motive of loneliness is expressed either in unrequited love or in the fragility of human connections. “How often, surrounded by a motley crowd...” (1840) The hero is bored at the ball among the “motley crowd”, “the wild whisper of confirmed speeches”, among “images of soulless people”, “the decency of pulled masks.” The poet has a desire to challenge this soulless kingdom of masks. “Both boring and sad...” (1840) The lyrical hero does not find happiness either in love or friendship, he loses confidence in himself and in life, his hope for the fulfillment of desires disappears: “... that it is in vain to wish forever ?..” “I go out alone on the road...” (1841) Here the lyrical hero is alone in front of the whole world, in front of the universe. The motives of lonely wandering sound clearly. spiritual emptiness, melancholy despair. Ballad “Airship” (1840) The poet turns to the image of Napoleon, drawing the traditional image of a romantic hero, whose tragedy is that he does not find a place for himself in the world of people. Napoleon is opposed to the whole world (he has no peace even after death). The airship in the poem is a vivid symbol of loneliness. The motif of exile and the similar motif of pilgrimage, wandering, homelessness (in “Clouds” “eternal wanderers”, “heavenly clouds” are likened to an exile, a lyrical hero) are naturally associated with the motive of loneliness. The motive of loneliness is connected with the motive of tragic chosenness.

Sail The lonely sail is white in the fog of the blue sea!... What is he looking for in a distant land? What did he throw in his native land?... The waves play - the wind whistles, And the mast bends and creaks... Alas, he is not looking for happiness And he is not running from happiness! Below him is a stream of lighter azure, Above him is a golden ray of sun... And he, rebellious, asks for the storm, As if there is peace in the storms! (M.Yu. Lermontov, 1832) The search for happiness in Lermontov’s poetry is often associated with an escape from it. In his early poem “Sail,” written back in 1832, Lermontov conveys the idea of ​​the unity of opposite principles. Here, storm and peace are combined, the search for the meaning of life and eternal dissatisfaction with what is found. More significant in the poem are the search for the meaning of life and the expression of the contradictory freedom of the human spirit, its eternal search for harmony. There are no clear pictures in the poem, but vague, incompletely defined images are given. We don't see the white sail. He only “turns white” somewhere far away, “in the blue fog of the sea.” What follows is just a series of questions. Where is a person swimming, what is he looking for, what is he striving for? There is no answer to them. The sea, the sky, the space, and the haze of fog - all this evokes a feeling of delight, but also a nagging feeling of loneliness, the unattainability of something beautiful. This is a philosophical poem about man’s eternal dissatisfaction, his search for the meaning of life, and struggle.

I go out alone onto the road; I go out alone onto the road; Through the fog the flinty path shines; The night is quiet. The desert listens to God, And star speaks to star. It’s solemn and wonderful in heaven! The earth sleeps in a blue radiance... Why is it so painful and so difficult for me? Am I waiting for what? Do I regret anything? I don’t expect anything from life, And I don’t feel sorry for the past at all; I'm looking for freedom and peace! I would like to forget myself and fall asleep! But not that cold sleep of the grave... I would like to sleep like this forever, So that the strength of life would slumber in my chest, So that my chest would quietly heave while breathing; So that all night, all day, my ears would be cherished, A sweet voice would sing to me about love, So that the ever green Dark Oak would bend and rustle above me. The internal state of the lyrical hero, marked by mental discord, is contrasted with the peace and goodness that reigns in the universe, which is filled with communication and harmony. In the first line, the bearer of the lyrical voice appears - “I” and speaks of his loneliness. The lyrical narrator is in an open, wide-open world. In front of him is an endless road stretching into the distance, above him - open sky. The hero is a person immersed in the open and free elements of nature. In the first stanza, the hero is mentioned only in the first verse, and the next three are dedicated to the natural world. The real landscape of the poem leads us to the Caucasus. The desert here has two semantic features: firstly, it is a space opposed to the city and the whole world of man-made social evil; secondly, it is an open space. For Lermontov, the desert has a sign of boundlessness. If the word "road" includes the meaning of infinite length, then the desert is an immense expanse. In this poem, the sky is not silent, it “speaks”, and the earth “listens” to it. The hero hears the inaudible, sees the invisible, he is endowed with the abilities of subtle, sensual mutual understanding. The second stanza is dedicated to the relationship that arises between the poet and the surrounding land. It is said about the surrounding world that it is beautiful: “It is solemn and wonderful in the heavens.” How does the lyrical hero feel in this world? What relationships develop between them? They are opposed. There is no harmony in the poet’s soul, he is “painful and difficult.” He is deeply dissatisfied, he doubts the future (“Am I waiting for what?”) and recalls the past with bitterness (“Do I regret anything?”) Here we see the hero’s desire to escape from the temporary world. “I don’t expect anything from life. I" - a rejection of the future, "And I don’t feel sorry for the past at all" - a rejection of the past. Instead of them, the poet would like to join the eternal world of nature and join her dream full of strength. Stanzas four and five reveal in detail this, new for Lermontov hero, ideal. The dream he dreams of is not " cold dream graves", but the fullness of vitality. The last (fifth) stanza connects the hope for love (“a sweet voice sang to me about love”), that is, the achievement of personal happiness, and merging with the images of mythological and cosmic life. The oak tree, at the roots of which the poet wanted to plunge into your dream full of life - this is a cosmic image of the world tree connecting heaven and earth, known to many mythological systems.

How is the theme of loneliness revealed in Lermontov’s poem “I Go Out Alone on the Road”? The poem refers to late period the poet’s creativity, it combines the main motifs of Lermontov’s lyrics (loneliness, disappointment, grief, death). The very first line talks about the loneliness of the lyrical hero; the mood is emphasized by the lexemes “one”, “flint path”, “desert”: the hero goes out into an open, wide-open world. The words “road”, “path” refer to the philosophical concept of “life’s path” - a difficult one, traversed by the hero alone. In the second stanza, by contrasting the external world and the hero’s internal feeling, the contrast between the calm, harmonious world of nature (“It’s solemn and wonderful in the heavens,” “... the earth sleeps”) and the deep dissatisfaction of the lyrical hero, striving to join the peaceful external world, breaking out from a world of inner loneliness, in which it is “painful” and “difficult.” This desire is emphasized by the exclamatory intonations of the third stanza (“I am looking for freedom and peace!”, “I would like to forget myself and fall asleep!”). The concept of freedom in this poem differs from the one that Lermontov put into this word in his early lyrics. Then freedom meant rebellion and was equated with struggle (as in the poem “Sail”), but now freedom is equivalent to peace, harmony with nature. In addition, the syntax of stanzas 1 – 3 suggests the disharmony of the internal and external worlds: one thought is constantly divided into several sentences using a semicolon; in the second stanza nervous condition The hero forces him to ask three questions expressing one state: Why is it so painful and so difficult for me? Am I waiting for what? Do I regret anything? In stanzas 4 - 5, the lyrical hero creates an ideal, imaginary world: he no longer asks God for death (as in the poem “Gratitude”), but longs to remain alive (“... So that the strength of life slumbers in his chest”), but calmed down and no longer reacting to earthly passions. At the end of the poem there is a theme of the meaning of life: the poet calls nature and love the highest values.

