1. Soullessness

K. Paustovsky "Telegram"

A. Platonov "Yushka"

A. Chekhov "In the pharmacy"

2. Selflessness

K. Paustovsky "Meshcherskaya Side"

3. Fearless

4. Inhumanity

V. Astafiev "The Sad Detective"

R. Bradbury "Dwarf"

N. Gogol "Overcoat"

N. Nekrasov " Railway"

A. Platonov "Yushka"

L.N. Tolstoy "After the Ball"

I. Turgenev "Mumu"

Y. Yakovlev "He killed my dog"

5. Loyalty

V. Bykov "Crane cry".

Herman "My dear man"

"The Tale of Peter and Fevronia"

K. Simonov "Wait for me"

6. Mutual assistance

A.P. Gaidar "Timur and his team"

A. Likhanov "Last cold"

M. Prishvin "Pantry of the sun"

7. The inner world of man

N. Gogol "Dead Souls"

M. Gorky "Song of the petrel"

A. Chekhov "Longing"

8. Choice

I. Bunin "Numbers"

A.S. Pushkin "The Captain's Daughter"

L.N. Tolstoy "Prisoner of the Caucasus" + from the block "Moral Choice"

9. Heroism

V. Bykov "Crane cry"

V. Bykov "Sign of trouble"

V. Bykov "Sotnikov"

B. Vasiliev "The Dawns Here Are Quiet"

B.Vasiliev "I was not on the lists"

A.S. Pushkin "The Captain's Daughter"

W. Scott "Ivanhoe"

"The Tale of Igor's Campaign"

A. Tvardovsky "Vasily Terkin"

M. Sholokhov "The fate of man"

10. Childhood

A. Gaidar "Blue cup"

M. Gorky "Childhood"

P. Sanaev "Bury me behind the plinth"

M. Twain "The Adventures of Tom Sawyer"

M. Twain "The Adventures of Huckleberry Finn"

A. Tolstoy "Childhood of Nikita"

L.N. Tolstoy "Childhood"

11. Good

M. Gorky "The Legend of Danko"

V. Dragunsky "Deniska's stories"

V.G. Korolenko "In Bad Society"

A. Platonov "Yushka"

B. Field "The Tale of a Real Man"

V. Rasputin "French Lessons"

A. Solzhenitsyn "Matrenin yard"

M. Sholokhov "The fate of man"

12. Kindness

A. Saint-Exupery "The Little Prince"

Shukshin's stories + from the Good block

13. Precious Books

R. Bradbury "Fahrenheit 451"

R. Bradbury "Memories"

M. Gorky "Childhood"

M. Gorky "My Universities"

A. Griboedov "Woe from Wit"

A. Pushkin "Eugene Onegin"

D. Fonvizin "Undergrowth"

14. Friendship

G.H. Andersen "The Snow Queen"

A. Gaidar "Timur and his team"

N. Gogol "Taras Bulba"

V. Dragunsky "Deniska's stories"

A. Dumas cycle about the three musketeers

V. Kaverin Two captains"

L. Kassil "Conduit and Swambria"

V. Kataev "The lonely sail turns white"

A. Conan Doyle "The Adventures of Sherlock Holmes"

V. Korolenko "In bad society"

Yu. Nagibin "My first friend, my priceless friend"

V. Oseeva "Dinka"

A.S. Pushkin "Pushchin"

E. Remarque "Three comrades"

A. Rybakov "Dirk", "Bronze Bird"

Arkady and Boris Strugatsky "Land of Crimson Clouds"

R. Fraerman "Wild Dog Dingo, or The Tale of First Love"

A. Saint-Exupery "The Little Prince"

15. Soul powers

J. Verne "Mysterious Island"

D. Defoe "The Life and Amazing Adventures of the Sailor Robinson Crusoe"

B. Field "The Tale of a Real Man"

16. Life values

O. Henry "Gifts of the Magi"

M. Gorky "Song of the petrel"

A.S. Griboyedov "Woe from Wit"

M.Yu. Lermontov "Mtsyri"

A.S. Pushkin "Eugene Onegin"

A.S. Pushkin "The Captain's Daughter"

L.N. Tolstoy "Prisoner of the Caucasus"

17. Envy

Bible story of Cain and Abel

A.S. Pushkin "The Captain's Daughter"

A.S. Pushkin "Mozart and Salieri"

18. True heroism

From the block "Heroism"

19. Beauty

From the blocks "Life Values" and "Nature"

20. Love

A. Green "Scarlet Sails"

F.M. Dostoevsky "White Nights"

V. Kaverin "Two captains"

N. Karamzin "Poor Lisa"

A. Kuprin "Garnet bracelet"

A. Kuprin "Lilac Bush"

M.Yu. Lermontov "A Hero of Our Time"

N. Leskov "Lady Macbeth of the Mtsensk District"

V. Oseeva "Dinka"

"The Tale of Peter and Fevronia"

A.S. Pushkin "Dubrovsky"

A.S. Pushkin "Eugene Onegin"

A.S. Pushkin "The Captain's Daughter"

A.S. Pushkin "Tales of Belkin"

EM. Remarque "Three comrades"

I.S. Turgenev "Asya"

R. Fraerman "Wild Dog Dingo, or The Tale of First Love"

W. Shakespeare "Romeo and Juliet"

About love for the motherland from the block "Heroism"

About love for nature from the block "Nature"

21. Motherly love

V.P. Astafiev "Communicated to all living things"

K. Vorobyov "Aunt Yegoriha"

K. Paustovsky "Telegram"

L. Ulitskaya "Daughter of Bukhara"

22. Mercy

K. Vorobyov "The Tale of My Age"

Boris Ekimov "Healing Night"

A. Pristavkin "Goldfish"

V. Tendryakov "Bread for the dog"

M. Sholokhov "The fate of man"

23. Hope

A. Green "Scarlet Sails"

24. Real art

V. Astafiev "Dome Cathedral"

B. Ekimov "Music of the old house"

K. Paustovsky "Old cook"

V. Tendryakov "Date with Nefertiti"

L.N. Tolstoy "Albert"

A.P. Chekhov "Rothschild's Violin"

24. Self-doubt

A.S. Pushkin "The Captain's Daughter"

A.S. Pushkin "Eugene Onegin"

L.N. Tolstoy "Prisoner of the Caucasus"

25. Moral choice

A. Adamov "The Punishers"

V.P. Astafiev "Horse with a pink mane"

Y. Bondarev "Hot snow"

V. Bykov "Wolf Pack"

V. Bykov "Obelisk"

V. Bykov "Sotnikov"

N. Gogol "Taras Bulba"

V. Kondratiev "Sasha"

M.Yu. Lermontov "Song about Tsar Ivan Vasilyevich, a young guardsman, a daring merchant Kalashnikov"

P. Merimee "Matteo Falcone"

A. Pushkin "The Captain's Daughter"

A. Pushkin "Shot"

V. Rasputin "Money for Mary"

V. Rasputin "Live and remember"

V.G. Rasputin "French Lessons"

K. Simonov "The Living and the Dead" 28. Responsibility of A. Morua "Ants"

26. Devotion

27. Betrayal

L. Andreev "Judas Iscariot"

N.V. Gogol "Taras Bulba"

A. Dumas "The Count of Monte Cristo"

V. Kaverin "Two captains"

N.S. Leskov "Lady Macbeth of the Mtsensk District"

S. Lvov "Friend of my childhood"

V. Rasputin "Live and remember"

A.S. Pushkin "The Captain's Daughter"

M.A. Sholokhov "The Fate of Man"

28. Nature

A. Astafiev "Tsar-fish"

B. Vasiliev "Do not shoot at white swans"

M. Prishvin "Pantry of the sun"

Works of Turgenev.

29 The role of the landscape.

"The Tale of Igor's Campaign"

A.P. Chekhov "Steppe"

Y. Yakovlev "Awakened by nightingales"

30. Indifference (hardness)

A. Pushkin "Eugene Onegin"

A.P. Chekhov "Tosca"

A.P. Chekhov "The Man in the Case"

31. Joy

35. Motherland

M.Yu. Lermontov "Borodino"

Poems of Blok and Yesenin about the motherland

36. Self-education

Ya. Golovanov "Etudes about scientists"

37. Courage "The Life of Alexander Nevsky"

M. Lermontov "Borodino"

A. Pushkin "The Captain's Daughter"

I.S. Turgenev "Sparrow"

40. Conscience

A. Pushkin "The Captain's Daughter"

M. Sholokhov "The fate of man"

41. Compassion

G.H. Andersen "Wild Swans"

G.H. Andersen "Girl with matches"

L. Andreev "Kusaka"

N. Gogol "Overcoat"

F.M. Dostoevsky "Christ's boy on the Christmas tree"

V. Zheleznikov "Scarecrow"

A.I. Kuprin "The Wonderful Doctor"

A. Platonov "Yushka"

V. Rasputin "French Lessons"

I. Turgenev "Mumu"

M. Sholokhov "The fate of man"

42. Justice

V. Astafiev "Horse with a pink mane"

A.S. Pushkin "The Stationmaster"

V. Rasputin "French Lessons"

43. Happiness

B. Ekimov "Boy on a bicycle"

V. Kaverin Two captains"

V. Korolenko "Paradox"

A.S. Pushkin "The Captain's Daughter"

A.S. Pushkin "Snowstorm"

L.N. Tolstoy "Youth"

A.P. Chekhov "Darling"

A.P. Chekhov "Gooseberry"

A.P. Chekhov "The Bride"

Sasha Cherny "Prisoner of the Caucasus"

44. Talent

P. Bazhov "Stone Flower"

N. Gogol "Portrait"

D. Granin "Bison"

V. Korolenko "The Blind Musician"

A.I. Kuprin "Taper"

N. Leskov "Lefty"

A.N. Ostrovsky "Talents and Admirers"

K. Paustovsky "The Book of Artists"

45. Partnership

N.V. Gogol "Taras Bulba"

D. London "In a distant land"

D. London "Love for life"

46. ​​Teacher

Ch. Aitmatov "The First Teacher"

A. Aleksin "Mad Evdokia"

A. Aleksin "Third in the fifth row"

V. Astafiev "Pass. Theft"

V. Astafiev "Photograph without me"

V. Bykov "Obelisk"

B. Vasiliev "Tomorrow there was a war"

B. Vasiliev "My horses are flying"

V.V. Golyavkin "Drawings on asphalt"

VC. Zheleznikov "Scarecrow"

F. Iskander "The thirteenth feat of Hercules"

A.A. Kuznetsov "Earth bow"

A.I. Kuprin "Taper"

A.A. Likhanov "Good Intentions"

A.P. Platonov "Sand teacher"

V. Rasputin "French Lessons"

G.I. Severina "The Legend of the Teacher"

A. Saint-Exupery "The Little Prince"

V.F. Tendryakov "Spring shifters"

Y. Yakovlev "Kingfisher"

47. Humanity

A.G. Aleksin "In the meantime, somewhere ..."

K.G. Paustovsky "Telegram"

A.S. Pushkin "The Captain's Daughter"

B. Troepolsky "White Bim Black Ear"

48. Honor

A. Beck "Volokolamsk Highway"

V. Bykov "Sotnikov"

M. Lermontov "A Hero of Our Time"

A.S. Pushkin "Dubrovsky"

A.S. Pushkin "The Captain's Daughter"

A. Pushkin "Eugene Onegin"

49. Selfishness

M. Gorky "Old Woman Izergil"

A. Griboedov "Woe from Wit"

Ancient Greek myth of Narcissus

M. Lermontov "A Hero of Our Time"

D. London "In a distant land"

A. Pushkin "Eugene Onegin"

D. Fonvizin "Undergrowth" A.P. Chekhov "Anna on the neck"

In the 2018-2019 academic year, 9th grade graduates in all regions of the Russian Federation will be examined in 5 subjects, two of which will be mandatory (Russian language and mathematics), and the choice of the remaining three will be given to the students themselves and their parents.