M.Yu. Lermontov “Angel” An angel flew across the midnight sky, And he sang a quiet song; And the moon, and the stars, and the clouds in a crowd listened to that holy song. He sang about the bliss of sinless spirits Under the bushes of the Gardens of Eden; He sang about the Great God, and His praise was unfeigned. He carried the young soul in his arms for a world of sadness and tears. And the sound of his song remained in the young soul - without words, but alive. And for a long time she languished in the world, Full of wonderful desires, And the sounds of heaven could not replace Her with the boring songs of the earth. 1831 1.2.1How do the earthly and heavenly worlds relate in the poem by M.Yu. Lermontov's "Angel"? Prove that the poem is based on the romantic principle of “two worlds”. 1.2.3. Compare the poem by M.Yu. Lermontov “Angel” with a poem by A.K. Tolstoy “The soul quietly flew through the heavens...” In what ways are these works similar and different? What figurative and expressive means are used in these poems? What are their functions? A.K. Tolstoy “The soul quietly flew through the heavens...” The soul quietly flew through the heavens, Sad down she lowered her eyelashes; Tears, falling like stars in space, hung in a long and bright line behind her. Those who met her quietly asked the luminary: “Why are you so sad? And what are these tears in your eyes about? She answered them: “I have not forgotten the land, I left a lot of suffering and grief there. Here I only listen to the faces of bliss and joy, The righteous souls know neither sorrow nor malice - Oh, let me go again, Creator, to earth, There would be someone to regret and comfort someone.” 1858

IMAGE OF AN ANGEL “Angel” M.Yu. Lermontov An angel flew across the midnight sky And he sang a quiet song. And the moon, and the stars, and the clouds in a crowd listened to that holy song. He sang about the bliss of sinless spirits Under the bushes of the Gardens of Eden. He sang about the Great God, and His praise was unfeigned. He carried his young soul in his arms for a world of sadness and tears, And the sound of his song in the young soul Remained without words, but alive, And for a long time in the world she languished, Full of wonderful desire, And the sounds of heaven could not replace Her with the boring songs of the earth. Christian motives in the works of M.Yu. Lermontov is a very deep and multifaceted topic. It includes religious, biblical motifs, atheistic and demonic themes. “Angel” is the most mysterious poem written by Lermontov at the age of sixteen, in 1831. It tells the story of the birth of a new person, whose soul is carried by an angel to reunite it with the body before the child is born. During this mysterious night journey, the angel sings a song of amazing beauty, in which he praises the virtues of a righteous life and promises the still sinless soul of the baby eternal paradise. However, the realities of earthly life are very far from heavenly bliss; from childhood, a child will have to face pain and humiliation, sadness and tears. But the echo of the angel’s magical song remained forever in the man’s soul, and he carried it through his entire long life. It seems that the image of the angel sung in the poem is the image of Lermontov’s soul, which is looking for the embodiment of his dreams and ideals. Using the contrast between heavenly and earthly life, Mikhail Lermontov managed to achieve an amazing contrast, which, nevertheless, is distinguished by softness and lightness. However, in the poem itself the line is very clearly drawn between two worlds, which intersect with each other only during the birth and death of a person. If we consider this work from a philosophical point of view, it becomes obvious that young Lermontov is an idealist. He is convinced that a person comes into this world in order to suffer, and this cleanses his own soul. Only in this case can she return to where the angel brought her from, finding eternal peace. And in order for a person to strive to live according to God’s laws, in his soul, like a charming obsession, there remains the memory of an angel’s song, which gives him a feeling of joy and the infinity of existence. It is noteworthy that the poem “Angel” begins with the word “sky,” which is identified with something divine and sublime, and ends with the word “earth,” symbolizing not only the frailty of existence, but also the end of human life. At the same time, a peculiar refrain in the form of the last line of each quatrain seems to remind us that a person’s stay on earth in a bodily shell is only a temporary phenomenon, and death should be treated with ease, without fear and sadness. After all, the life of the soul is eternal, and no one is able to change this order of things.

A. Block “Leaf Angel” At the decorated Christmas tree And at the playing children The leaf angel looks through the crack of tightly closed doors. And the nanny lights the stove in the nursery, The fire crackles, burns brightly... But the angel melts. He is German. He is not hurt and warm. First the wings of the crumbs melt, the head falls back, the sugar legs break and lie in a sweet puddle... Then the puddle dries up. The hostess is looking for him - he is not there... And the old nanny has gone deaf, She grumbles, she doesn’t remember anything... Break, melt and die, Creatures of fragile dreams, Under the bright flame of events, Under the roar of everyday vanity! So! Perish! What's the use of you? Let only once, breathing the past, The naughty girl - the soul - cry for you in secret... A. Blok’s poem “Leaf Angel” is a poetic response to L. Andreev’s story “Angel”, in it the image of an angel symbolically sounds. The central motive is that a person is elevated above earthly everyday life by a dream, an impulse towards the sublime. However, the image of a melting angel emphasizes the tragic hopelessness of earthly existence. There is nothing left of the angel who embodies everything pure and beautiful - only the soul will keep memories of this, even if the rest trample on all fragile dreams Alexander Pushkin At the doors of Eden, a gentle angel shone with his head drooping, And a gloomy and rebellious demon flew over the hellish abyss. The spirit of denial, the spirit of doubt looked at the pure spirit and the heat of involuntary tenderness for the first time dimly recognized. “Forgive me,” he said, “I saw you, And it was not for nothing that you shone to me: I didn’t hate everything in the sky, I didn’t despise everything in the world. The plot is based on an antithesis. Pushkin contrasts a gentle angel and a gloomy demon. First, an image appears before us an angel with a bowed head. A rebellious demon immediately appears, flying over the hellish abyss. The angel is compared to a pure spirit, and the demon is compared to the spirit of denial and doubt. This is a lyrical poem related to romanticism. If at the beginning of the work there is a comparison of two images, then in. In the end, the demon asks the angel for forgiveness. He says that he is not really as evil as everyone imagines him to be. The demon did not despise and hate everything. In the end, good still triumphed and even the “gloomy demon” could not resist “ a gentle angel."

AND IT’S BORING AND SAD And boring and sad, and there’s no one to give a hand to In a moment of spiritual adversity... Desires! To love... but who?.., for a while - is not worth the effort, But it is impossible to love forever. Will you look into yourself? - there is no trace of the past: And joy, and torment, and everything there is insignificant... What are passions? - after all, sooner or later their sweet illness Will disappear at the word of reason; And life, as you look around with cold attention, is such an empty and stupid joke... (M.Yu. Lermontov) 1.2.1. How is the theme of time revealed in the poem? 1.2.2. What are the features of the poem's composition? 1.2.3. Why doesn’t the lyrical hero find spiritual support in the values ​​that are named in the poem? 1.2.4. Compare the poem by M.Yu. Lermontov “Both Boring and Sad” with the poem below by A.S. Pushkin “A gift in vain, a gift fortuitous...” What conclusions did this comparison lead you to? *** A vain gift, a random gift, Life, why were you given to me? Or why are you condemned to execution by a secret fate? Who called me out of insignificance with a hostile power, filled my soul with passion, excited my mind with doubt?.. There is no goal in front of me: My heart is empty, my mind is idle, And the monotonous noise of life torments me with melancholy. (A.S. Pushkin)

BEGGAR At the gates of the holy monastery stood a beggar, a withered poor man, barely alive from hunger, thirst and suffering. He only asked for a piece of bread, And his gaze revealed living flour, And someone put a stone In his outstretched hand. So I prayed for your love With bitter tears, with longing; So my best feelings are deceived forever by you! (M.Yu. Lermontov, 1830) 1. What is unique about the composition of this poem? 2. Why does the lyrical hero of the poem compare himself to a beggar? 3. Compare the poems of M.Yu. Lermontov “Beggar” and N.A. Nekrasov "The Thief". What is the difference between the themes of these poems? THIEF Hurrying to a dinner party along a dirty street, Yesterday I was struck by an ugly scene: The merchant, whose kalach had been stolen, Startled and turned pale, suddenly started howling and crying And, rushing from the stall, shouted: “Stop the thief!” And the thief was surrounded and stopped soon. The bitten roll trembled in his hand; He was without boots, wearing a frock coat with holes; The face showed a trace of a recent illness, Shame, despair, prayer and fear... A policeman came, at times called him over, Point by point he selected an extremely strict interrogation, And the thief was solemnly led into the quarter. I shouted to the coachman: “Go on your way!” - And I hastened to offer a prayer to God for the fact that I have an inheritance... (N.A. Nekrasov, 1850)

1.2.1.What is the symbolic meaning of the title of this poem - “Beggar”? The direct meaning of the word “beggar” is associated with the designation of a poor man asking for a “piece of bread” “at the gates of the holy monastery.” This is precisely the meaning of the concept “beggar” in the first two stanzas. A synonym for the word “beggar” is the expression “poor man begging for alms.” However, in the last stanza the meaning of the word “beggar!” acquires a subjective author's connotation. The lyrical hero compares himself with the “beggar”. The ambiguity of the concept “beggar” is also manifested in the fact that the lyrical “I” is not just a person deprived of love. This is the one who “begged for love,” but was deceived in his best feelings, like a poor man asking for bread and receiving a stone in response. The words “bread” and “stone” as symbols of life and death bring the poetic world of the poem closer to the biblical context. Therefore, for the lyrical “I”, the absence of love (“bread”) and its replacement with “stone” become tantamount to death and enhance the dramatic pathos of the poem.

1.2.1 Describe the mood of the lyrical hero of the poem by A.S. Pushkin. 1.2.2 What is unique about the composition of the poem “Cloud”? 1.2.3 How do the natural world and the human world relate in Pushkin’s “Cloud”? 1.2.4 Compare the poem by A.S. Pushkin “Cloud” with the poem below by M.Yu. Lermontov "Clouds". What conclusions did this comparison lead you to? CLOUD The last cloud of the scattered storm! Alone you rush across the clear azure, Alone you cast a dull shadow, Alone you sadden the jubilant day. You recently encircled the sky, And lightning encircled you menacingly; And you made mysterious thunder and watered the greedy earth with rain. Enough, hide! The time has passed, the Earth has become refreshed, and the storm has passed, And the wind, caressing the leaves of the trees, drives you from the calm heavens. (A.S. Pushkin) CLOUDS Heavenly clouds, eternal wanderers! Along the azure steppe, along a chain of pearl, You rush, as if like me, exiles From the sweet north towards the south. Who is driving you away: is it destiny’s decision? Is it secret envy? Is it open anger? Or is crime weighing on you? Or is slander from friends poisonous? No, you are bored with barren fields... Passions are alien to you and suffering is alien to you; Eternally cold, eternally free, You have no homeland, you have no exile. (M.Yu. Lermontov)

Lermontov Clouds. The theme of wandering is the most important theme in the history of world literature. Wandering is the irrevocable abandonment of everything worldly, living on alms and constantly traveling from one holy place to another. The poet himself considered himself a “wanderer.” Written in the form of an address to the clouds, the poem reflects the psychological parallelism of the images of the lyrical hero and the clouds. Three stanzas express the dynamics in the thoughts of the lyrical hero and the change in his emotional state: from comparing himself with clouds that are driven by the wind, to expressing bitterness from saying goodbye to his homeland and contrasting himself with the clouds. Clouds are cold, free, dispassionate, indifferent; the lyrical hero is deeply suffering from persecution and exile, unfree. The use of book means (exiles, fate, decision, gravitate, crime, slander, get bored, barren fields, exile) and emotional-evaluative vocabulary [azure (steppe), pearl (chain), dear (north), poisonous slander, barren (fields ), open (malice), secret envy, crime) reflects the high ideological orientation of the poem and its excited emotional tone. The poetic text is characterized by the use of various figurative and expressive means: personification (clouds are eternal wanderers), epithets (azure, pearl, poisonous, etc.), comparisons (You rush as if like me, exiles...), figurative periphrases (darling north - St. Petersburg, south side - the Caucasus, azure steppe - the sky, a chain of pearls - clouds), rhetorical questions and syntactic parallelism (Who is persecuting you? Is it a decision of fate, is it secret envy? Is it open malice? Or is a crime weighing on you? Or friends slander poisonous?); repetition techniques: alien (2), eternal (2), no (2). All this serves as a means of emotional and semantic strengthening of the author’s individual aesthetic vision of the world and allows the reader to become involved with it. . The monologue of the lyrical hero, addressed to the clouds, makes it possible to convey in artistic form the excited emotional state of the author thanks to the technique of psychological parallelism, characteristic of the poetry of M. Yu Lermontov.