In 2018, literature was on last place among the optional subjects of the OGE, because only 3% of ninth-graders decided to take this subject. Today, as the moment of choosing subjects for graduates of 2019 approaches, many children and parents have a question whether it is worth taking the OGE in literature in the 9th grade, and if so, is it difficult to prepare for it. Let's try to understand the intricacies of the subject, the features of KIMs and the secrets of preparing for this exam.

the date of the

Students who will finish grade 9 in 2019 will take the OGE at the end of the school year. But, as in previous seasons, students will be given the opportunity to pass the test ahead of schedule, or try again if they fail to overcome the minimum passing threshold the first time.

The following days are reserved for the Literature exam in the 9th grade:

early period
main day	Reserve day
Main period
main day	Reserve days 28.06.19 / 02.07.19 / 03.07.19
Autumn retake
1 retake	2 retake 19.09.19 / 21.09.19

Format and features of the literature exam

Literature as one of OGE exams 2019 will be chosen by students who wish to continue their education in philological classes, because in order to successfully overcome the test, it is necessary:

• know the biographies of writers and poets;
• thoroughly study the works included in the list of the school curriculum;
• be able to analyze and compare texts, make portraits of heroes, evaluate their actions;
• beautifully, concisely and competently express their own opinion.

The main feature of the OGE in Literature from other exams taken by ninth-graders in 2019 is the fact that there are no tests with answers on the ticket. Examination ticket 2019 will consist of 2 parts:

Ninth-graders pass final certification on the basis of their school.

Examinees are given 235 minutes (3 hours 55 minutes) to complete the work.

Part 1 (text analysis)

Before proceeding with the tasks of the 1st part, it is necessary to familiarize yourself with the two proposed options and choose for analysis only one, the closest and most understandable.

Important! You cannot do both at the same time.

The length of your response should be approximately:

Do not use overly complex speech structures. Let the text be concise, but at the same time readable and filled with deep meaning.

Part 2 (composition)

Most of all, graduates who are accustomed to simply answering tests on control sections in various subjects are afraid of the essay, which is an integral part of the 2019 OGE in literature.

In fact, most graduates who finish grade 9 do the second part of the OGE in literature without any problems, and in 2019, examinees also have nothing to be afraid of. It is also worth knowing that:

• in the process of writing an essay, it is allowed to use the full text of a work of art;
• the volume of the essay should be 200 words (works less than 150 words are not evaluated);
• their judgments must be argued using fragments from the text;
• When analyzing a work, it is important not to distort the author's position.

Evaluation of works

The works of the OGE 2019 in the literature do not contain a test part, and therefore are fully evaluated by independent experts. Each work will be reviewed by two teachers for a final score. As a result, the following scenarios are possible:

• The scores agreed - everything is fine, the score is determined and it is entered into the documentation.
• In the assessments of two experts there is a difference not exceeding 2 points - the arithmetic mean is set.
• Expert estimates differ by more than 2 points - a third specialist is involved, whose opinion will be decisive.

The grade received by a ninth-grader at the OGE in Literature in 2019 will affect the score of the certificate. When translating test scores for a given subject into grades, a special correspondence table is used:

Thus, if the preparation for the OGE in literature in 2019 was weak, and the goal of the graduate was to overcome the minimum threshold for passing, then it will be enough for him to get only 7 test points. If the subject was chosen with the aim of entering a specialized class or college, you will need to score at least 15 test points, which already corresponds to a grade of "4".

Since the OGE in literature has its own specifics, it is necessary for graduates of 2019 to start preparing for the exam as early as possible, because they will need to read a fairly large amount of literature (the list of works is given below) and work out the main topics of essays.

Where to begin?

Step 1. Familiarize yourself with the requirements for the examination paper, having familiarized yourself with the codifier and specifications.

Step 2 We read the works given in the list. Naturally, it is better to read the full text in the original, but if there is no time for this, then it is worth reading the abridged version and criticism, which can be found in special collections or on the Internet.

We bring to your attention full list literature for the OGE 2019 in literature with questions that must be answered while reading the work.

Step 3 We make notes. You should not rely on the possibilities of human memory, they, unfortunately, are not unlimited. While reading, do not be too lazy to write out in a notebook the basic information that you will need to answer questions and write essays.

Step 4 Let's practice doing the first part. This will help the demo version of the OGE in Literature 2019, as well as the tickets that were offered at the exams to graduates of the 2018-2018 academic year.

Step 5 We practice writing an essay, observing the basic requirements for the text.

It will not be superfluous to listen to the advice of experienced teachers, get acquainted with the analysis of the demo version and recommendations for writing an essay. We offer you to watch one of these video tutorials right now:

LITERATURE REQUIRED FOR SUCCESSFUL PASSING OF THE OGE AND THE USE!

OLD RUSSIAN LITERATURE

"The Tale of Igor's Campaign"

FROM THE LITERATURE OF THE 18TH CENTURY

DI. Fonvizin. The play "Undergrowth"

G.R. Derzhavin. Poem "Monument"

LITERATURE OF THE FIRST HALF OF THE XIX CENTURY

A.S. Griboyedov play "Woe from Wit"

V.A. Zhukovsky poem "Sea", ballad "Svetlana"

A.S. Pushkin novels: "The Captain's Daughter", "Eugene Onegin", the poem "The Bronze Horseman", poems: "Village", "Prisoner", "In the Depth of Siberian Mines...", "Poet", "To Chaadaev", "Song of prophetic Oleg”, “To the sea”, “Nanny”, “K ***” (“I remember a wonderful moment ...”), “October 19” (“drops his crimson dress in the forest ...”), “Prophet ”, “Winter Road”, “Anchar”, “Night lies on the hills of Georgia ...”, “I loved you: love still, perhaps ...”, “Winter morning”, “Demons”, “bookseller's conversation with the poet”, “Cloud”, “I erected a monument to myself not made by hands...”, “The day light went out...”, “The desert sower of freedom...”, “Imitation of the Koran” (IX. “And the traveler tired of God murmured...), "Elegy", ("Crazy years faded fun..."), "... Again I visited..."

M.Yu. Lermontov the poem "Mtsyri", the novel "A Hero of Our Time", "A Song about ... the Merchant Kalashnikov", poems: "No, I'm not Byron, I'm different ...", "Clouds", "Beggar", "From under the mysterious, cold half-mask...”, “Sail”, “Death of a poet”, “Borodino”, “When the yellowing field is agitated...”, “Duma”, “Poet” (“My dagger shines with gold trim...”), “Three palm trees”, “Prayer” (“In a difficult moment of life ...”), “And it’s boring and sad”, “No, I don’t love you so passionately ...”, “Motherland”, “Dream” (“ In the midday heat in the valley of Dagestan ...), "Prophet", "How often, surrounded by a motley crowd ...", "Valerik", "I go out alone on the road ..."

N.V. Gogol play "Inspector", poem " Dead Souls", the story" Overcoat.

LITERATURE OF THE SECOND HALF OF THE XIX CENTURY

A.A. Fet poems: “The dawn says goodbye to the earth ...”, “With one push to drive away the living boat ...”, “Evening”, “Learn from them - from the oak, from the birch ...”, “This morning, this joy ...”, “Whisper, timid breathing…”, “The night shone. The garden was full of moonlight. They lay…”, “Another May night”

ON THE. Nekrasov the poem “Who should live well in Russia”, poems: “Troika”, “I don’t like your irony ...”, “Railway”, “On the road”, “Yesterday, at six o’clock ...”, “We are with you stupid people...”, “Poet and Citizen”, “Elegy” (“Let the fickle fashion speak to us...”), “Oh Muse! I am at the door of the coffin ... "

I.S. Turgenev novel "Fathers and Sons"

M.E. Saltykov-Shchedrin satirical tales: (“The Tale of How One Man Feeded Two Generals”, “The Wise Minnow”, “The Wild Landowner”, the novel “The History of a City” (overview study)

L.N. Tolstoy epic novel "War and Peace"

F.M. Dostoevsky novel "Crime and Punishment"

I.A. Goncharov novel "Oblomov"

N.S. Leskov one work (at the choice of the examinee), for example, the story “Lefty” or “Lady Macbeth of the Mtsensk district”.

A.N. Ostrovsky play "Thunderstorm"

F.I. Tyutchev poems: “Noon”, “There is a melodiousness in the waves of the sea ...”, “The kite has risen from the clearing ...”, “There is in the initial autumn ...”, “Silentium!”, “Not what you think, nature ...”, “You can’t understand Russia with your mind…”, “Oh, how deadly we love…”, “We can’t predict…”, “K. B." (“I met you - and all the past ...”), “Nature is a sphinx. And the more she returns ... "

LITERATURE OF THE LATE XIX - BEGINNING OF THE XX CENTURY

A.P. Chekhov the play "The Cherry Orchard", stories: "Student", "Ionych", "Man in a Case", "Lady with a Dog", "Death of an Official", "Chameleon"

FROM THE LITERATURE OF THE FIRST HALF OF THE XX CENTURY

I.A. Bunin short stories: "The Gentleman from San Francisco", "Clean Monday"

A.A. Akhmatova the poem "Requiem", poems: "Song of the last meeting", "She squeezed her hands under a dark veil ...", "I don't need odic rati ...", "I had a voice. He called consolingly…”, “Native land”, “Tearful autumn, like a widow…”, “Seaside sonnet”, “Before spring there are such days…”, “I carried those who left the land…” , "Poems about Petersburg", "Courage"

M. Tsvetaeva poems: “To my poems written so early…”, “Poems to Blok” (“Your name is a bird in your hand…”), “Who is made of stone, who is made of clay…”, “Longing for the motherland! For a long time ... ”,“ Books in red binding ”,“ Grandmother ”,“ Seven hills - like seven bells! .. ”(from the cycle“ Poems about Moscow ”)

M. Gorky the play "At the Bottom", the story "Old Woman Izergil"

S.A. Yesenin poems: "Goy you, Russia, my dear! ..", "Do not wander, do not crush in the crimson bushes ...", "We are now leaving a little ...", "A letter to the mother", "The feather grass is sleeping. Dear plain…”, “You are my Shagane, Shagane…”, “I don’t regret, I don’t call, I don’t cry…”, “Soviet Russia”, “The road thought about the red evening…”, “Hewn drogs sang…”, “Rus” , "Pushkin", "I'm going through the valley. On the back of the head is a cap ... "," A low house with blue shutters ... "

B.L. Parsnip the novel “Doctor Zhivago” (review study with analysis of fragments), poems: “February. Get ink and cry! ..”, “Definition of poetry”, “I want to reach everything ...”, “Hamlet”, “Winter night”, “No one will be in the house ...”, “ Snowing”,“ About these verses ”,“ To love others - heavy cross...", "Pines", "Hoarfrost", "July"

O.E. Mandelstam"Notre Dame", "Insomnia. Homer. Tight sails…”, “For the explosive prowess of the coming centuries…”, “I returned to my city, familiar to tears…”

V.V. Mayakovsky the poem “A cloud in pants”, poems: “Could you?”, “Listen!”, “Violin and a little nervously”, “Lilichka!”, “Anniversary”, “Happy”, “Nate!”, “Good attitude to horses”, “An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha”, “Giveaway”, “Letter to Tatyana Yakovleva”

A.A. Block poem "The Twelve", poems: "Stranger", "Russia", "Night, street, lamp, pharmacy ...", "In a restaurant", "The river spread. It flows, lazily sad…” (from the cycle “On the Kulikovo Field”), “On the Railroad”, “I Enter Dark Temples...”, “Factory”, “Rus”, “About Valor, About Feats, About Glory ... "," Oh, I want to live crazy ... "