CLICHES for comparison 1. Works (poems, fragments, excerpts) are united by a motif (theme)... 2. The same theme in two works (poems, fragments, excerpts) is revealed in completely different ways and develops in opposite aspects. 3. Both works (poems, fragments, excerpts) are characterized by one more feature. 4. One more significant difference should be noted... 5. The differences between the poems are expressed not only in emotional coloring, in pathos, but also in the structure and form of the works. 6. The rhythmic sound of the poems is also contrasting. The poetic meters that poets choose convey... (dynamism, movement; smoothness, melodiousness) 7. Unlike the first, the second poem has... 8. The poems are in many ways contrasting, and the author based the contrast on the opposite of feelings (Pr. .: love and falling in love). The differences in these feelings are due to the differences in the lyrical characters. 9. Poems... seem to be about the same thing, but how differently the position of the lyrical hero and completely different moods are presented in them. 10. It seems to me that from a comparison of both works (poems, fragments, excerpts) the following conclusion can be drawn.

There are speeches - the meaning is dark or insignificant, but it is impossible to listen to them without excitement. How full of their sounds are the madness of desire! They contain tears of separation, they contain the thrill of meeting. Will not meet with an answer Amid the worldly noise From flame and light A word is born; But in the temple, in the middle of the battle, And wherever I am, Having heard it, I will recognize it everywhere. Without finishing the prayer, I will answer that sound, And I will rush out of the battle to meet Him. (M.Yu. Lermontov) The work is not included in the GIA KIM for graduates of 9th grade; it is given in the manual for training. 1.2.1 What is the role in the poem by M.Yu. Lermontov's “There are speeches - meaning...” plays a contrast device? 1.2.2 What “word” does the poet sing? 1.2.3What is the lyrical hero of the poem by M.Yu. Lermontov? 1.2.4 Compare the poem by M.Yu. Lermontov “There are speeches - meaning...” with the given poem by A.A. Fet “With one push, drive away a living boat...”, What conclusions did this comparison lead you to? With one push, drive a living boat From the sands smoothed by the tides, Rise with one wave into another life, Smell the wind from the flowering shores, Interrupt a dreary dream with a single sound, Suddenly revel in the unknown, dear, Give life a sigh, give sweetness to secret torments, Instantly feel someone else’s as your own, Whisper about that before which the tongue becomes numb, To intensify the battle of fearless hearts - This is what the singer only the chosen one masters, This is his sign and crown! (AA. Fet)

Compare the poem by M.Yu. Lermontov “The Poet” with the poem below by F.I. Tyutchev "Poetry". How do authors’ ideas about the purpose of a poet and poetry differ? POET My dagger shines with a golden finish; The blade is reliable, without blemish; Damask steel preserves it with a mysterious temper - The legacy of the abusive east. He served as a rider in the mountains for many years, without knowing the payment for the service; He drew a terrible mark across more than one breast and broke through more than one chain mail. He shared fun more obediently than a slave, Ringing in response to offensive speeches. In those days, he would have had rich carvings, an alien and shameful outfit. He was taken beyond the Terek by a brave Cossack on the cold corpse of his master, and for a long time he lay abandoned afterwards in the camp store of an Armenian. Now the relatives of the scabbard, beaten in the war, the poor companion is deprived of a hero, he shines like a golden toy on the wall - Alas, inglorious and harmless! No one cleans Him with a habitual, caring hand, caresses Him, And no one reads His inscriptions, praying before dawn, with zeal... ------------------- In our age Pampered aren't you, poet, You have lost Your purpose, Having exchanged for gold the power that the world Heeded in silent reverence? It happened that the measured sound of your mighty words ignited a fighter for battle, The crowd needed it, like a cup for feasts, Like incense during hours of prayer. Your verse, like God’s spirit, hovered over the crowd; And, the echo of noble thoughts, Sounded like a bell on a veche tower, During the days of celebrations and troubles of the people. But your simple and proud language is boring to us, We are amused by sparkles and deceptions; Like old beauty, our old world is accustomed to hiding wrinkles under blush... Will you wake up again, ridiculed prophet? Or will you never, in response to the voice of vengeance, tear out your blade from a golden scabbard, covered with the rust of contempt?.. (M.Yu. Lermontov, 1839)

POETRY Among thunder, among fires, Among seething passions, In elemental, fiery discord, She flies from Heaven to us - Heavenly to the Earthly Sons, With azure clarity in her gaze - And on the rebellious Sea Pours conciliatory oil. (F.I. Tyutchev, 1850) 1-3. In the wording of the task, let’s highlight the words “differ”, “authors’ ideas”. Let us recall literary concepts. “Representations of the authors” - the author’s position: what is the purpose of the poet and poetry. The author's position is the author's attitude to this or that topic or this or that problem of the text, the author's proposed solution to this or that problem. The author's position on the main topic and main problem of the text usually represents the main idea of ​​the text, its main conclusion and coincides with the idea of ​​the text. To understand the idea of ​​a poem, it is necessary to analyze its figurative structure, composition, means of expression, etc. Artistic image- any phenomenon creatively recreated by the author in a work of art. It is the result of the artist’s understanding of some phenomenon or process. 4. The grounds for comparison are named in the wording of the assignment: about the purpose of the poet and poetry.

Key words Lermontov The poet is compared to a dagger aren't you, the poet, You have lost your purpose The purpose of the poet: ...the measured sound of your mighty words Inflamed the fighter for battle; ...the echo of noble thoughts, Sounded like a bell on a veche tower, During the days of celebrations and troubles of the people; ...the power to which the world listened in silent reverence. Key words Tyutchev The Heavenly is opposed to the Earthly. On earth - thunder, seething passions, fiery discord, a rebellious Sea. She flies from Heaven to us - Heavenly; With azure clarity in your gaze; The oil of reconciliation is pouring.

Let's compose a coherent answer. 1st paragraph – states general theme. 2nd paragraph – Lermontov’s presentation. 3rd paragraph – Tyutchev’s presentation. 4th paragraph – conclusion. Evaluate the essay. Lermontov's and Tyutchev's ideas about the purpose of the poet and poetry are completely different. Lermontov’s poem “The Poet” is based on a comparison of poetry with a dagger: like a military weapon that has turned into an “inglorious and harmless toy,” poetry has lost its social purpose. The poet is a “mocked prophet” who exchanged power over the crowd for gold. Denouncing the poet of the “effeminate age,” Lermontov calls on the poet to become, as before, a spokesman for the people’s thoughts, when his “mighty words,” “simple and proud language” “ignited a fighter for battle” and were like a bell “on the veche tower on days of celebrations and people's troubles." Tyutchev has a completely different idea about the role of poetry and the place of the poet in society. F. Tyutchev’s poem “Poetry” is built on the contrast of the earthly and the heavenly. The earthly picture is created by images of a thunderstorm (“bubbling passions”, “fiery discord”) and a “rebellious sea”, symbolizing the life of humanity. Poetry, according to Tyutchev, has a divine origin: “Heavenly flies to us from heaven,” it brings “azure clarity” to the human world of passions, “pours conciliatory oil.” Thus, Lermontov affirms the high ideal of civic poetry, and Tyutchev believes that the role of poetry is to give harmony and peace to humanity.

"Death of poet". The poet is dead! - a slave of honor - Fell, slandered by rumor, With lead in his chest and a thirst for revenge, Hanging his proud head!.. The poet's soul could not bear the shame of petty insults, He rebelled against the opinions of the world Alone, as before... and was killed! Killed!.., why now the sobs, the unnecessary chorus of empty praises and the pitiful babble of justification? Fate has reached its conclusion! Wasn’t it you who at first so viciously persecuted His free, bold gift And for fun fanned the Slightly hidden fire? Well? have fun... - he could not bear the last torment: The wondrous genius faded away like a torch, The solemn wreath faded. His killer struck in cold blood... there is no salvation: An empty heart beats evenly. The pistol did not waver in his hand. And what a miracle?.., from afar, Like hundreds of fugitives, Catching happiness and ranks Thrown to us by the will of fate; Laughing, he boldly despised the Earth's alien language and customs; He could not spare our glory; At that bloody moment, the bloody one could not understand what he was raising his hand to!.. And he was killed - and taken by the grave, Struck, like him, by a merciless hand. Why, from peaceful bliss and simple-minded friendship, did he enter this world, envious and stuffy, For a free heart and fiery passions? Why did he give his hand to insignificant slanderers, Why did he believe false words and caresses, He, who from a young age comprehended people?.. And having taken off the former crown, they put a crown of thorns, Entwined with laurels, on him: But the secret needles severely wounded the glorious brow; His last moments were poisoned by the insidious whispers of mocking ignoramuses, And he died - with a vain thirst for vengeance, With the annoyance of the secret of deceived hopes. The sounds of wonderful songs have fallen silent, They will not be heard again: The singer’s shelter is gloomy and cramped, And there is a seal on his lips. And you, arrogant descendants With the well-known meanness of the illustrious fathers, with the heel of the slave they trampled down the fragments of the Play of happiness of the offended births! You, standing in a greedy crowd at the throne, executioners of Freedom, Genius and Glory! You are hiding under the canopy of the law, Judgment and truth are before you - keep quiet!.. But there is also God’s court, confidants of depravity! There is a terrible judgment: it awaits; He is not accessible to the ringing of gold, And he knows thoughts and deeds in advance. Then in vain you will resort to slander! It will not help you again, And you will not wash away the righteous blood of the Poet with all your black blood!

The main themes here are the conflict between the poet and the crowd, the divine gift and the doom of death. The next part of the poem (23 lines) is an elegy. The second part is filled with antitheses, illustrating the impossibility of understanding between the poet and the “light”, the crowd. The last sixteen lines, written, as contemporaries recall, a little later, are associated with the problems raised in Pushkin’s “My Genealogy.” The words “Freedom, Genius and Glory”, used with a capital letter, bring the poem closer to the tradition of Pushkin’s “Liberty” and “Village”, with Decembrist poetry. It is also important to note the theme of a fair trial, which in Lermontov’s view is associated with the future: a “Godly”, “formidable”, incorruptible court that cannot be deceived.

JANUARY 29, 1837 From whose hand did the deadly lead tear the poet’s heart to pieces? Who destroyed this divine phial like a meager vessel? Whether he is right or guilty Before our earthly justice, he is forever branded by a higher hand as a “regicide.” But you, suddenly swallowed up from the light into timeless darkness, Peace, peace to you, O shadow of the poet, Bright peace to your ashes!.. In spite of human vanity, Great and holy was your lot!.. You were the living organ of the gods, But with blood in your veins ...sultry blood. And with this noble blood You quenched the thirst for honor - And the overshadowed one put to rest the Banner of the people’s sorrow. Let him judge your enmity, Who hears the shed blood... Well, like the first love, Russia’s heart will not forget!.. (F.I. Tyutchev, 1837) 3. Compare the poems of M.Yu. Lermontov “Death of the Poet” and F.I. Tyutchev “January 29, 1837”, dedicated to the death of A.S. Pushkin. How do the two poets’ understanding of the essence of the tragedy differ? The two poets' interpretation of one event is completely different. Lermontov found those responsible for the death of Pushkin, and this list does not end with Dantes. Lermontov accused society, the authorities, Tyutchev, on the contrary, accused Dantes and paid tribute to Pushkin, but he does not blame society.