M.A. Sholokhov the novel "The Quiet Don", the story "The Fate of a Man"

M.A. Bulgakov novels: The Master and Margarita, The White Guard (optional)

A.T. Tvardovsky poem "Vasily Terkin" (chapters "Crossing", "Two Soldiers", "Duel", "Death and Warrior")

A.I. Solzhenitsyn the story "Matryona Dvor", the story "One Day in the Life of Ivan Denisovich"

A.P. Platonov one work (at the choice of the examinee)

FROM THE LITERATURE OF THE SECOND HALF OF THE XX CENTURY

Prose of the second half of the 20th century: F.A. Abramov, Ch.T. Aitmatov, V.P. Astafiev, V.I. Belov, A.G. Bitov, V.V. Bykov, V.S. Grossman, S.D. Dovlatov, V.L. Kondratiev, V.P. Nekrasov, E.I. Nosov, V.G. Rasputin, V.F. Tendryakov, Yu.V. Trifonov, V.M. Shukshin (works by at least three authors of your choice)

Poetry of the second half of the 20th century: B.A. Akhmadulina, I.A. Brodsky, A.A. Voznesensky, V.S. Vysotsky, E.A. Evtushenko, N.A. Zabolotsky, Yu.P. Kuznetsov, L.N. Martynov, B.Sh. Okudzhava, N.M. Rubtsov, D.S. Samoilov, B.A. Slutsky, V.N. Sokolov, V.A. Soloukhin, A.A. Tarkovsky (poems by at least three authors of your choice)

Dramaturgy of the second half of the twentieth century: A.N. Arbuzov, A.V. Vampilov, A.M. Volodin, V.S. Rozov, M.M. Roshchin (work by one author of choice)

The codifier specifies the list of works (two or three works are added that are traditionally studied in the primary school, i.e. included in exemplary and author's programs and recommended textbooks). All specified works are marked with a "*". If a specific work is named in the codifier, then tasks for the presented content element can be included in any part of the examination paper.

If the works are not specified, then the examiner can independently use the works he has studied to build literary analogies.

Artworks

1. From Russian folklore

• 1.1. Russian folk tales (magical, everyday, about animals - one fairy tale each)
• 1.2. One epic of your choice

2. From ancient Russian literature

• 2.1. "The Tale of Igor's Campaign"
• 2.2. "The Tale of Igor's Campaign"
• 2.3. Three works of different genres to choose from

3. From Russian literature of the XVIII century.

• 3.1. M. V. Lomonosov. "Ode on the day of the accession to the All-Russian throne of Her Majesty the Empress Empress Elisaveta Petrovna, 1747" *
• 3.2. D. I. Fonvizin. Comedy "Undergrowth".
• 3.3. G. R. Derzhavin. Poems: "Monument" *, "Lords and Judges" * 3.4. N. M. Karamzin. The story "Poor Lisa"

4. From Russian literature of the first half of the 19th century.

• 4.1. I. A. Krylov. Fables: "Leaves and Roots" *, "Wolf in the kennel" *, "Quartet" *, "Donkey and Nightingale" *
• 4.2. V. A. Zhukovsky. Poems: "Sea" *, "Inexpressible" *
• 4.3. V. A. Zhukovsky. Ballads: "Svetlana", "Forest King" *
• 4.4. A. S. Griboyedov. Comedy "Woe from Wit"
• 4.5. A. S. Pushkin. Poems: “To Chaadaev”, “Song of the Prophetic Oleg”, “To the Sea”, “Nanny”, “K ***” (“I remember a wonderful moment ...”), “October 19” (“Drops the crimson forest your dress..."), "I. I. Pushchin"*, "Prophet", "Winter Road", "Anchar", "Night lies on the hills of Georgia...", "I loved you: still love, perhaps...", "Winter Morning" , “Demons”, “Cloud”, “I erected a monument to myself not made by hands ...”, “Do not sing, beauty, with me ...” *, “Bacchic song” *
• 4.6. A. S. Pushkin. Poem "Gypsies"*
• 4.7. A. S. Pushkin. The novel "Eugene Onegin"
• 4.8. A. S. Pushkin. "Tales of Belkin"
• 4.9. A. S. Pushkin. Novel "The Captain's Daughter"
• 4.10. M. Yu. Lermontov. Poems: “Sail”, “Death of a Poet”, “Borodino”, “When the yellowing field is agitated ...”, “Duma”, “Poet” (“My dagger shines with gold trim ...”), “Three palm trees”, “Prayer” (“In a difficult moment of life ...”), “It’s both boring and sad”, “No, I don’t love you so passionately ...”, “Motherland”, “Prophet”, “Clouds” *, “ Leaf" *, "Angel" *
• 4.11. M. Yu. Lermontov. The poem "Song about Tsar Ivan Vasilyevich, a young guardsman and a daring merchant Kalashnikov"
• 4.12. M. Yu. Lermontov. Poem "Mtsyri"
• 4.13. M. Yu. Lermontov. The novel "A Hero of Our Time"
• 4.14. N. V. Gogol. Comedy "Inspector"
• 4.15. N. V. Gogol. The story "Overcoat" 4.16. N. V. Gogol. Poem "Dead Souls"

5. From Russian literature of the second half of the 19th century.

• 5.1. A. N. Ostrovsky. One piece of your choice.
• 5.2. I. S. Turgenev. One story of your choice.
• 5.3. F. I. Tyutchev. Poems: “A kite has risen from a clearing ...”, “There is in the initial autumn ...”, “Spring thunderstorm” *, “A cheerful day was still noisy ...” *, “Enchantress - in winter ...” *.
• 5.4. A. A. Fet. Poems: “Evening”, “Learn from them - from the oak, from the birch ...”, “The swallows are gone ...” *, “Still fragrant bliss of spring ...” *, “At dawn, you don’t wake her .. ."*
• 5.5. N. A. Nekrasov. Poems: "Railway", "Troika" *, "Stuffy! Without happiness and will ... "
• 5.6. M. E. Saltykov-Shchedrin. Fairy tales: “The Tale of How One Man Feeded Two Generals”*, “The Wild Landowner”*, “The Wise Scribbler”*
• 5.7. F. M. Dostoevsky. One story of your choice.
• 5.8. L. N. Tolstoy. One story of your choice.
• 5.9. L. N. Tolstoy. The story "After the ball" *
• 5.10. A. P. Chekhov. Stories: "Death of an Official", "Chameleon", "Longing"*, "Thick and Thin"*

6. From Russian literature of the XX century.

• 6.1. I. A. Bunin. Stories: "Mowers" *, "Tanka" *
• 6.2. A. A. Blok. Poems: "Oh, spring without end and without edge ..."*, "Oh, I want to live crazy ..."*, "About valor, about exploits, about glory ..."*
• 6.3. V. V. Mayakovsky. Poems: “An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha” *, “A good attitude towards horses” *, “Having been in session” *
• 6.4. S. A. Yesenin. Poems: “Birch” *, “Powder” *, “Beloved land! The heart is dreaming ... "*
• 6.5. M. A. Sholokhov. The story of the fate of man
• 6.6. A. T. Tvardovsky. Poem "Vasily Terkin" (chapters: "Crossing" *, "Two soldiers" *, "Duel" *)
• 6.7 V. M. Shukshin. Stories: "Cut off" *, "Freak" *
• 6.8 A. I. Solzhenitsyn. The story "Matryona yard"
• 6.9 Prose of the second half of the 20th century F. A. Abramov, Ch. T. Aitmatov, V. P. Astafiev, V. I. Belov, V. V. Bykov, F. A. Iskander, Yu. P. Kazakov, V. L. Kondratiev, E. I. Nosov, V. G. Rasputin, A. N. and B. N. Strugatsky, V. F. Tendryakov, V. T. Shalamov. (Works by at least three authors, optional.)
• 6.10. Poetry of the second half of the XX century. I. A. Brodsky, A. A. Voznesensky, V. S. Vysotsky, E. A. Evtushenko, B. Sh. Okudzhava, N. M. Rubtsov. (Poems by at least three authors, of your choice.)

7. From foreign literature

• 7.1. Homer. Poems "Iliad", "Odyssey" (fragments)
• 7.2. W. Shakespeare. Tragedies: Romeo and Juliet, Hamlet
• 7.3. J.-B. Molière. One Comedy Choice
• 7.4. I.-V. Goethe. Tragedy "Faust" (fragments)

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

Open tasks. Task at the choice of Lyric 1) The image of the lyrical hero of poetry M.Yu. Lermontov. (On the example of two or three poems of your choice.) 2) What is the originality of the lyrical hero of poetry M.Yu. Lermontov? (On the example of at least two poems of your choice.) 3) How are M.Yu. Lermontov's reflections on creativity and the theme of loneliness? (On the example of at least 2 poems of the student's choice.) 4) What is the originality of M.Yu. Lermontov? (On the example of at least 2 poems of the student's choice.) 5) As in the lyrics of M.Yu. Lermontov, the tragedy of his worldview is manifested? (On 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? (On the example of two or three poems of your choice.) 7) As in the lyrics of M.Yu. Lermontov shows the attitude of the poet to God? (On the example of at least 2 poems of the student's choice.) 8) The image of the lyrical hero of poetry M.Yu. Lermontov. (On the example of two or three poems of your choice.) 9). As in the lyrics of M.Yu. Lermontov, the theme of love and the motive of loneliness are connected? 10. Compare the poem by M.Yu. Lermontov “No, I don’t love you so passionately ...” with the poem by A.K. Tolstoy "With a gun behind his shoulders, alone, by the moon ...". What motives and images bring together these poems? 11. Compare the poem by A.S. Pushkin "To Chaadaev" with a poem by M.Yu. Lermontov "Farewell, unwashed Russia ...". How do you see the differences in the mood of the lyrical heroes of these works? 12. Compare the poems of M.Yu. Lermontov "Death of a Poet" and F.I. Tyutchev "January 29, 1837", dedicated to the death of A.S. Pushkin. What is the difference between the two poets' understanding of the essence of the tragedy that happened?

Poems: “Sail”, “Death of a Poet”, “Borodino”, “When the yellowing field is agitated ...”, “Duma”, “Poet” (“My dagger shines with gold trim ...”), “Three palm trees”, “Prayer” (“In a difficult moment of life ...”), “It’s both boring and sad”, “No, I don’t love you so passionately ...”, “Motherland”, “Prophet”, “Clouds”, “Leaf "," Angel "

The motive of freedom and will "July 10, 1830" "Desire" Freedom and will are the central motifs of Lermontov's lyrics, the conditions for the existence of a personality that are obligatory for him. These close concepts are not synonymous for the poet. The theme of freedom is political. Initially, it arises on the basis of Pushkin's freedom-loving poetry. In the 1930s, the concept of "freedom" had a social content: Once again, you, the proud ones, rose up for the independence of the country. … There is an earthly court for kings. "July 10, 1830" Lermontov put the will above all blessings: Give once in a lifetime and freedom, As to a share alien to me, Look closer to me. "Wish".

Farewell, unwashed Russia, Country of slaves, country of masters, And you, blue uniforms, And you, obedient people. Perhaps beyond the ridge of the Caucasus I will hide from your kings, From their all-seeing eyes, From their all-hearing ears. "Farewell, unwashed Russia ..." - one of Lermontov's harshest political speeches. For the first time in Russian literature, there was a condemnation, rejection not of any individual aspects of Russian reality, but of the whole of Nikolaev Russia - the “unwashed country” of “slaves” and “masters”. Let's try to figure out what the epithet "unwashed" means to the name of the fatherland that the poet loved. The word contains a historical characteristic that contains the backwardness, underdevelopment, and uncivilization of Russia contemporary to the poet. In this country, the power and the people are opposed, which is conveyed with the help of an antithesis, which is detailed in the second and third lines: "blue uniforms" (designation of gendarmes, metonymy) are opposed to "the devoted people" ("given to power, placed at the disposal of someone" ). The second stanza from the theme of Russia and political freedom translates the conversation into a subjective plane, to the theme of personality. From spiritual slavery in Russia - to escape "behind the wall of the Caucasus" - to freedom. What do you think, does M.Yu. 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 his pain.

What should be remembered when comparing the lyrics of Pushkin and Lermontov? Comparing two poems, we can see the differences in the worldview of the two great Russian poets of the first half of XIX century. But behind the difference in poetic worlds lies the difference between two generations of the noble intelligentsia and, more broadly, the difference between two historical eras. The Pushkin generation is, in the words of Y. Tynyanov, a generation of people "with a jumping gait], people whose distinguishing feature was "impatience of the soul" and readiness for a feat. We find a portrait of the Lermontov generation in the poem "Duma". Its distinctive feature is its inability to action, to an act ("In the face of danger shamefully cowardly / and before the authorities contemptible slaves"), since his will is paralyzed by "knowledge and doubt". the spirit of the victory of 1812, lived with a sense of the boundlessness of human possibilities, and no vicissitudes of fate could break his spirit.Lermontov, after December 14, 1825, lost faith in his abilities, inner freedom became an unattainable ideal for him.It is significant that in the poem Lermontov "Farewell, unwashed Russia ..." freedom for the fugitive exile is also illusory (is it possible to hide from the "all-seeing eye" and "in hearing ears" of the royal "pashas"?), as in "The Prisoner". Pushkin, without a shadow of doubt in his own right to freedom, wrote in the poem "To the Poet": You are the king: live alone. On the free path\ Go where your free mind leads you, Improving the fruits of your favorite thoughts,\ Without demanding rewards for noble deeds.\ They are in you yourself. ... For Pushkin, if social freedom is an unrealizable ideal, then "secret freedom", freedom of creativity is the natural norm of being a poet. Lermontov, on the other hand, is a "captive knight", a "prisoner" in the grip of time and society, who defied 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 her, but also too proud to allow himself to be overcome.

Two "Prisoner" A.S. Pushkin. Prisoner I sit behind bars in a damp dungeon. A young eagle bred in captivity, My sad comrade, flapping its wings. He pecks bloody food under the window, Pecks, and throws, and looks out the window, As if he was thinking the same thing with me; He calls me with his look and his cry And wants to say: "Let's fly away! We are free birds; it's time, brother, it's time! Where the mountain turns white behind the cloud, Where the sea edges turn blue, Where only the wind walks ... yes I 1822 M.Yu. A heavy door with a lock; Black-eyed far away, In his magnificent chamber, A good horse in a green field Without a bridle, alone, at will Rides, cheerful and playful, Spreading his tail in the wind. lamps With a dying fire, Only one can hear: behind the doors With sonorous and measured steps Walks in the silence of the night Unanswered sentinel 1837

Two "Prisoners" of two great poets give us the opportunity to detect "shifts in time" in the first half of the 19th century with exceptional clarity and relief. For a poet, any restriction of freedom is unbearable. In stanza I of Pushkin's Prisoner, we see that the prisoner is deprived of freedom of movement ("I am sitting"), limited in space ("behind bars"), deprived of light ("in dungeon") and, moreover, is in conditions unsuitable for for life ("in a damp dungeon"). The initial situation in itself gives rise to a feeling of hopelessness. However, Pushkin reinforces this feeling, emphasizing the depressing unnaturalness of what is happening, the tragedy of lack of freedom. The eagle is also deprived of freedom ("bred 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 - "comrades" in misfortune. The second stanza reflects - the thirst for freedom and flight, a protest against fate is ripening here, because outside 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 being coexist, external and internal, physical and spiritual. Physically, Pushkin's lyrical hero is enslaved - spiritually absolutely free. The poem describes the process of spiritual liberation of a person, the triumph of the spirit over external circumstances. Desire the lyrical hero turns out to be realized, and his spiritual realization is no less real than the physical. M.Yu. Lermontov borrowed the theme of the poem from A.S. Pushkin, but revealed it in a completely different way. With his "Prisoner" he refutes his predecessor and idol. Pushkin is the antithesis of the name, and Lermontov's poem is a confirmation of his absolute rightness. iric plot. Pushkin: I stanza: hopelessness; II stanza: hope; III stanza: the joy of life. Lermontov: I stanza: the joy of life; II stanza: loss of hope; III stanza: hopelessness. The lyrical hero of Lermontov, to the same extent as the lyrical hero of Pushkin, is overwhelmed with 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 an infinity of possibilities ("I'll fly away like the wind"). This will, which is always associated with freedom of movement in space and freedom of action, he is deprived of, and he does not know another.

The turning point in the mindset of society was vividly expressed in another poem, inheriting Pushkin's plot, this poem by F.I. Tyutchev "The kite rose from the clearing ...": From the clearing the kite rose High into the sky, he soared; Higher, farther he winds - And now he has gone beyond the sky! Mother nature gave him Two powerful, two living wings - And here I am in sweat and dust, I, the king of the earth, have grown to the ground! .. 1835 What does this poem have in common with the poem by A.S. 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 the priority values ​​of society - in what we call historical facts and events, it permeates the worldview of a person. Poetry is one of the best ways in world culture to capture this attitude. The development of the Pushkin story by F.I. Tyutchev and M.Yu. Lermontov is the clearest confirmation of this. The rethinking of the poetic plot is an accessible and natural way for the artist of 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 is not always preserved in cultural memory and cannot always be preserved by the most detailed historical chronicle. The poem was written in 1835. Man for F.I. Tyutchev is the same mystery as nature. The poet is faced with the question of the relationship between nature and man. Man is a thinking being. Due to the fact that he is endowed with reason, he is separated from nature. In the poem “A kite has risen from a clearing”, human thought irresistibly strives to comprehend the unknown, but it is in no way possible for it to go beyond the “earthly circle”. There is a limit to the human mind, predetermined and inevitable. The sight of a kite rising from the field and disappearing into the sky leads the poet to such thoughts: “Mother nature gave him / Two powerful, two living wings - And here I am in sweat and dust, I, the king of the earth, have grown to the earth!

The theme of the homeland Lermontov developed this theme all his life. Initially, it sounds in the 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 “Complaints of the Turk” was created, denying that Russia, where chains."

The theme of the Motherland in Lermontov's lyrics "Motherland", "Borodino", "Two Giants", VII. HOMELAND I love my homeland, but with a strange love! My mind won't defeat her. Neither glory bought with blood, nor peace full of proud confidence, nor dark antiquity cherished legends stir in me a pleasurable dream. But I love - for what, I do not know myself - Her steppes cold silence, Her boundless forests swaying, Spills of her rivers, like seas; I like to ride in a cart along a country road And, with a slow gaze piercing the shadow of the night, To meet on the sides, sighing about a lodging for the night, The trembling lights of sad villages; I love the smoke of the burnt stubble, In the steppe, a wagon train sleeping at night, And on a hill among a yellow field, A couple of whitening birches. With joy, unfamiliar to many, I see a full threshing floor, A hut covered with straw, With carved shutters a window; And on a holiday, on a dewy evening, Ready to watch until midnight To dance with stomping and whistling To the sound 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 the originality of 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 the painted knitting needles get stuck In loose ruts... Russia, impoverished Russia, Your gray huts are for me, Your wind songs are for me, - Like the first tears of love! I don't know how to feel sorry for you And I carefully carry my cross... To whatever sorcerer you want Give the robbery 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? With one care more - With one tear the river is noisier And you are still the same - the forest, yes the field, Yes, the patterns are patterned 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 guarded 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 motherland. The main thought (idea) The poet contrasts his love for the motherland with official, official patriotism. He speaks of 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 - seven-foot and five-foot iambic, rhyming system. - cross. Compositionally, the poem is divided into two parts - this is due to the duality of love for the motherland, 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, the impossibility of an unambiguous attitude towards it. The poem begins with the statement: "I love my homeland ..." - and then the lyrical hero makes a reservation: "but with a strange love." And then there are oppositions that speak of the inconsistency of the poet's feelings for the homeland: "glory" in the third line - as if an argument from the side of reason - is immediately reduced by "blood", "weighted" by the epithet "bought". But at the same time, "dark antiquity" becomes a source of "cherished legends". An important role in the second part of the poem is played by the space described by the poet. Through these descriptions, not a “rational” feeling is expressed, but one that comes from the depths of the soul. The poet moves from depicting large-scale paintings (“the boundless swaying” of forests, “sea-like” floods of rivers) to examining, “snatching” specific, private details from the overall picture: “a couple of whitening birches”, “a thatched hut”, 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 accurate and specific, devoid of metaphor: “country” path, “scorched stubble”, “yellow” field, “whitening” birches, “dewy” evening. At the end of the poem, there is, as it were, a synthesis of the natural and folk world, which includes the lyrical hero. The inexplicability of the hero's love for the motherland is emphasized. This feeling does not embellish reality. But it is she, this unadorned reality, that is worthy of love. She is the essence of the homeland.

Answer to 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 a "strange love". His feelings are inexplicable, because, as the author himself says, he likes in it not only the richness of landscape colors and the beauty of Russian nature, but also poverty, the everyday life 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 ordinary vocabulary, using words such as “jump”, “dance”, “muzhichkov”, “stomping”, “whistling”. The theme of Russia is clearly highlighted in Blok's works as well. Blok's love is also peculiar, strange, because, like Lermontov, he turns his gaze to poverty, poverty and his everyday life. native land. What he sees in front of him, his homeland, although gray, full of sadness, is very important to the poet: Russia, impoverished Russia, Your gray huts are for me, Your wind songs are for 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, patterned boards, beautiful features. Block's images are truly beautiful and beautiful. In this poem, Blok animates Russia, painting her as a mysterious woman. This woman herself is gentle and sweet, despite her simplicity, but since the "golden years" have passed, she has noticeably 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 routine. But, unlike Lermontov, in his poem Blok uses beautiful images, compares Russia with the tears of his first love. Lermontov only depicts his homeland, draws its image, and Blok tells us that his homeland, although “poor Russia”, will never disappear and will not succumb to “sorcerers”.

"Borodino" A true literary discovery was "Borodino". For the first time in Russian literature, the greatest historical event was seen through the eyes of an ordinary participant, perceived and transmitted 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 the memory of the people. Time of creation The poem was written in 1837. Theme Image of the feat of the people in Patriotic War 1812. Reflections on the fate of the people in history. The main thought (idea) The poet affirms the idea of ​​the people as the main figure in history. According to V. G. Belinsky, the key idea of ​​"Borodino" is "a complaint about the present generation, dormant in inaction, envy of the great past, full of glory and great deeds." Poetics The genre of the poem is a historical ballad. The 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 an amazing integrity. The soldier was able to see in his story not just the battery on which he was, and not only one section of the battle. He sees history, but not from the command post and not from the summit of eternity, but from his battery. The simple "I" of the narrator turns into "we": I hammered the shell into the cannon tightly, And I thought: I'll treat my friend! Wait a minute, brother, musyu!\At the same second, the "I" of the narrator merged with the mass of the attackers: We will go to break the wall, We will stand with our heads For our homeland!

In one word, the poet reflects the whole 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 ... of the last: But our open bivouac was quiet: Who cleaned the shako all beaten, Who sharpened the bayonet, grumbling angrily, Biting a long mustache. From the details, the poet created a picture of the psychological stress of the soldiers before a mortal, inevitable battle. Lermontov chooses a tale-like style of battle narration - his hero describes the events in the usual folk language. The refrain is also important, which is the key to understanding the poem: Yes, there were people in our time, Not like the current tribe, Bogatyrs - not you! The poet emphasizes the opposition of the glorious heroic past with the modern world, in which disappointment and emptiness deprives a person of strength. We can say that the folk spirit of the poem "Borodino" is the embodiment of real service to a high ideal, in search of which the lyrical hero of Lermontov is.