Examples of comparative analysis. Compare the poem by M. Yu. Lermontov with the given poem by A. K. Tolstoy. What motives bring these poems together? No, it is not you that I love so ardently, It is not for me that your beauty shines: I love in you my past suffering and my lost youth. When sometimes I look at you, looking into your eyes with a long gaze: I’m busy in a mysterious conversation, But I’m not talking to you with my heart. I am talking to a friend of my youth, In your features I am looking for other features, In the lips of the living, lips that have long been mute, In your eyes there is the fire of extinguished eyes. M. Yu. Lermontov.1841 With a gun over my shoulders, alone, in the moonlight, I ride across the field on a good horse. I threw away the reins, I think about her, Go, my horse, more cheerfully on the grass! I think so quietly, so sweetly, but then an unknown companion pesters me, He is dressed like me, on the same horse, The gun behind his shoulders glitters in the moonlight. “You, companion, tell me, tell me, who are you? Your features seem familiar to me. Tell me, what brought you to this hour? Why are you laughing so bitterly and evilly?” - “I laugh, comrade, at your dreams, I laugh that you are ruining your future; Do you think that you really love her? That you really love her yourself? It’s funny to me, it’s funny that, loving her so ardently, you don’t love her, but love yourself. Come to your senses! Your impulses are no longer the same, She is no longer a mystery to you, You came together by chance in the bustle of the world, You will separate from her by chance. I laugh bitterly, I laugh evilly at the fact that you sigh so heavily.” Everything is quiet, enveloped in silence and sleep, My comrade disappeared in the fog of the night, In heavy thought, alone, in the moonlight, I am riding across the field on a good horse... A.K. Tolstoy. 1851

Lermontov. “No, it’s not you that I love so passionately...” The most important motives: inner freedom; the transience of love; knightly service and its devaluation by treason; romantic pride - inner strength in the struggle with oneself; the inevitability of memory (“we know each other too much to forget each other” - a formula that appears more than once in Lermontov’s lyrics); the desire to forget, to escape from mental pain through “pleasures” and deception - embodied more in the prosaic than in the lyrical works of Lermontov. The theme of “angelic,” sublime, ideal love, which the hero of this poem expected and did not find, is also indicative. The poem is written in the genre of a message, which immediately refers us to the Pushkin tradition. But unlike poems that glorify love and talk about it as a feeling that gives creative strength, “I will not humiliate myself before you...” speaks of love as a feeling that is impossible for the hero, and therefore not only does not give him the joy of being , creative powers, but also depriving them. The hero is lonely and even embittered. Not a single poet before Lermontov would have dared, in a message to a woman he once loved, to allow himself to use oratorical intonations and oratorical pathos. Meanwhile, Lermontov extremely saturates his monologue with emotions: the text contains both reproachful, bitter exclamations and angry, furious questions. The lyrical hero of intimate lyrics, who has not found salvation in the world of poetry, in poetic creativity, is unhappy in love. She brings him only grief and suffering, just like the secular society he hates, the masquerade world. The tragedy of the worldview is enhanced by the fact that the intimate lyrics, speaking about purely personal feelings, are penetrated by socio-philosophical generalizations about man’s place in the world, about his right to happiness, about his romantic dream associated with the search for the universal harmony of existence and the human personality.

Evaluate the essay. The poems of M. Yu. Lermontov and A. K. Tolstoy are similar in motifs and images. For example, in both poems there is a motif of lost love. In Lermontov it is expressed in the words: “No, it is not you that I love so ardently, It is not for me that your beauty shines. I love in you my past suffering and my lost youth...” In Tolstoy it sounds like this: “You don’t love her, but you love yourself.” And also in both poems there is a motif of internal duality. The lyrical heroes are brought together in these two motives. These are disappointed egoists who were unable to retain a bright feeling. K 1 - K 2 - K 3 - MOTIVE - a stable semantic element of a literary text, repeated in folklore and literary works. Often the motif contains distinct elements of symbolization (a road in N.V. Gogol, a garden in A.P. Chekhov, a blizzard in A. .S. Pushkin and Russian symbolists, a card game in Russian literature of the 19th century). The term “motive” is also used in a different meaning: themes and problems of the writer’s work are often called motives (for example, the moral rebirth of man; the illogical existence of people).

Compare the poem by M. Yu. Lermontov with the given poem by A. K. Tolstoy. What motives bring these poems together? No, it is not you that I love so ardently, It is not for me that your beauty shines: I love in you my past suffering and my lost youth. When sometimes I look at you, looking into your eyes with a long gaze: I’m busy in a mysterious conversation, But I’m not talking to you with my heart. I am talking to a friend of my youth, In your features I am looking for other features, In the lips of the living, lips that have long been mute, In your eyes there is the fire of faded eyes. M. Yu. Lermontov.1841 Evaluate the essay. The poems of M. Yu. Lermontov and A. K. Tolstoy are similar in motifs and images. For example, in both poems there is a motif of lost love. In Lermontov it is expressed in the words: “No, it is not you that I love so ardently, It is not for me that your beauty shines. I love in you my past suffering and my lost youth...” In Tolstoy it sounds like this: “You don’t love her, but you love yourself.” And also in both poems there is a motif of internal duality. The lyrical heroes are brought together in these two motives. These are disappointed egoists who were unable to retain a bright feeling. With a gun on their shoulders , alone, in the moonlight, I’m riding across the field on a good horse. I threw away the reins, I’m thinking about her, Go, my horse, more cheerfully on the grass. I’m thinking so quietly, so sweetly, but an unknown companion pesters me, dressed. He is like me, on the same horse, The gun behind his shoulders shines in the moonlight, “You, companion, tell me, tell me, who are you? It’s as if I recognize your features. Tell me, what brought you to this hour? Why are you laughing so bitterly and evilly?" - "I laugh, comrade, at your dreams, I laugh that you are ruining your future; Do you think that you really love her? That you really love her yourself? It’s funny to me, it’s funny that, loving so passionately, you don’t love her, but love yourself. Come to your senses! Your impulses are no longer the same, She is no longer a secret to you, You came together by chance in the bustle of the world, You will separate from her by chance. I laugh bitterly, I laugh evilly at the fact that you sigh so heavily." Everything is quiet, enveloped in silence and sleep, My comrade disappeared in the fog of the night, In heavy thought, alone, in the moonlight, I am riding across the field on a good horse... A.K. Tolstoy 1851

"Cliff". A golden cloud spent the night on the chest of a giant rock; In the morning she set off early, playing merrily across the azure; But a wet trace remained in the wrinkle of the Old Cliff. He stands alone, deep in thought, and quietly cries in the desert. In Lermontov's lyrics, love is a high, bright, poetic feeling, but always unrequited or lost. In the poem “Cliff,” the poet talks about the fragility of human relationships. The cliff suffers from loneliness, which is why it is so dear to him to visit the cloud that rushed off in the morning. The image of the cloud - “golden”, “rushed away”, “playing merrily across the azure” is contrasted with the cliff: it is a “giant”, but “a wet trace in a wrinkle”, “thought deeply” and “he is crying in the desert”. This opposition is called antithesis.