1.2.3. Compare the poem by M.Yu. Lermontov "Motherland" with the poem by S.A. Yesenin "Goy you, Russia, my dear ...". How do you see the closeness of the positions of the two poets? *** Goy you, Russia, my dear, Huts - in the robes of the image ... Do not see the end and edge - Only the blue sucks the eyes. Like a visiting pilgrim, I look at your fields. And at the low outskirts of the ringing poplars wither. It smells of apple and honey In the churches, your meek Savior. And buzzing behind the tree-tree In the meadows, a merry dance. I'll run along the crumpled stitch To free the green lekh, To meet me, like earrings, A girl's laughter will ring out. If the holy army shouts: "Throw Rus, live in paradise!" I will say: "There is 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 by M.Yu. Lermontov) Love for the motherland is a special feeling, it is inherent in every person, but at the same time it is very individual. Is it possible to consider it "weird"? It seems to me that here it is rather about how the poet, who spoke about the “unusualness” 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. Lermontov's words about his homeland in the poem "Farewell, unwashed Russia ..." sound like a sentence. This is “a country of slaves, a country of masters”, a country of “blue uniforms” and a 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 the future they have nothing to offer. Perhaps now this assessment seems too harsh to us - after all, Lermontov himself, as well as many other prominent Russian people, belonged to this generation. But it becomes clearer why the person who expressed it called his love for the motherland "strange." This also explains why Lermontov, not finding an ideal in modernity, in search of what really makes him proud of his country and its people, turns to the past. That is why the poem "Borodino", which tells about the feat of Russian soldiers, is built 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 the motherland is absolute and disinterested. It is significant that this poem does not belong to the 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 what a person can love his homeland for: "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 homeland, but with a strange love! My mind will not defeat her ... But I love - for what, I don’t know myself ... Patriotism cannot be explained in a rational way, but it can be expressed through those pictures of the native country that are especially close to the poet’s heart. The boundless 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 inner connection: window shutters...". Only such a complete immersion in folk life makes it possible to understand the true attitude of the author to his homeland. Of course, for a romantic poet, an aristocrat, it is strange that this is how he feels love for his homeland. But, perhaps, the point is not only in him, but also in this mysterious country itself, about which another great poet, a contemporary of Lermontov, would later say: “Russia cannot be understood with the 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 often cannot be explained at all.

Anti-war theme "Valerik" Once - it was under Gikhami, We were passing 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 Already in Chechnya, to the fraternal call of the Crowd, brave men flocked. Above the antediluvian forests Beacons flickered all around; And their smoke curled up in a pillar, It 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 matter began; Chu! they ask for guns in the rearguard; Here they [you] carry guns from the bushes, Here they drag people by the feet And call doctors loudly; And here on the left, from the edge, Suddenly, with a boom, they rushed at the guns; And a hail of bullets from the tops of the trees showered Detachment. Ahead, Everything is quiet - there, between the bushes, a stream was running. We come closer. Launched several grenades; Still advanced; are silent; But now, over the logs of the blockage, the Gun seemed to shine; Then two hats flashed by; And again everything was hidden in the grass. That was a formidable silence, It did not last long, But [in] this strange expectation More than one heart beat. Suddenly a volley ... we look: they lie in rows, What are the needs? local regiments The people tested... With hostility, Friendly! resounded behind us. The blood caught fire in my chest! All the officers are ahead ... On horseback rushed to the rubble Who did not have time to jump off the horse ... Hooray - and it fell silent. - Out daggers, In the butts! - And the massacre began. And two hours in the jets of the stream The fight lasted. Cut brutally Like animals, silently, with breasts breasts, Stream bodies dammed. I wanted to scoop up water ... (And the heat and the battle tired Me), but the muddy wave Was warm, was red. (...) And there, in the distance, a discordant ridge, But eternally proud and calm, The mountains stretched - and Kazbek Sparkled with a pointed head. And with secret and heartfelt sadness I thought: a miserable man. What does he want!.. The sky is clear, Under the sky there is a lot of space for everyone, 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 of “war and humanity” by M.Yu. Lermontov and in what works of Russian literature did his famous philosophical reflection on this matter continue and further develop? The work of M.Yu. Lermontov "Valerik" (1840) is a synthesis of genre forms. The appeal of the lyrical "I" to the beloved in the introduction suggests that we have before us the genre of the message, common in the poetry of the 19th century. The hero's confession could well have belonged to Lermontov's Pechorin, who had lost hope for love and reconciled with fate: I do not ask God for happiness \ And silently endure evil. But the story of a fierce battle in the mountains of Ichkeria on the Valerik River, whose name - "river of death" - is suddenly burst into the narrative of military everyday life. symbolic meaning: "They were cut cruelly, / Like animals, silently, with chest breasts ...". The philosophical reflections of the author sum up the bitter results of the military tragedy: I ​​thought: a pitiful man.\What does he want!.. the sky is clear, Under the sky there is a lot of space for everyone,\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 laudatory songs about the prowess of Russian weapons is 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 laudatory songs about the prowess of Russian weapons is a thing of the past. In Leo Tolstoy's Sevastopol Tales, the author's concept of war is formed - "in blood, in suffering, in death." For the narrator and the soldiers, war is madness; the reader becomes a witness to how the moral consciousness of the narrator is born in agony. The events of the Crimean campaign are also devoted to the elegy of N.A. Nekrasov “Listening to the horrors of war ...” (1856). Maternal tears are opposed to the grief of a friend and wife. The grief of mothers does not subside over the years, and therefore arouses the sympathy of the poet: They cannot 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 a default figure: “It’s not about that, but still, still, still ...” The main conflict of the work becomes contrasting the living and the dead, to whom we are indebted.

The tragedy of a generation

DUMA Sadly, I look at our generation! His future is either empty or dark, Meanwhile, under the burden of knowledge and doubt, It will grow old in inaction. We are rich, barely from the cradle, With the mistakes of the fathers and their late mind, And life already torments us, like a smooth path without a goal, Like a feast at a stranger's holiday. Shamefully indifferent to good and evil, At the beginning of the race we wither without a fight; In the face of danger shamefully cowardly And before the authorities - contemptible slaves. So a skinny fruit, ripened before its time, Neither pleasing our taste, nor our eyes, Hanging between the flowers, an orphaned stranger, And the hour of their beauty is its hour of fall! We withered the mind with fruitless science, Taya enviously from neighbors and friends Hope the best and noble voice Unbelief ridiculed passions. 1.2.1 Why does the lyrical hero condemn his contemporary generation? 1.2.2 How 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, creation of art Sweet delight does not move our mind; We greedily keep in the chest the rest of the feeling - Buried by avarice and useless treasure. And we hate, and we love by chance, Without sacrificing anything to either malice or love, And some kind of secret cold reigns in the soul, When the fire boils in the blood. And the luxurious amusements of our ancestors are boring to us, Their conscientious, childish debauchery; And we hurry to the grave without happiness and without glory, Looking back mockingly. With a sullen and soon forgotten crowd We will pass over the world without noise or trace, Without leaving a fruitful thought to the centuries, Nor by the genius of the work begun. And our ashes, with the severity of a judge and a citizen, A descendant will offend with a contemptuous verse, A bitter mockery of a deceived son Over a squandered father. (M.Yu. Lermontov)

The works of Lermontov reflect the thoughts and moods of the era of the 30s of the XIX century, the time of political reaction. Reflections on the fate of his generation appear in the mature lyrics of Lermontov, 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 is looking for balance and harmony with the outside world and does not find them. Pain for the fate of his generation, doomed to live in timelessness, an inert generation, Lermontov most fully comprehended 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 scope. The second is in the content, since the author not only evaluates his generation, but also criticizes it with his own causticity. "Duma" is a look at a generation both from within it and from without. Lermontov emphasizes this with pronouns: “our generation”, “life is already tormenting us”, “we wither 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 all the sin of his generation. His reproofs are largely self-referential. In the poem, a conversation is conducted not with enemies, but with those who are able to hear the poet, share his spiritual quest. Not only life is to blame for the troubles of the hero, 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 comprehended at different levels: - on the philosophical (lack of the future and the ghostly value of the past); - ideological (cognition and doubt are thought of as a burden due to their uselessness); - moral (indifference to good and evil); - psychological (cowardice, inability to fight). However, the fact that the "dismal elegy" acquires the features of satire testifies to the peculiarities of the author's position. He is indignant, ridiculing, but thereby “affirms a certain positive ideal. The finale 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 descendants towards him.

1.2.3 Compare the poem by M.Yu. Lermontov "Duma" with the poem of the same name by N.A. Nekrasov. What conclusions did this comparison lead you to? THOUGHT What is longing and contrition, What is everyday sadness, Murmuring, tears, regret - What do we spend, what do we regret? Is the misfortune of a short life For us the most painful of all, And happiness is so full and sweet, What is worth crying without it? ... Swimmers of the moment 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 a lasting guarantee of happiness In a friend's house, in a holy country; The world is not eternal, people are not eternal ... We leave the momentary house, The soul will fly out of 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, She will pave the way to her father's house. Do we not often walk with courage Over the swampy tundras and mountains, When at least one world of good To find behind them seems to us? Why grumble at suffering, Why do not go along the gloomy path of a rebellious life without grumbling, With the same courage; When, sometimes just as difficult, From the troubles of life and worries That path does not lead to momentary joy, Does it lead to eternal bliss? (N.A. Nekrasov)

"How often, surrounded by a motley crowd" (1840) January 1 How often, surrounded by a motley crowd, When in front of me, as if through a dream, With the noise of music and dance, With the wild whisper of hardened speeches, Images of soulless people flash by, Decency tight masks, When my cold hands touch With the careless boldness of city beauties Long untrembling hands, - Outwardly plunging into their brilliance and vanity, I caress in my soul an old dream, The holy sounds of dead years. And if somehow for a moment I succeed in Forgetting myself, - with a memory of recent antiquity I fly a free, free bird; And I see myself as a child; and around Native all places: high manor house And a garden with a destroyed greenhouse; A sleeping pond is covered with a green net of grasses, And behind the pond the village smokes - and fogs rise in the distance above the fields. I enter the dark alley; through the bushes the evening beam looks, and yellow sheets Noisy under timid steps. And a strange melancholy oppresses my chest: I think about her, I cry and love, I love the dreams of my creature With eyes full of azure fire, With a pink smile, like a young day Behind the grove is the first radiance. So the kingdom of the wondrous almighty lord - I sat alone for long hours, And their memory is still alive Under a storm of painful doubts and passions, Like a fresh island harmlessly among the seas Blooms in their wet desert. When, having come to my senses, I will recognize the deceit, And the noise of the crowd of people will frighten away my dream, An uninvited guest on a holiday, Oh, how I want to embarrass their gaiety, And boldly throw an iron verse in their eyes, Drenched in bitterness and anger! feature of 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 - deceit, hypocrisy of "light". True feelings are impossible in it: the hands are “trembling”, which means that love is false. “Sounds” turn into “noise of music and dance”, “wild whisper of hardened speeches”. This world creates a sense of diversity. Glitter is the only color designation of the real world. Real world filled with "soulless" people. In contrast, the ideal world is purely the world of the “soul” of the lyrical hero. His beautiful dream.

Participation in the “other” world, the world of dreams, as well as the rejection of lies and hypocrisy of reality, is the reason for the loneliness of the lyrical hero. In this regard, the motif of exile and the motif of loneliness in the human crowd, unable to understand and appreciate the lyrical hero (January 1831), become the most relevant. The poem consists of two parts. This poem raises the same theme as in the "Duma" - an analysis of modern society. The first part is devoted to the image of arrogant, spiritually poor people of the "big world". In the "motley crowd" "hardened speeches" sound, "images of soulless people flicker". The poet is spiritually alien to these "decency tightened masks." False and insincere relations between a man and a woman in the world are disgusting to Lermontov. There is no true love here, everything is decided by money and rank. In order to forget, to take a break from "the brilliance and bustle", the poet plunges into memories of the time of childhood and youth close to the heart. Here satire gives way to elegy. Lermontov is convinced that it is impossible to live by one attachment "to recent antiquity." Pleasant dreams about the past are deception, or rather, self-deception. That is why Lermontov exclaims: "... coming to my senses, I will recognize the deception ...". The poem ends with an angry challenge to the world of hypocrisy and evil, a protest against the soulless "light".

The motif of loneliness, exile, wandering

Motive of loneliness, exile, wandering The theme of loneliness is one of the leading ones in Lermontov's lyrics. Lermontov is a romantic poet, therefore, often the lyrical hero of his poems is a lonely, proud person who opposes society, with which she is in an irresolvable conflict. He does not have a friend who can support him "in a moment of spiritual hardship", he does not have a lover. He is alone in the crowd, and at times his loneliness reaches a universal scale. “Cliff” (1841), “Face in the North...” (1841), “Leaf” (1841) In these verses, the motive of loneliness is expressed either in unrequited love or in the fragility of human ties. “How often, surrounded by a motley crowd ...” (1840) The hero is bored at the ball among the “motley crowd”, “wild whisper of hardened speeches”, among “images of soulless people”, “decency of pulled masks”. The poet has a desire to challenge this soulless realm of masks. “And it’s boring and sad...” (1840) The lyrical hero does not find happiness either in love or in friendship, loses faith in himself and in life, his hope for the fulfillment of desires disappears: “... what good is it in vain and eternally to desire ?..". “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 a lonely wandering sound distinctly. spiritual emptiness, dreary despair. Ballad "Airship" (1840) The poet refers 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 rest even after death). The airship in the poem is a vivid symbol of loneliness. The motive of exile and the motive of wandering, wandering, homelessness close to it (in "Clouds" "eternal wanderers", "clouds of heaven", are likened to an exile, a lyrical hero) is naturally associated with the motive of loneliness. The motive of loneliness is connected with the motive of tragic chosenness.

Sail A lone sail turns white In the blue fog of the sea!... What is he looking for in a distant land? What did he throw in his native land? ... Waves play - the wind whistles, And the mast bends and hides ... Alas, - he does not seek happiness And does not run from happiness! Beneath him is a stream brighter than azure, Above him is a golden ray of sun... And he, rebellious, asks for storms, As if there is peace in 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 holds the idea of ​​the unity of opposite principles. Storm and calm are combined here, the search for the meaning of life and eternal dissatisfaction with what is found. More significant in the poem is 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 obscure, not fully defined images are given. We do not see the white sail. It only “turns white” somewhere far away, “in the blue mist of the sea”. What follows is just a series of questions. Where does he swim, what is he looking for, what does a person strive for? They don't have an answer. And the sea, and the sky, and space, and a haze of fog - all this evokes a feeling of delight, but also a aching feeling of loneliness, the unattainability of something beautiful. This is a philosophical poem about the eternal dissatisfaction of a person, his search for the meaning of life, struggle.

I go out alone on the road I go out alone on the road; Through the mist the flinty path gleams; The night is quiet. The desert listens to God, And the star speaks to the star. In heaven solemnly and wonderfully! The earth sleeps in the radiance of blue ... Why is it so painful and so difficult for me? Waiting for what? do I regret anything? I do not expect anything from life, And I do not feel sorry for the past at all; I'm looking for freedom and peace! I would like to forget and fall asleep! But not with that cold sleep of the grave... I would like to fall asleep like this forever, So that the life of strength dozes in my chest, So that my chest rises quietly while breathing; So that all night, all day, cherishing my hearing, A sweet voice sang to me about love, So that the dark oak tree, forever green, would bend and rustle above me. The inner state of the lyrical hero, marked by mental discord, is opposed to 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, open world. In front of him is an endless road directed 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 devoted 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 that opposes the city, and the whole world of social evil created by man; secondly, it is an open space. The desert for Lermontov 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 ability of subtle, sensual mutual understanding. The second stanza is devoted 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 heaven.” How does the lyrical hero feel in this world? dissatisfied, he doubts the future ("I'm waiting for what?") And bitterly recalls the past ("I regret what?"). The third stanza. Here we see the hero's desire to escape from the temporary world. "I do not expect anything from life I" - a rejection of the future, "And I do not feel sorry for the past at all" - a rejection of the past. Instead of them, the poet would like to merge into the eternal world of nature and join her sleep full of power. Stanzas fourth and fifth and reveal in detail this new for Lermontov hero, ideal. The dream he dreams of is not the "cold dream of the grave", but the fullness of vitality. The last (fifth) stanza connects the hope of love ("a sweet voice sang to me about love"), that is, the achievement of personal happiness, and merging with images of mythological and cosmic life. the roots of which the poet would like to plunge into his life-filled dream is the 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 belongs to the late period of the poet's work, it combines the main motifs of Lermontov's lyrics (loneliness, disappointment, grief, death). The very first line speaks of the loneliness of the lyrical hero; the mood is emphasized by the lexemes “one”, “flinty path”, “desert”: the hero enters an open, open world. The words "road", "path" refer to the philosophical concept of "life path" - a difficult one, passed by the hero alone. In the second stanza, by contrasting the external world and the inner feeling of the hero, the contrast between the calm, harmonious world of nature (“It is solemn and wonderful in heaven”, “... the earth sleeps”) and the deep dissatisfaction of the lyrical hero, seeking to join the peaceful outside world, breaking out of the 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 that which Lermontov put into this word in his early lyrics. Then freedom meant rebellion, was equated with struggle (as in the poem "Sail"), now freedom is tantamount to peace, harmony with nature. In addition, the syntax of stanzas 1 - 3 suggests the disharmony of the inner and outer worlds: one thought is constantly divided into several sentences using a semicolon; in the second stanza, the hero's nervous state makes him ask three questions expressing one state: Why is it so painful and so difficult for me? Waiting for what? Do I regret anything? In 4-5 stanzas, the lyrical hero creates an ideal, imaginary world: he no longer asks God for death (as in the poem "Gratitude"), but longs to stay alive ("... So that life forces doze in his chest"), but calmed and no longer responding to earthly passions. At the end of the poem there is a theme of the meaning of life: highest values the poet names nature and love.

M.Yu. Lermontov "Angel" An angel flew through the midnight sky, And he sang a quiet song; And the moon, and the stars, and the clouds in a crowd Listened to that song of the saint. He sang about the bliss of sinless spirits Under the bushes of paradise gardens; He sang about the Great God, and His praise was unfeigned. He carried a young soul in his arms For a world of sorrow and tears. And the sound of his song in the young soul Remained - without words, but alive. And for a long time she languished in the world, Full of wonderful desire, And the sounds of heaven could not replace Her boring songs of the earth. 1831 1.2.1 How do the earthly and heavenly worlds correlate in the poem by M.Yu. Lermontov "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 up to the heavens ...” How are these works similar and how do they differ? What figurative language is used in these poems? What are their functions? A.K. Tolstoy “The soul quietly flew up to the heavens…” The soul quietly flew up to the heavens, To sad valleys it lowered its eyelashes; Tears, falling from them in space like stars, Light and long, hung behind her in a string. The luminaries who met her quietly asked her: “Why is she so sad? And what are these tears in the eyes? She answered them: “I did not forget the land, I left a lot of suffering and grief there. Here I will only listen to the faces of bliss and joy, The righteous souls know neither sorrow nor malice - Oh, let me go again, Creator, to the earth, It would be for someone to regret and console someone. 1858

THE IMAGE OF AN ANGEL "Angel" M. Yu. Lermontov An angel flew through the midnight sky And he sang a quiet song. And the moon, and the stars, and the clouds in a crowd Listened to that song of the saint. 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 in the young soul Remained without words, but alive, And for a long time she languished in the world Full of wonderful desire, And the boring songs of the earth could not replace the sounds of heaven. Christian motives in the work of M.Yu. Lermontov is a very deep and multifaceted topic. It includes religious, biblical motifs, theomachic and demonic themes. "Angel" is the most mysterious poem written by Lermontov at the age of sixteen, in 1831. It tells about the birth of a new person, whose soul is carried by an angel to reunite it with the body even 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 eternal paradise to the still sinless soul of a baby. 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 magic song of the angel forever remained in the soul of a person, and he carried it through his whole long life. It seems that the image of an 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 opposition of 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, a line is very clearly drawn between the two worlds, which intersect only during the birth and death of a person. If we consider this work from a philosophical point of view, it becomes obvious that the young Lermontov is an idealist. He is convinced that a person comes into this world in order to suffer, and this purifies 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 bewitching obsession, there remains a memory of the angel's song, which gives him a feeling of joy and the infinity of being. It is noteworthy that the poem "Angel" begins with the word "heaven", 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 kind of refrain in the form of the last line of each quatrain seems to remind 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 "Tussel angel" At the decorated Christmas tree And at the children playing The angel looks through the crack of tightly closed doors. And the nanny heats the stove in the nursery, The fire is crackling, it burns brightly ... But the angel is melting. He is German. He is not hurt and warm. First, the baby's wings melt, The head falls back, The sugar legs are broken And they lie in a sweet puddle... Then the puddle dried up. The hostess is looking for - he is not there ... And the old nanny went deaf, Grumbles, does not remember anything ... Break, melt and die, Creation of fragile dreams, Under the bright flame of events, Under the rumble of worldly fuss! So! Perish! What's the use of you? Let only once, breathing in the past, The naughty girl - the soul will cry about you on the sly ... A. Blok's poem "The Leaf Angel" is a poetic response to L. Andreev's story "The Angel", the image of an angel symbolically sounds in it. The central motive is that a person is elevated above earthly everyday life by a dream, an impulse to the sublime. However, the image of a melting angel emphasizes the tragic hopelessness of earthly existence. Nothing remains of the angel, embodying everything pure and beautiful - as soon as the soul will keep memories of this, let the rest trample on all fragile dreams. Alexander Pushkin At the door 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 Gazing at the pure spirit And involuntarily tender tenderness For the first time vaguely recognized. “Forgive me,” he said, “I saw you, And you shone for me for a reason: I didn’t hate everything in the sky, I didn’t despise everything in the world. The plot is based on the antithesis. Pushkin contrasts a gentle angel and a gloomy demon. an angel with a bowed head. Immediately a rebellious demon appears, flying over the hellish abyss. The angel is compared with a pure spirit, and the demon with 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 at the end, the demon asks the angel for forgiveness. He says that in fact he is not as evil as everyone imagines him. The demon did not despise and hate everything. As a result, good nevertheless triumphed and even the "gloomy demon" could not resist " gentle angel.

AND BORED AND SAD And boring and sad, and there is no one to give a hand In a moment of spiritual adversity ... Desire!., What good is in vain and eternally wishing? To love ... but whom? ., for a while - it's not worth the trouble, But it's impossible to love forever. Do you look into yourself? - there is no trace of the past: And joy, and torment, and everything there is insignificant ... What is passion? - after all, sooner or later their sweet ailment Disappears at the word of reason; And life, as you look around with cold attention, - Such an empty and stupid joke... (M.Yu. Lermontov) 1.2.1. How does the poem reveal the theme of time? 1.2.2. What are the features of the composition of the poem? 1.2.3. Why does the lyrical hero not find spiritual support in those values ​​that are named in the poem? 1.2.4. Compare the poem by M.Yu. Lermontov “Both boring and sad” with the poem by A.S. Pushkin "A gift in vain, an accidental gift ..." What conclusions did this comparison lead you to? *** A gift in vain, a random gift, Life, why are you given to me? Or why are you sentenced to death by secret fate? Who called me with hostile power From insignificance, Filled my soul with passion, Agitated my mind with doubt? (A.S. Pushkin)

BEGGAR At the gates of the monastery of the saint Stood asking for alms The poor man was withered, a little alive From gladness, thirst and suffering. He only asked for a piece of bread, And his gaze showed living torment, And someone placed a stone In his outstretched hand. So I prayed for your love With bitter tears, with anguish; So my best feelings Are deceived forever by you! (M.Yu. Lermontov, 1830) 1. What is the originality of 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 "The Beggar" and N.A. Nekrasov "The Thief". What is the difference between these poems? THIEF Hurrying to the banquet along a dirty street, Yesterday I was struck by an ugly scene: The merchant, from whom the kalach was stolen, Shuddering and turning pale, suddenly raised a howl and cry And, rushing from the tray, shouted: “Stop the thief!” And the thief was surrounded and stopped soon. The bitten kalach trembled in his hand; He was without boots, in a holey frock coat; The face showed a trace of a recent illness, Shame, despair, prayer and fear ... The policeman came, sometimes called, He selected the points of interrogation, excellently strict, And the thief was solemnly led to the quarter. I shouted to the coachman: “Go on your way!” - And I hastened to bring a prayer to God For the fact that I have a hereditary ... (N.A. Nekrasov, 1850)

1.2.1. What is the symbolic meaning of the title of this poem - "The Beggar"? The direct meaning of the word "beggar" is associated with the designation of the poor, asking for "a piece of bread" "at the gates of the holy monastery." This is precisely the meaning of the concept of "beggar" in the first two stanzas. A synonym for the word "beggar" is the expression "poor beggar". However, in the last stanza, the meaning of the word "beggar!" acquires a subjective connotation. The lyrical hero compares himself with the "beggar". The ambiguity of the concept of "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 return. 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 by “stone” become tantamount to death and enhance the dramatic pathos of the poem.

1.2.1 Describe the mood of the lyrical hero of A.S. Pushkin. 1.2.2 What is the originality of the composition of the poem "Cloud"? 1.2.3 How do the world of nature and the world of man correlate in Pushkin's "Cloud"? 1.2.4 Compare the poem by A.S. Pushkin's "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! You alone rush through the clear azure, You alone cast a gloomy shadow, You alone grieve the jubilant day. You recently covered the sky all around, And lightning wrapped around you menacingly; And you issued a mysterious thunder And watered the greedy earth with rain. That's enough, hide! The time has passed, the Earth has refreshed itself, and the storm has rushed by, And the wind, caressing the leaves of the trees, drives you from the calm skies. (A.S. Pushkin) CLOUDS Heavenly clouds, eternal wanderers! Steppe azure, a chain of pearls Rush you, as if like me, exiles From the sweet north towards the south. Who is driving you: is it fate's decision? Is envy secret? is malice open? Or is crime burdening you? Or poisonous slander of friends? No, you are bored with barren fields... Passions are alien to you and suffering is alien; 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 all worldly things, a life of alms and a constant journey from one holy place to another. The poet himself was also aware of himself as a "wanderer". Written in the form of an appeal 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 the clouds driven by the wind, to expressing bitterness from parting with the Motherland and opposing himself to the clouds. Clouds - cold, free, impassive, indifferent; the lyrical hero is deeply suffering from persecution and exile, not free. The use of book means (exiles, fate, decision, gravitate, crime, slander, boredom, fruitless fields, exile) and emotional-evaluative vocabulary [azure (steppe), pearl (chain), dear (north), poisonous slander, fruitless (fields ), open (malice), secret envy, crime) reflects the high ideological orientation of the poem and its agitated emotional tone. The poetic text is characterized by the use of various figurative and expressive means: personifications (clouds are eternal wanderers), epithets (azure, pearl, poisonous, etc.), comparisons (You rush as if like me, exiles ...), figurative paraphrases (dear the north is Petersburg, the south side is the Caucasus, the azure steppe is the sky, the pearl chain is clouds), rhetorical questions and syntactic parallelism (Who is driving you? friends slander poisonous?); repetition reception: alien (2), forever (2), no (2). All this serves as a means of emotional and semantic enhancement of the author's individual aesthetic vision of the world, allowing the reader to join him. . The monologue of the lyrical hero, turned to the clouds, makes it possible to convey in an artistic form the agitated emotional state of the author thanks to the technique of psychological parallelism, characteristic of the poetry of M.Yu. Lermontov.

CLISCHES for comparison 1. Works (poems, fragments, excerpts) are united by a motive (theme) ... 2. The same theme in two works (poems, fragments, excerpts) is revealed in completely different ways and develops in opposite aspects. 3. For both works (poems, fragments, excerpts) one more feature is characteristic. 4. One more significant dissimilarity should be noted... 5. Differences in poems are expressed not only in emotional coloring, in pathos, but also in the structure and form of works. 6. The rhythmic sound of the poems is also contrasting. The poetic dimensions that the poets choose convey ... (dynamic, movement; smoothness, melodiousness) 7. Unlike the first, the second poem has ... 8. The poems are largely contrasting, and the author put the contrast of feelings as the basis .: love and falling in love). The differences of these feelings are due to the differences of lyrical characters. 9. Poems ..., it would seem 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! In them are tears of parting, In them is the thrill of goodbye. Will not meet with an answer Amid the noise of the world From flame and light A born word; But in the temple, in the midst of the battle And wherever I will be, Hearing him, I will recognize him 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 KIM GIA for graduates of grade 9, it is given in the manual for training. 1.2.1 What is the role in the poem by M.Yu. Lermontov "There are speeches - meaning ..." does the contrast technique play? 1.2.2 What "word" is the poet singing? 1.2.3 What 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 cited poem by A.A. Fet "With one push to drive a living rook ...", What conclusions did this comparison lead you to? With one push to drive away the living boat From the smoothed tides of the sands, With one wave to rise into another life, To smell the wind from the flowering shores, To interrupt a dreary dream with a single sound, To suddenly revel in the unknown, dear, Give life a sigh, give sweetness to secret torments, Instantly feel someone else's, Whisper about that, before which the tongue goes numb, Strengthen the fight of fearless hearts - This is what only the chosen singer owns, This is his sign and crown! (AA. Fet)

Compare the poem by M.Yu. Lermontov "Poet" with the following poem by F.I. Tyutchev "Poetry". What is the difference between the authors' ideas about the purpose of the poet and poetry? POET My dagger shines with golden trim; The blade is reliable, without blemish; His damask steel is kept by a mysterious temper - Legacy of the warlike east. He served a rider in the mountains for many years, Not knowing the payment for the service; He made a terrible mark on more than one chest And broke through more than one chain mail. He shared fun more obediently than a slave, He rang in response to insulting speeches. In those days there would have been a rich carving for him An outfit alien and shameful. He was taken beyond the Terek by a brave Cossack On the cold corpse of the master, And for a long time he lay abandoned then In the Armenian camping shop. Now the native 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 or caresses it with a familiar, caring hand, And praying before dawn, no one reads its inscriptions with zeal ... -------------------- In our age pampered, aren't you, poet, Lost your purpose, Exchanged for gold that power, which the world Listened to in mute reverence? It used to be that the measured sound of your mighty words Inflamed a fighter for battle, He was needed by the crowd, like a bowl for feasts, Like incense in the hours of prayer. Your verse, like a divine spirit, hovered over the crowd; And, the echo of noble thoughts, It sounded like a bell on a veche tower, In the days of celebrations and troubles of the people. But your simple and proud language is boring to us, We are amused by sequins and deceptions; Like a dilapidated beauty, our dilapidated world is used to Wrinkles to hide under the rouge... Will you wake up again, ridiculed prophet? Or never, at the voice of vengeance, You will not tear out your blade from the golden scabbard, Covered with rust of contempt? .. (M.Yu. Lermontov, 1839)

POETRY Among the thunders, among the fires, Among the seething passions, In elemental, fiery discord, She flies from Heaven to us - Heavenly to the Earthly Sons, With azure clarity in her eyes - And on the rebellious Sea Pours a conciliatory oil. (FI Tyutchev, 1850) 1-3. In the formulation of the task, we single out the words “differ”, “the views of the authors”. Recall the literary concepts. "Representations of the authors" - the author's position: what is the purpose of the poet and poetry. The position of the author is the author's attitude to a particular topic or a particular problem of the text, the author's proposed solution to a particular problem. The position of the author on the main topic and the 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, expressive means, etc. An artistic image is any phenomenon creatively recreated by the author in work of art. It is the result of the artist's understanding of a phenomenon or process. 4. The grounds for comparison are named in the formulation of the task: on the appointment of the poet and poetry.

Keywords Lermontov The poet is compared with a dagger, aren't you, the poet, Your purpose lost? The purpose of the poet: ... the measured sound of your mighty words Ignited a fighter for battle; ... the echo of noble thoughts, It sounded like a bell on a veche tower, In the days of celebrations and troubles of the people; ... power, which the light Heeded in mute reverence. Key words Tyutchev The heavenly is opposed to the earthly. On earth - thunder, seething passions, fiery discord, the rebellious Sea. She flies from Heaven to us - Heavenly; With azure clarity in his eyes; Pours conciliatory oil.

Let's make a coherent answer. 1st paragraph - states the general theme. 2nd paragraph - Lermontov's presentation. 3rd paragraph - Tyutchev's presentation. 4th paragraph - conclusion. Rate the essay. The ideas of Lermontov and Tyutchev about the purpose of the poet and poetry are completely different. Lermontov's poem "The Poet" is built on a comparison of poetry with a dagger: like military weapons, turned into "an inglorious and harmless toy", poetry has lost its social purpose. The poet is a “ridiculed prophet” who exchanged power over the crowd for gold. Exposing the poet of the "coddled age", Lermontov calls on the poet to become, as before, the spokesman for the people's thoughts, when his "powerful words", "simple and proud language" "ignited the fighter for battle" and were like a bell "on the veche tower during the days of celebrations and the troubles of the people." Tyutchev has a completely different idea of ​​the role of poetry and the place of the poet in society. F. Tyutchev's poem "Poetry" is built on the contrast of earthly and heavenly. The earthly picture is created by images of a thunderstorm (“seething passions”, “fiery discord”) and a “rebellious sea”, symbolizing the life of mankind. Poetry, according to Tyutchev, is of divine origin: “heavenly flies down to us from heaven”, it brings “azure clarity” into the human world of passions, “pouring a conciliatory oil”. Thus, Lermontov affirms the high ideal of civil 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 rumors, With lead in his chest and a thirst for revenge, Hanging his proud head! Murdered!., why sobs now, An unnecessary choir of empty praises And pitiful babble of justification? Fate's verdict has come true! Weren't you at first so viciously persecuting His free, daring gift And fanning the Slightly lurking fire for fun? Well? have fun ... - he could not endure the torment of the latter: The wondrous genius faded like a light, The solemn wreath withered. His killer cold-bloodedly Brought a blow ... there is no salvation: An empty heart beats evenly. The pistol did not waver in his hand. And what a marvel? ., from afar, Like hundreds of fugitives, To catch happiness and ranks Abandoned to us by the will of fate; Laughing, he defiantly despised the Earth's alien language and customs; He could not spare our glory; Couldn't understand in this bloody moment, What he raised his hand to! Why, from peaceful bliss and simple-hearted friendship, did he enter this light, envious and stifling 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? Poisoned his last moments Insidious whisper mocking ignoramuses, And he died - with a vain thirst for revenge, With annoyance secret deceived hopes. The sounds of marvelous songs have ceased, Do not be heard again: The singer's shelter is gloomy and cramped, And his seal is on his lips. And you, the arrogant descendants of the well-known villainy of the glorified fathers, the Fifth slavish trampling over the wreckage with the game of happiness of the offended generations! You, greedy crowd standing at the throne, Freedom, Genius and Glory executioners! You lurk under the shadow of the law, Before you is the court and the truth - everything is silent! .. But there is also God's judgment, confidants of debauchery! There is a formidable judgment: it waits; He is not available to the ringing of gold, And he knows his thoughts and deeds in advance. Then in vain will you resort to slander! It will not help you again, And you will not wash away all your black blood of the Poet's righteous blood!

The main themes here are the conflict between the poet and the crowd, the divine gift and doom to 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, connected in Lermontov's view with the future: "God's", "terrible", incorruptible court, which cannot be deceived.

JANUARY 29, 1837 From whose hand did the deadly lead tear the poet's heart? Who destroyed this divine phial like a meager vessel? Whether he is right or guilty Before our earthly truth, Forever he is branded by the highest hand In the "regicide". But you, suddenly swallowed up from the light into the timeless darkness, Peace, peace be with you, O shadow of the poet, Peace be bright with your ashes! ... sultry blood. And with this noble blood You quenched the thirst for honor - And the overshadowed one rested with the Banner of sorrow of the people. Let him judge your enmity, Who hears the shed blood... Well, as the first love, Russia's heart will not forget!.. (FI Tyutchev, 1837) 3 . Compare the poems of M.Yu. Lermontov "Death of a Poet" and F.I. Tyutchev "January 29, 1837", dedicated to the death of A.S. Pushkin. What is the difference between the two poets' understanding of the essence of the tragedy that happened? The interpretation of the same event by two poets is completely different. Lermontov found those responsible for the death of Pushkin, and this list does not end with Dantes. Lermontov blamed society, power, while Tyutchev, on the contrary, blamed Dantes and paid tribute to Pushkin, but he does not blame society.

Benchmarking examples. Compare the poem by M. Yu. Lermontov with the cited poem by A. K. Tolstoy. What are the motives of these poems? No, it's not you that I love so passionately, It's not for me that your beauty shines: I love in you the past suffering And my lost youth. When sometimes I look at you, Looking into your eyes with a long look: I am busy talking mysteriously, But I am not talking to you with my heart. I'm talking to a friend of my youthful days, In your features I'm looking for other features, In the lips of the living, the lips have long been mute, In the eyes of the fire of faded 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 the reins, I think about her, Go, my horse, more fun on the grass! I think so softly, so sweetly, but then an unknown companion sticks to me, He is dressed like me, on the same horse, A gun behind his shoulders shines in the moonlight. "You, companion, tell me, tell me, who are you? Your features seem to be familiar to me. Tell me, what brought you at this hour? Why are you laughing so bitterly and evilly?" “I laugh, comrade, at your dreams, I laugh that you are destroying the future; Do you think that you really love her? That you really love her yourself? You love yourself. Come to your senses! Your impulses are no longer the same, She is no longer a mystery to you, You accidentally came together in worldly bustle, You will part with her by chance. I laugh bitterly, I laugh evilly at the fact that you sigh so heavily. Everything is quiet, embraced by silence and sleep, My comrade disappeared in the fog of the night, In heavy meditation, alone, by the moon, I ride across the field on a good horse ... A. K. Tolstoy. 1851

Lermontov. “No, I don’t love you so passionately ...” The most important motives: inner freedom; transience of love; chivalrous service and its depreciation by betrayal; romantic pride - inner strength in the struggle with oneself; the inevitability of recollection (“we know each other too much to forget each other” - a formula that occurs more than once in Lermontov's lyrics); the desire to forget, to get away from mental pain through “pleasures” and deceit - embodied more in prose than in 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 speak of 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 forces, but also depriving them. The hero is lonely and even embittered. None of the poets before Lermontov would have dared to use oratorical intonations, oratorical pathos in a message to a woman he once loved. Meanwhile, Lermontov saturates his monologue to the utmost 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. It 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 social and philosophical generalizations about a person’s place in the world, about his right to happiness, about his romantic dream associated with the search for the universal harmony of being and the human personality penetrate into intimate lyrics that speak of purely personal feelings.

Rate the essay. The poems of M. Yu. Lermontov and A. K. Tolstoy are similar in motives and images. So, for example, in both poems there is a motif of lost love. In Lermontov, it is expressed in the words: “No, it’s not you that I love so passionately, It’s not for me that your beauty shines. I love in you the 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 motive of internal duality. Lyrical heroes are close in these two motives. These are disappointed egoists who could not keep a bright feeling. 2 - K 3 - MOTIVE - a stable semantic element of a literary text, repeated in folklore and literary and artistic works.Often the motive contains distinct elements of symbolization (the road by N.V. Gogol, the garden by A.P. Chekhov, the snowstorm by A .S. Pushkin and Russian symbolists, card game in Russian literature of the 19th century). The term "motive" is also used in a different sense: the themes and problems of the writer's work are often called motives (for example, the moral revival of a person; the alogism of human existence).

Compare the poem by M. Yu. Lermontov with the cited poem by A. K. Tolstoy. What are the motives of these poems? No, it's not you that I love so passionately, It's not for me that your beauty shines: I love in you the past suffering And my lost youth. When sometimes I look at you, Looking into your eyes with a long look: I am busy talking mysteriously, But I am not talking to you with my heart. I'm talking to a friend of my youthful days, In your features I'm looking for other features, In the lips of the living, the lips have long been mute, In the eyes of the fire of faded eyes. M. Yu. Lermontov. 1841 Rate the essay. The poems of M. Yu. Lermontov and A. K. Tolstoy are similar in motives and images. So, for example, in both poems there is a motif of lost love. In Lermontov, it is expressed in the words: “No, it’s not you that I love so passionately, It’s not for me that your beauty shines. I love in you the past suffering and my lost youth ... ". For Tolstoy, it sounds like this: “You don’t love her, but you love yourself.” And also in both poems there is a motive of internal duality. Lyrical heroes are close in these two motives. Alone, in the moonlight, I'm riding across the field on a good horse, I threw the reins, I think about her, Go, my horse, more cheerfully on the grass! he, like me, on the same horse, The gun behind his shoulders shines in the moonlight. "You, satellite, 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 destroying the future; Do you think that you really love her? Do 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 for you, You accidentally met in worldly fuss, You will part with her by chance. I laugh bitterly, I laugh evilly at the fact that you sigh so heavily. "Everything is quiet, embraced by silence and sleep, My comrade disappeared in the fog of the night, In heavy thought, alone, by the moon, I ride across the field on a good horse ... A. K. Tolstoy, 1851

"Cliff". A golden cloud spent the night On the chest of a giant cliff; In the morning, she rushed off on her way early, Playing merrily across the azure; But there was a damp trace in the wrinkle of the Old Cliff. Lonely He stands deep in thought And he weeps softly in the desert. In Lermontov's lyrics, love is a lofty, 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 visiting the cloud that rushed off in the morning is so dear to him. The image of a cloud - “golden”, “rushed away”, “playing merrily across the azure” is opposed to a cliff: it is “giant”, but “wet trace in a wrinkle”, “thinking deeply” and “he cries 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 pleases my soul. And, devoted to new passions, I could not stop loving him: So the temple left - all the temple, The idol defeated - all the 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 echo M. Lermontov's poem? For comparison, other poems by Lermontov himself (“Cliff”, “It stands alone in the wild ...”, “Leaf”, “No, I am not Byron ...”, etc. are suitable. It is also possible to compare with such poems by A. Pushkin, as “To the poet” or “From Pindemonti". I do not want the world to know My mysterious story: How I loved, for what I suffered - Only God and conscience will judge! .. Their heart will give an account in feelings, They will ask for regret And let the one who invented my torment punish me. The reproach of the ignorant, the reproach of the people Does not sadden the high soul, - Let the wave of the seas rustle, The granite cliff will not fall down; His forehead between the clouds, He is a gloomy tenant 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 a "double world", antithesis (the world of people, crowds, the world dolny - and the world of "storms and thunders"). The hero of the poem wants to hide his secret from everyone; he o suffered and felt in the past. Now his destiny is torment, gloom; he must be patient and silent. But his soul is “high”. The impossibility to get off the ground and, at the same time, the impossibility not to strive for the sky, the “tornness” between the 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 Does sadness crowd in the heart: One wonderful prayer I repeat by heart. There is a gracious power In the consonance of living words, And incomprehensible, Holy charm breathes in them. As a burden rolls down from the soul, Doubt is far away - And one believes, and one cries, And so easily, easily... 1839 1.2.1. Why do you think the poem ends with an ellipsis? 1.2.2. What poems by Lermontov would you call contrasting in relation to this poem? This is a rather rare case for the author of a “light”, 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 (it is believed, weeping, it is easy, easy - impersonal sentences). The words of the prayer act, as it were, 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 the release has come for a short time, that sadness will return - and he wants to prolong the prayer in order to delay this minute (because he experiences such a state of lightness only in prayer). In contrast to this poem, many of Lermontov's program poems may look like, in which the motives of struggle or doubt, disappointment are strong.

When the yellowing field is agitated When the yellowing field is agitated And the fresh forest rustles at the sound of the breeze, And the crimson plum hides in the garden Under the shade of a sweet green leaf; When the fragrant dew is sprinkled, On a ruddy evening or in the golden hour in the morning, From under a bush, a silvery lily of the valley greetly nods its head to me; When the icy spring plays along the ravine And, plunging my thoughts into some kind of vague dream, It babbles to me a mysterious saga About the peaceful land from which it rushes, - Then my soul's anxiety humbles itself, Then the wrinkles on the forehead disperse, - And I can comprehend happiness on earth , And in the sky I see God ... How landscape sketches are connected with main idea poems? What kind artistic means used by M.Yu. Lermontov to create images of wildlife? 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 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 enumerates them, giving these enumerations 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 key”, “mysterious sagu", "peaceful land", "vague dream". The harmony created by poetic means, lurking 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 by I.A. Bunin "And flowers, and bumblebees, and grass, and ears of corn ...". What ideas and images bring together these poems? *** And flowers, and bumblebees, and grass, and ears of corn, And azure, and midday heat... The time will come - the Lord of the prodigal son will ask: "Were you happy in your earthly life?" And I will forget everything - I will only remember these Field paths between ears of corn and grass - And from sweet tears I will not have time to answer, Crouching to merciful knees. (I.A. Bunin, July 14, 1918)

“I am lonely - there is no consolation ...” (The motive 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 alone before the reader. This is one of the most stable and constant motives of Lermontov's work, reflected in most of his works. 1. Comparison of the poems "The Prisoner" by Pushkin and Lermontov: the motif of the hopelessness of loneliness, the hopelessness of the latter's desire for freedom. "Damp dungeon" (almost folk image) and the lattice are opposed by Pushkin to 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 the instinct of freedom. Some doubt in the realization of hope is caused only by the fact that the eagle, like the lyrical hero, is “tied” to prison - “nurtured” in it. However, the openness of the finale of the poem allows 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, “luxurious” tower, “green” field), movement, is replaced by a picture of the prison world, where the light is dim, “dying”, sentry is “unresponsive” and its steps fill the world with a monotonous sound. 2. The motive of loneliness in Lermontov becomes central and comprehensive, acquires not only biographical, psychological, but also philosophical meaning: it is a fruitless search for the purpose and meaning of being. If in youthful lyrics loneliness is both a source of suffering and an object of aspirations, 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 being” The poem “And boring and sad...”, where there is no feeling of lofty, solemn tragedy, rather fatigue and hopelessness. This poem, built on antithesis, reflects a view of the most important worldview concepts: desire, love, passion are fleeting and miserable against the background of eternity, reason is the “burden of knowledge and doubt” of the whole 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 “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.