We parted, but I keep your portrait on my chest: Like a pale ghost best years He brings joy to my soul. And, devoted to new passions, I could not stop loving him: So an abandoned temple is still a temple, A defeated idol is still a god! 1837 1.2.3.What other poems about the confrontation between the hero and the world, about loneliness do you know and how do they resonate with the poem by M. Lermontov? Other poems by Lermontov himself are suitable for comparison (“The Cliff”, “In the Wild North Stands Lonely...”, “Leaf”, “No, I’m not Byron...”, etc. A comparison with such poems by A. Pushkin is also possible, like “To the Poet” or “From Pindemonti". I don’t want the world to know My mysterious story: How I loved, for what I suffered - Only God and conscience are the judge!.. Their hearts will give an account of their feelings, They will ask for regret. And let the One who invented my torment punish me. The reproach of the ignorant, the reproach of people does not sadden the high soul, - Let the roaring waves of the seas, Let the granite cliff not tumble down His forehead among the clouds, He is a sullen dweller of two elements, And, except for the storm and thunder. , He will not entrust his thoughts to anyone... 1837 1.2.1. Why can this poem be called romantic? There are many signs of romanticism in this poem. For example, the opposition of a lonely, misunderstood hero to the world, the presence of “two worlds”, antitheses (the world of people, crowds, the world). dolny - and the world of “storms and thunder”) The hero of the poem wants to hide his secret from everyone; he suffered and felt a lot in the past. Now his destiny is torment, gloominess; he must endure and remain silent. But his soul is “high.” The inability to tear yourself away from the ground and at the same time the inability not to strive for the sky, the “disconnection” between two elements is also an important sign of a romantic hero. Both the images used in the poem (for example, natural ones) and the style itself are romantically sublime.

Prayer In a difficult moment of life, Is there sadness in my heart: I repeat one wonderful prayer by heart. There is a grace-filled power in the consonance of living words, and an incomprehensible, holy charm breathes in them. Doubt is far away from the soul, like a burden, and you believe and cry, And so easily, easily... 1839 1.2.1. Why do you think the poem ends with an ellipsis? 1.2.2. Which poems of Lermontov would you call contrasting to this poem? This is a rather rare case for the author of a “bright”, harmonious poem. Only a “minute” is called “difficult”, “doubt is far away”, the soul in prayer is freed from the burden. It is not for nothing that prayer is called “wonderful”: this liberation of a person occurs as if by itself (believe, cry, easily, easily - impersonal sentences). The words of the prayer act as if apart from their meaning - by their consonance, the life contained in this consonance, an incomprehensible, holy charm. However, the ellipsis (and the repetition of words at the end of the last line) can be interpreted as an emerging intonation of uncertainty: the hero feels that liberation has not come for long, that sadness will return - and he wants to prolong the prayer in order to delay this moment (because he experiences such a state of lightness only in prayer). Many of Lermontov's programmatic poems, in which the motives of struggle or doubt and disappointment are strong, may look in contrast to this poem.

When the yellowing cornfield is agitated When the yellowing cornfield is agitated And the fresh forest rustles at the sound of the breeze, And the raspberry plum hides in the garden Under the shadow of the sweet green leaf; When sprinkled with fragrant dew, On a ruddy evening or morning at the golden hour, From under a bush a silver lily of the valley nods its head welcomingly; When the icy spring plays along the ravine And, plunging my thoughts into some kind of vague dream, Babbles to me a mysterious saga About the peaceful land from which it rushes - Then the anxiety of my soul is humbled, Then the wrinkles on my brow disperse, - And I can comprehend happiness on earth , And in the heavens I see God... How are landscape sketches related to the main idea of ​​the poem? Which artistic media used by M.Yu. Lermontov to create images of living nature? This poem fascinates with its rhythm, which is set in the first three stanzas by the repetition of the word “when”, and in the fourth it is replaced by the word “then”. The first three quatrains are the conditions necessary for the lyrical hero in order to comprehend happiness on earth, and happiness for him is to see God in heaven, that is, to receive the blessing of the Creator. But what are these conditions? The poet lists them, giving these listings a poetic formula. To create it, the poet uses very beautiful epithets, the magic of which fascinates: “fresh forest, “sweet shadow”, “fragrant dew”, “ruddy evening”, “golden hour”, “silver lily of the valley”, “icy spring”, “mysterious saga", "peaceful land", "vague dream". The harmony created by poetic means, hidden in nature, seen by him, felt - these are the conditions for life on Earth.

Compare the poem by M.Yu. Lermontov “When the yellowing field is agitated...” with the poem below by I.A. Bunin “And flowers, and bumblebees, and grass, and ears of corn...”. What ideas and images do these poems bring together? *** And flowers, and bumblebees, and grass, and ears of corn, And azure, and the midday heat... The time will come - the Lord will ask the prodigal son: “Were you happy in your earthly life?” And I will forget everything - I will only remember these Field paths between the ears of corn and grass - And from sweet tears I will not have time to answer, falling to my merciful knees. (I.A. Bunin, July 14, 1918)

“I am alone - there is no joy...” (Motif of loneliness in Lermontov’s lyrics) “Loneliness” is the usual state of a romantic lyrical hero. “Initiated” into the secrets of the ideal world, misunderstood by the crowd, exiled or wandering, seeking and thirsting for freedom, he, as a rule, appears before the reader alone. This is one of the most stable and constant motifs of Lermontov’s work, reflected in most of his works. 1. Comparison of the poems “The Prisoner” by Pushkin and Lermontov: the motive of the joylessness of loneliness, the hopelessness of the latter’s desire for freedom. The “damp prison” (almost a folklore image) and the bars are contrasted in Pushkin with the image of the free world (with all the attributes of freedom - “mountains”, “sea”, “wind”), the embodiment of which is the eagle - a bird with an instinct for freedom. The only thing that raises some doubt about the fulfillment of hope is that the eagle, like the lyrical hero, is “tied” to prison - “fed” in it. However, the openness of the poem's ending allows for ambiguity of interpretation. Lermontov’s world of freedom (the symbols of which retain some features of “earthly” happiness and pleasure), filled with colors, light (“radiance” of the day, “black-eyed” girl, “black-maned” horse, “lush” tower, “green” field), movement, is replaced by a picture of the world of a prison, where the light is dim, “dying”, the sentry is “unresponsive” and his steps fill the world with monotonous sound. 2. The motif of loneliness in Lermontov becomes central and all-encompassing, acquiring not only biographical, psychological, but also philosophical meaning: it is a fruitless search for the purpose and meaning of existence. If in youthful lyricism loneliness is both a source of suffering and an object of aspiration, emphasizing chosenness, then in later poems loneliness no longer promises any satisfaction to the lyrical hero, it “appears as a natural, inevitable general result of existence.” Indicative in this sense is the poem “And boring and sad...", where there is no feeling of lofty, solemn tragedy, rather fatigue and hopelessness. This poem, built on an antithesis, reflects a view on the most important ideological concepts: desire, love, passion are fleeting and pathetic against the backdrop of eternity, reason is the “burden of knowledge and doubt” of the entire generation (“Duma”). The lyrical hero is cut off from the space of “peace and joy” associated with faith (“Branch of Palestine”), his desire to find harmony with nature) in most cases is not embodied (the only exception is the poem “The Prophet”, where nature, embodying the divine will, nevertheless, it cannot become the only possible world for the lyrical hero, for by the will of God he must fulfill a prophetic mission precisely in human society). Loneliness in “I Go Out Alone on the Road...” takes on a universal scale.

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

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


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

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


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

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



The 2018 Main State Examination (OGE) in Literature will bring with it some changes to the final certification from the Federal Institute of Pedagogical Measurements (FIPI) with the support of Rosobrnadzor and the Ministry of Education. Ninth-graders graduating from school who want to connect their lives with the world of artistic works must be prepared for new assessment criteria, improved instructions, and high-quality improvements to existing assignments.

In 2018, 9th grade students will most likely need to take a total of 5 subjects instead of 4: 2 compulsory ones (mathematics and Russian language) and 3 optional ones, which include the OGE in literature. In 2020, there may be 6 exams, because today representatives of the Ministry of Education, interested in motivating schoolchildren and encouraging them to conscientiously study secondary school courses, are seriously thinking about this.

From now on, the results of elective papers will be taken into account when forming a certificate - the educational system became familiar with this innovation already this year. Children will need to successfully pass all examination tests (grade “satisfactory” or “3” or higher). For those who fail to pass the OGE the first time, the Ministry of Education will provide an additional attempt, but this provision will only be relevant for 2 certifications. Students who are unable to take advantage of this opportunity and fail to cope with at least one of the repeated tasks will not be awarded the coveted document on completion of the high school course. They will be left within the walls educational institution for one more year.

Preparation for the OGE in literature 2018 can begin in different time depending on whether the student wants to write the test in an early or general format, the main difference of which is the dates of the exams. Thus, “early-term” students usually undergo certification starting in the second ten days of April. The start of testing for the main stream of schoolchildren occurs in May/June, and the retake period begins in September. In 2018, early submission of literature is scheduled for April 27 (Friday). The majority of graduates will start writing their work only on June 7 (Thursday).

General information about the examination certification for the subject is as follows:

• duration – 235 minutes (3 hours 55 minutes);
• the minimum primary score corresponding to a “three” is 7;
• number of tasks – 4.



More about retaking

According to the order of the Ministry of Education and Science of Russia No. 1394 dated December 25, 2013 “On approval of the Procedure for conducting state final certification in educational programs basic general education”, only certain categories of students will be able to hope for re-admission to take the OGE in the current academic year. We are talking about teenagers who:

1. Received unsatisfactory grades in no more than 2 subjects.
2. They filed an appeal due to a violation of the rules of the event and were found to be right.
3. Did not come to the exam or did not complete the test for a valid and documented reason (illness, etc.).
4. Subsequently canceled work was submitted if third parties were at fault for violating the certification procedure. These may be the heads of examination points (EP), representatives of state commissions, technical specialists, law enforcement officers, medical workers, assistants helping children with disabilities health, and other persons.

The educational organization is notified of the results of writing the work no more than 10 days after the completion of the work. control check. A change in the result or complete cancellation of the test is carried out within 12 days. A teenager admitted to retaking the OGE will need to appear again at the PES (possibly a new one) with an identity document.



Structure of CMMs

Control and measurement materials are tickets that require a written or oral answer to the question posed. At the moment, such a knowledge testing system is considered established and proven, so FIPI employees are not going to make significant adjustments to the forms. And yet, teachers, students and their parents should know and remember about some new provisions:

1. Starting next year, the instructions given to examinees along with the tasks will be more detailed, thorough, consistent and clear. This way, graduates will be able to more clearly understand what is required of them, and therefore unnecessary organizational questions during the exam will be avoided.
2. The criteria for assessing detailed answers will henceforth be based on the Unified State Exam standards.
3. The highest score you can get for writing a paper will increase from 23 to 29.

Important! Children will be able to get an idea of ​​the OGE in literature 2018 thanks to an open bank of tasks, as well as demo versions, specifications and codifiers presented on the official FIPI website. You can find them in the appropriate sections on the page fipi.ru/oge-i-gve-9 (menu on the left).



The CMM consists of 2 parts. The first includes fragments of works (prose and poetry), from which the student must choose one for subsequent analysis. The essence of the work is to write detailed, reasoned answers to 3 questions posed. In the first tasks you will need to correctly, harmoniously and completely express your thoughts in 3-5 sentences, and in the last one you will also need to cite comparative analysis two different passages in 5-8 sentences.

The second part will require the student to write an essay of at least 200 words on one of 4 assigned topics. At the same time, here the organizers of the OGE-2018 allow teenagers to use the full texts of works (including lyric works) from the list of references available in official sources to argue their position and quote. The books will be located on a separate examiner’s desk and will be freely available.

The evaluation criteria take into account:

• meaningful correspondence of the answer to the task (understanding of the given fragments without distorting the author’s point of view);
• the degree of analysis of images, details, micro-themes, motifs, etc.;
• factual, logical and verbal accuracy;
• ability to compare works and work with texts;
• correspondence of the essay to the topic and its disclosure;
• mastery of theoretical and literary terms;
• compositional integrity and consistency;
• compliance with speech norms (the maximum possible number of errors that does not entail the loss of points on this item is no more than 2).



For each of the tasks you can get:

• No. 1 and No. 2 – 5 points each;
• No. 3 – 6 points;
• No. 4 (essay) – 13 points.

The final results are correlated with a grade, which is then entered into the certificate:

• 0-9 points correspond to a “two” grade;
• 10-17 – “three”;
• 18-24 – “four”;
• 25-29 – “five”.

How to prepare

In order to prepare for the OGE in literature 2018, you need to hone your own literacy and engage in tireless analysis and interpretation of works included in the official list of FIPI, required reading for 9th grade graduates.

Video tips from “experienced” ": which books to read first: