Yesenin “Pushkin”? What is unique about the embodiment of the theme of a poetic monument in S. A. Yesenin’s poem? Which of the Russian poets addressed literary predecessors or contemporaries in their works and in what ways these works are consonant with Yesenin’s

The basis of S. A. Yesenin’s poem “To Pushkin” was the theme of a poetic monument. In it, the author addresses the great poet of the Golden Age of Literature, comparing his fate with his own. The lyrical hero finds similarities between himself and A.S. Pushkin: he is sure that his predecessor was the same “rake” and “hooligan” as the addressee himself. However, unlike the hero doomed “to persecution,” the great poet, whose “mighty gift” one can only dream of, “became destiny” for Russia. “As before communion,” the lyrical hero stands in front of the monument to his idol to say that he would be happy if his “steppe singing,” like the world-famous lyrics of A. S. Pushkin, “managed to ring like bronze.”

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THE THEME OF THE MONUMENT IN RUSSIAN LITERATURE

Stukolova Yulia, 10th grade student

1. Introduction…………………………………………..2

2. Features of the monument theme:

a) in the works of M. V. Lomonosov……....3

b) in the works of G.R. Derzhavin……………4-5

c) in the works of A.S. Pushkin……………….6-7

d) in the works of V.F. Khodasevich ……………..8

e) in the works of V.S. Vysotsky…………..9-11

f) in the works of Ya.V. Smelyakov……………12-14

3. Conclusion…………………………….15

4. List of used literature……….16

INTRODUCTION

The theme of the monument has always occupied an important place in the work of all poets. In their poems they seemed to express their right to immortality. In “Monuments” the authors evaluate their role in the life of society, the role of their creative activity. In them they assert their right to historical immortality. The theme of the poet and poetry is traditional, cross-cutting in European culture. The poet's monologue about himself is found in ancient poetry. Thus, Horace’s ode “To Melpomene” translated by M.V. Lomonosov served as the basis for the poems of G.R. Derzhavin and A.S. Pushkin about the “monument”. Its main aspects are the process of creativity, its goal, meaning, the relationship of the poet with the reader, with the authorities, with himself. Thus, among poets of different eras there was a tradition of lyrical depiction of a “miraculous” monument, as if summing up the result of creative activity.

So, he first turned to the topic of the poet and poetry back in the first century BC. e ancient Roman poet Quintus Horace Flaac. There have been many translations of Horace's ode. Some of them (M.V. Lomonosov, V.V. Kapnist, A.Kh. Vostokov, S.A. Tuchkov) were undoubtedly known to A.S. Pushkin, while others (A.A. Fet, N. Fokkov, B.V. Nikolsky, P.F. Porfirov, V.Ya. Bryusov) appeared after Pushkin’s death.

FEATURES OF THE THEME OF THE MONUMENT

a) in the works of M.V. Lomonosov

In 1747 M.V. Lomonosov translated Horace into Russian. The translation of Horace's most famous 30th ode, strictly speaking, cannot be called an anacreontic ode in the generally accepted sense of the term. But in the individual meaning that Lomonosov attached to anacreontics - the meaning of an aesthetic and life-building manifesto - of course, Horace's translation comes closer to precisely this line of Lomonosov's poetic heritage. Lomonosov’s “Monument” is both a very close translation and an original poem that sums up Lomonosov’s poetic activity. Using moments of coincidence in the biography and type of creative activity of Horace with his life and poetic circumstances (both Horace and Lomonosov were of low class origin; both Horace and Lomonosov were reformers of national systems of versification: Horace first began to use the Aeolian melica (Alcaeus stanza) in Latin poetry ); Lomonosov reformed Russian versification, establishing the syllabic-tonic principle and giving examples of many rhythmic structures), Lomonosov was able to very specifically evaluate his own contribution to Russian literature.

In his poem “Monument” Lomonosov uses a high style, practically not rhyming lines and using outdated words. For Lomonosov, the muse is a great patron, rewarding him for his “righteous merit.”

The two-syllable meter - iambic - gives the unrhymed lines of the poem clarity and precision. The solemnity of the sound is given by words of high style: I will erect, above, increase, fatherland, obstacle, etc., many words and expressions of Greco-Roman origin, from history and mythology: Aquilon, Aufidas, Aeolian poems, muse, Delphic laurel, etc.

b) in the works of G.R. Derzhavina

The theme is the immortality of the poet in his works, in the memory of people about the creator of famous works. The lack of understanding of the true essence and novelty of Derzhavin’s poetry by the majority of the public determined the poet’s desire to formulate the programmatic originality of his odes himself. In 1795, following the example of Horace, he wrote the poem “Monument,” in which he defines his right to immortality as follows:

Everyone will remember this in countless nations,
How from obscurity I became known,
That I was the first to dare in a funny Russian syllable
To proclaim Felitsa’s virtues,
Talk about God in simplicity of heart
And speak the truth to kings with a smile.

The main feature of Derzhavin’s aesthetic poetry was sincerity. When he praised the empress, he did not flatter, but wrote the Truth, believing that the ascribed virtues were really characteristic of her. In poetry, he most accurately defined his poetic principles. “Monument” is in this sense the most important aesthetic document. Relying on tradition, the poet discovered the essence of his artistic innovation, which was supposed to ensure “immortality.”

Let us try to historically understand the meaning of Derzhavin’s words-definitions that guarantee this immortality. “I was the first to dare in a funny Russian style...” What is Derzhavin’s “audacity”? In deviation from the famous “rules” of classicism. These rules required that the poet “broadcast”, proclaim in the form of eternal truths those abstract virtues that were “due” to the imperial rank and were expressed in a common syllable. Derzhavin created a “funny Russian style” that helped him reveal his personality in everything he wrote about. The joke revealed an individual mindset, a way of understanding things and a view of the world that is characteristic of to this poet, his personal attitude towards Catherine II - a person with his characteristic habits, affairs, and concerns.
The high simplicity of the lexical series and iambic perfectly embody a calm, confident course of thought, far from the bustle of the world.

According to Derzhavin, the purpose of art and literature is to promote the spread of enlightenment and foster a love of beauty, correct vicious morals, and preach truth and justice. It is from these positions that he approaches the assessment of his creativity in the poem “Monument”. He likens his work to a “wonderful, eternal” monument. The leisurely, solemn rhythm of the verse (the poem is written in iambic hexameter) corresponds to the importance of the topic. The author reflects on the impact of poetry on contemporaries and descendants, on the poet’s right to the respect and love of his fellow citizens. He expresses confidence that his name will live in the hearts and memories of “countless peoples” inhabiting the space “from the White Waters to the Black Waters.” The poet connects his immortality with the “race of the Slavs,” that is, with the Russian people. To give solemnity to poetic speech, the poet uses words of “high style” - brow, be proud, exclaim, dared, countless, etc.; various epithets - with a leisurely hand, heartfelt simplicity, fair merit, a wonderful monument, eternal, fleeting thunder. Hyperbole and comparison at the same time -“ metals are taller and harder than pyramids” . A monument is a creation left to descendants, so the comparison with pyramids and metal is clearly figurative, i.e. implying figurative sense. All this helps to reinforce the idea of the importance of creativity and the immortality of works of art.

c) in the works of A.S. Pushkin

A year before his death, as if summing up his poetic activity, reflecting on his own creative path, Pushkin wrote the poem “Monument” (1836). V.F. Khodasevich believed that this poem was a belated response to Delvig’s Lyceum poem “Two Alexanders,” where Delvig predicted that Alexander I would glorify Russia as statesman, and Alexander Pushkin - as the greatest poet. However early XIX centuries will subsequently be called the Pushkin era, and not the era of Alexander I.

In terms of its theme and construction, the poem by A.S. Pushkin is close to Derzhavin’s poem of the same name, but Pushkin retreated from previous images. The plot of the poem is the fate of Pushkin, comprehended against the backdrop of historical movement. The poem contains traces of heavy thoughts about the cruelty of the century, about relations with the tsar and high society circles, about the fact that in poetry he, Pushkin, won a victory over the autocracy. The poem is full of a bitter premonition of imminent death and faith in the power of the poetic word, immense love for Russia, and the consciousness of a fulfilled duty to the people. Who gives the poet the right to immortality? The poet himself, with his creativity, puts during his lifetime “ miraculous monument”, because he is the voice of the people, their prophet. The poet is proud that his poetry was free and called for freedom: “... in my cruel age I glorified freedom...”. Pushkin affirms the unity of national and personal ideals, he did not write for the sake of a “crown,” poetry is a selfless service in the name of humanity. The poet was convinced that the muse must strictly follow the truth, devotedly serve freedom, beauty, goodness and justice. This is the eternal and unchanging essence of truly folk art.

The main idea of this poem is the theme of the poet and poetry, the problem of poetic fame, poetic immortality: overcoming death through glory, and the genre is ode, this is dictated by tradition: the poems are written as a kind of imitation of Derzhavin’s poem, which, as we have already said, is a reworking of Horace’s ode, known to the Russian reader from Lomonosov’s translation.

“I erected a monument to myself, not made by hands; the people’s path to it will not be overgrown. He ascended higher by the head of the rebellious Alexandria pillar.” What does "higher" mean? Pushkin compares the spiritual and the material, the living poetic thought and the dead stone, and this is the artistic merit of the poem. A genius, with his creativity, erects a “monument not made by hands” for himself during his lifetime, because he is the voice of the people, their prophet. Not just anyone, but he himself erected a monument to himself. Hence the repeated “I” over and over again. Pushkin lived and worked in a “cruel age.” He was proud that his poetry was free, calling for political and spiritual freedom.

The Alexandria Pillar is the tallest column in the world, the personification of obedience to the king and the power of the king himself. Pushkin was a courtier of the lowest rank, and at the same time he was a man of the highest calling and destiny. So what does “above the pillar of Alexandria” mean? This can also be interpreted as a victory of the “mysterious singer” over censorship, a victory over autocracy. Pushkin compares two monuments, a material monument and a spiritual monument. The poet enters into confrontation with the “idol” of his time. Morally, Pushkin defeated this autocratic “idol” with the power of poetic words and high spirituality. Pushkin truly conquered time and space. Each work of the poet is unique, each has its own philosophy and beauty. Pushkin's poetry is a path to the heart of the poet himself. In poetry he finds the strength of life to fight loneliness, because society does not understand him, does not understand him philosophical views. I believe that Pushkin’s creativity is an inexhaustible source that, like in a fairy tale, gives “living water” to everyone who touches it. It fosters good feelings that teach us to love and understand life. Reading and re-reading Pushkin’s works, we discover something new for ourselves every time.

d) in the works of V.F. Khodasevich

Vladislav Khodasevich belongs to those Russian poets who wrote their “Monument”. The eighth with this title dates back to 1928, and although the author had to live for another eleven years, he wrote almost no poetry in this last decade, so in fact, with “Monument” the poet consciously and responsibly completed his journey. “Monument” is a rare type of poem, to which rare poets have the right. Khodasevich knew that he had such a right, but he erected a monument to himself that bears little resemblance to the classic Derzhavin-Pushkin model. In this solemn genre, he brought himself an unexpectedly modest result; he abandoned the loud tone and pathos and left us with a verified, restrained and sober formula of his role and place in poetic history.

From the very moment he entered literature, Khodasevich found himself “at the crossroads of two roads,” which was then reproduced in his destiny all over again and in a new way, at which he eventually saw his future monument.

Loneliness at the crossroads - it seems that he prophesied this for his future monument. “Time, wind, sand” - and there is no “folk path”, the voice of “tongues”, a populated and sonorous history that would surround the monument erected by the future cultural humanity. And there is something like a “steppe”, 2-Scythian idol. And “two-faced,” that is, apparently facing both roads.

e) in the works of V.S. Vysotsky

Vysotsky’s famous poem “Monument” is organically connected with the Russian-language tradition of perception and rethinking of Horace’s ode “To Melpomene”. The history of the Horatian ode in our poetry is well known. Beginning with almost literal translation Lomonosov, as it developed, it became more and more separated from the Latin original: Derzhavin, Pushkin, Bryusov (“My monument stands, composed of silent stanzas ...”) - successive links of such a removal. Vysotsky’s “Monument” is the last point known to us, beyond which, as if beyond the horizon, the text, apparently, will no longer be perceived as a descendant of its ancient ancestor.

Vysotsky’s poem not only asserts the need to escape from a dead image, but also consistently describes the entire path traveled by the genre. At the beginning of the “Monument,” the transformation of a man into a statue is depicted (“They limped me and bent me, nailing me to a pedestal: “Achilles”). Moreover, the statue itself is associated with the death of a once living form:

And the iron ribs of the frame
Deadly captured by a layer of cement,
Only spasms along the spine.

If in mythological art a monument is always a symbol of resurrection, then the demythologization of a symbol leads to the denial of the monument and memory as the main indicators of illusionistic thinking, since both of them deal not with a living person, but with a canonized, frozen image. Personality is limitless by definition, but the image is always framed and in this sense resembles the result of an undertaker’s work with a wooden measure. The image is just a plaster mask, from which “my Asian cheekbones were cleanly removed.”

The subsequent development of the poem logically connects the motif of the monument with the motif of the canonized image of the poet, closing the theme of the triumph of death over life.

Given the external dynamism of the verbs, it rather depicts the lifeless bustle that accompanies any posthumous celebration with its inherent public hypocrisy as an obligatory element.

The silence broke over me,
Sounds poured out of the speakers,
Directional light hit from the rooftops,
My hair torn off by despair
Modern means of science
Turned into a pleasant falsetto.

But in the final part there is a radical change in the traditional plot of the ode. Through the decanonization of Pushkin's image, the monument is destroyed and the poet returns to life.

The commander's steps are angry and booming!
I decided: as in time,
Should we walk on the ringing slabs?
And the crowds fled into the alleys,
When I pulled out my leg with a groan
And the stones fell off me.

The thesis and antithesis of Pushkin's theme - man and statue - achieve synthesis here. The Commander's statue begins as a monument, but ends as a man destroying a monument in the name of freedom. The situation of return, familiar from “Apples of Paradise,” finds a unique solution in “Monument.” If there the poet returns to his beloved and in the name of love, then here the poet’s civil resurrection takes place in the name of hatred of lies.

In Pushkin’s poetics, man and statue are equal in their lack of freedom: the self-will of Eugene and Don Guan is punished by fate for trying to go against the established order of things, which for the poet of the 19th century has the only status of reality. In Vysotsky’s artistic language, the metaphysical order of things is deprived of the status of reality from the very beginning. The greatness of the object and its admiring power, which, according to Hegel, constitutes the substantial content of the ode, collapses before internal freedom. The ode breaks out of the traditional shell of the genre, like the poet himself:

Falling out onto my skin,
Reached with an iron stick,
And when I already fell to the ground,
From the torn mouthpieces still
I croaked, it seemed: “Alive!”

Vysotsky's poetics includes the reader's skepticism as an indispensable component of understanding the meaning, but understanding itself is impossible outside the assumed genre structure. His ode requires odic space - "a huge gathering of people" - and odic time - the moment when "the shroud is pulled away" and the monument appears before the duped crowd in all its false splendor.

The poet’s lyrical hero is extremely life-loving; he cannot be seduced either by the gardens of Eden or by a personal monument in the square. The vector of his existence remains the truth and only the truth.

f) in the works of Ya.V. Smelyakova

The poem "Monument" was written in 1946 - during the Finnish captivity, in a difficult time for Ya. Smelyakov. The work is a monologue lyrical hero, which in a dream turned into a monument.

Smelyakov’s “Monument” cannot be put on a par with the poems of the same name by great poets, because the theme of creativity is not the main one in this work. Perhaps this poem can be attributed to philosophical lyrics, because the lyrical hero comprehends his present, talks about what constitutes happiness for him in his “present” life, where his heart and soul are yearning, what his consciousness craves.

But the poet talks about the impossibility of “creating, writing” in the context of general “unfreedom.” The personification of this “unfreedom” is the image of the monument:

I dreamed that I became cast iron.
The pedestal prevents me from moving.

External (physical) “lack of freedom” (“the pedestal prevents me from moving,” “my hand is difficult and dark for me”) is just as painful as the internal, spiritual one (“and my heart is made of cast iron,” “and I follow the succession of days from under the cast-iron knitted eyebrows”, “suddenly a cast-iron tear will come”). And the worst thing is that the hero cannot express everything that hurts. There are a lot of “cast iron metaphors” in the poem: these are “a heart made of cast iron”, and “cast iron eyebrows”, and “a cast iron tear”, and “a cast iron voice”. The repetition of the “cast iron” metaphor enhances the feeling of excessive heaviness and constraint in everything: in movements, thoughts, feelings.

Another theme is developed in the poem: the hero’s personal love experiences. The motif of sadness and dejection, which sounds from the very first lines of the work, intensifies, merging with the motif of loneliness when the lyrical hero talks about his beloved. There are no ardent confessions in the monologue, but in seemingly such in simple words: “Still the same forehead, still the same blue gaze, still the same mouth as many years ago” - so much tenderness, warmth, devotion that you involuntarily understand that the woman to whom these lines are addressed is the most precious thing that was and is in the life of the lyrical hero. And this earthly feeling is the most valuable thing he has.

Man is unable to slow down the elusive passage of time, and the hero suffers from the inability to change anything in the current circumstances. The text does not contain vivid metaphors, expressively colored words and expressions that convey suffering, heartache hero. But the construction of the verse allows us to feel this: each couplet consists of one sentence. Hence the intermittent, harsh sound of the verse, which helps to see the full depth of the experience, the strain of the lyrical hero. Iambic pentameter with precise masculine paired rhymes gives rhythm to the verse and movement to the feeling.

Metaphors, the predominant trope in the poem, are based on a comparison with a monument, because. the lyrical hero likens himself to a cast iron statue. In almost every stanza (and this means in every sentence), the poet emphasizes the hero’s likening to a monument: repetition of metaphors with the adjective “cast iron”, “children have been selflessly climbing at my feet in the morning”, “solemn metal”, “I will descend from a brilliant height, synonyms - "pedestal", "monument", "statue".

But the image of the sculpture, the monument, is ambiguous: on the one hand, it is an image of “unfreedom,” and on the other, a symbol of something “eternal, immortal” that the hero would like to touch.

In order to expose feelings and recreate the inner state of the lyrical hero, the author uses the image of a dream. Traditionally, in Russian literature, dreams are blessed, happy moments of the past, or psychological condition a hero in the present, or a dream, a premonition of the future. Smelyakov’s “sleep” technique is a comprehension of difficult reality and an attempt to look into the future, this is a way out of reality in which life is difficult, and perhaps impossible. But despite the “dream” technique, the lyrical hero appears before us as a “living” person, deeply thinking, suffering, loving.

Yaroslav Smelyakov’s strict, seemingly unadorned lines emanate a special charm, tenderness, sometimes covered by severity, and revelation.

Despite all the hardships of life, Yaroslav Smelyakov did not give up his creativity, did not betray either his calling or his destiny. And if he touched the “high-voltage wires” of time, it was with some of his own cautious humanity. An example of this is the poem "Monument".

CONCLUSION

Great Russian poets wrote works in which they assessed their creativity, talked about their life’s work, about what they did for the people. Derzhavin, Pushkin, Lomonosov, Vysotsky, Khodasevich and Smelyakov left a piece of their own soul in their work, so their works were, are, and will be famous for many years to come. The authors evaluate their role in the life of society, the role of their creative activity. In them they assert their right to historical immortality.

BIBLIOGRAPHY:

Agatov M. “About the authors of your books.”
Gaidenkov N.M. "Russian poets of the 19th century."
Grinberg I.L. "Three Rani Lyrics".
Gukovsky G.A. "Russian literature of the 18th century."
Yevtushenko E. “Strophes of the Century: An Anthology of Russian Poetry.”
Korovin V.I. "History of Russian literature XI-XIX".
Kunyaev S. “Crown of Thorns.”
Lebedeva O.B. "History of Russian literature of the 18th century."
Medvedev V.P. "Studying lyrics at school."
Stennik Yu.V. "Pushkin and Russian literature of the 19th century."

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The theme of the “Monument” in Russian literature.

I created a monument, cast bronze stronger, rising higher than the royal pyramids. Neither the consuming rain nor the dashing Aquilon will destroy it, nor will a series of Endless years, time running... HORACE (1st century BC)

M.V. Lomonosov I have erected a sign of immortality for myself, Higher than the pyramids and stronger than copper, That the stormy aquilon cannot erase, Neither many centuries, nor the caustic antiquity. I won’t die at all; but death will leave a great part of me, as I end my life. I will grow in glory everywhere, While great Rome holds the light. Where Aufidas roars with swift streams, Where Davnus reigned among the common people, My fatherland will not be silent, That an unnoble family was no obstacle for me, To bring Aeolian poetry into Italy And be the first to ring the Alcean lyre. Be proud of your righteous merit, Muse, And crown your head with the Delphic laurel.

G.R. Derzhavin I erected a wonderful, eternal monument to myself, It is harder than metals and higher than the pyramids; Neither the whirlwind nor the thunder will break the fleeting one, And the flight of time will not be crushed. So! - all of me will not die, but a large part of me, having escaped from decay, will begin to live after death, and my glory will increase without fading, as long as the Slavic race is honored by the universe. Rumors will spread about me from the White Waters to the Black Waters, where the Volga, Don, Neva, and the Urals flow from Riphean; Everyone will remember that in countless nations, How from obscurity I became known, That I was the first to dare to proclaim Felitsa’s virtues in a funny Russian style, To talk about God in heartfelt simplicity, And to speak the truth to kings with a smile. O muse! Be proud of your just merit, And whoever despises you, despise them yourself; With a relaxed, unhurried hand, crown your brow with the dawn of immortality.

A.S. Pushkin I erected a monument to myself, not made by hands, The people's path to it will not be overgrown, He ascended higher as the head of the rebellious pillar of Alexandria. No, all of me will not die - the soul in the treasured lyre will survive my ashes and flee decay - And I will be glorious as long as at least one drinker is alive in the sublunary world. Rumors about me will spread throughout Great Rus', And every language that exists in it will call me, And the proud grandson of the Slavs, and the Finn, and the now wild Tungus, and the friend of the steppes Kalmyk. And for a long time I will be so kind to the people, That I awakened good feelings with my lyre, That in my cruel age I glorified Freedom And called on mercy for the fallen. By the command of God, O muse, be obedient, Without fear of insult, without demanding a crown, Accept praise and slander indifferently, And do not challenge a fool.

My monument stands, composed of consonant stanzas. Scream, go on a rampage - you won’t be able to bring him down! The disintegration of melodious words in the future is impossible, - I am and must forever be. And fighters from all camps, and people of different tastes, In the poor man’s closet, and in the king’s palace, Rejoicing, they will call me Valery Bryusov, Speaking about a friend with friendship. To the gardens of Ukraine, to the noise and bright sleep of the capital, To the threshold of India, to the banks of the Irtysh, - Burning pages will fly everywhere, In which my soul sleeps. I thought for many, for everyone I knew the torments of passion, But it will become clear to everyone that this song is about them, And, in distant dreams in irresistible power, Each verse will be proudly glorified. And in new sounds the call will penetrate beyond the borders of the Sad Homeland, and the German and the Frenchman will humbly repeat my orphaned verse, A gift from the supportive Muses. What is the glory of our days? - random fun! What is the slander of friends? - contempt blasphemy! Crown my brow, Glory of other centuries, Leading me into the universal temple. V. Ya. Bryusov

V.F. Khodasevich The end is in me, the beginning is in me. What I have accomplished is so little! But I am still a strong link: This happiness has been given to me. In Russia, new but great, My two-faced idol will be placed at the crossroads of two roads, Where time, wind and sand...

Y.V. Smelyakov I dreamed that I became cast iron. The pedestal prevents me from moving. In the mind, as in a box, Cast iron metaphors lie in a row. And I follow the succession of days From under the cast-iron knitted eyebrows. The trees around me are all empty, leaves have not yet grown on them. Children squat at my feet in the morning Selflessly climbing, And in the evening, coming under the monument, a student talks about immortality. When a star rises over the city, One night you will come here. Still the same forehead, still the same blue gaze, Still the same mouth as many years ago. Like late light from a dark window, I look at you from cast iron...

V.S. Vysotsky During my life I was tall and slender, I was not afraid of a word or a bullet, And I did not climb into the usual framework, - But since then, as I am considered deceased, They limped me and bent me over, Nailing “Achilles” to a pedestal. I can’t shake off the granite meat And I can’t pull this Achilles’ heel out of the pedestal, And the iron ribs of the frame are Deadly grasped by a layer of cement, - Only spasms along the spine. I boasted about the oblique fathom - Here, die! - I didn’t know that I would be subjected to narrowing After death, - But I was planted into the usual framework - They drove me in on a bet, And the oblique uneven fathom - They straightened it out...

Part 1

Read the text fragment below and complete tasks B1-B7; C1, C2.

ACT 1
Phenomenon 4

<…>
Terrible century! Don't know what to start!
Everyone was smart beyond their years.
And especially the daughters, and good-natured people themselves.
These languages were given to us!
So that our daughters, both in the house and on tickets,
And dancing! and foam! and tenderness! and sigh!
It’s as if we are preparing them as wives for buffoons.
What are you, visitor? Why are you here, sir?
I warmed up the rootless one and brought him into my family,
He gave the rank of assessor and took him on as secretary;
Transferred to Moscow through my assistance;
And if it weren’t for me, you would be smoking in Tver.

Sofia
I can’t explain your anger in any way.
He lives in the house here, what a great misfortune!
I walked into the room and ended up in another.

Famusov
Did you get in or did you want to get in?
Why are you together? It can't happen by accident.

Sofia
Here's the whole case, though:
How long ago you and Lisa were here,
Your voice scared me extremely,
And I rushed here as fast as I could...

Famusov
Perhaps all the fuss will fall on me.
At the wrong time my voice alarmed them!

Sofia
In a vague dream, a trifle disturbs;
Tell you a dream: then you will understand.

Famusov
What's the story?

Sofia
Should I tell you?

Famusov
Well, yes.
(Sits down.)

Sofia
Let me... see... first
Flowery meadow; and I was looking
Grass
Some, I don’t remember in reality.
Suddenly a nice person, one of those we
We'll see - it's like we've known each other forever,
He appeared here with me; and insinuating and smart,
But timid... You know, who is born in poverty...

Famusov
Oh! Mother, without finishing the blow!
Anyone who is poor is not a match for you.

Sofia
Then it disappeared: the meadows and the skies. —
We're in a dark room. To complete the miracle
The floor opened up - and you are from there,
Pale as death, and hair on end!
Then the doors opened with thunder
Some are not people or animals,
We were separated - and they tortured the one sitting with me.
It’s like he’s dearer to me than all the treasures,
I want to go to him - you bring with you:
We are accompanied by groans, roars, laughter, and whistles of monsters!
He shouts after him!.. -
Awoke. - Someone says -
Your voice was; what, I think it's so early?
I run here and find you both.

A. S. Griboedov, “Woe from Wit”

When completing tasks B1-B2, the answer must be given in the form of a word, or a combination of words, or a sequence of numbers.

IN 1. The conversation between Sophia and Famusov takes place before the main events of the main events appear in the play, Chatsky. What is the name of the stage of action that precedes the plot and reflects the position of the characters before the action begins?

AT 2. Indicate the heat of A. S. Griboyedov’s play “Woe from Wit.”

AT 4. What is the name of the form of communication between actors(for example, a conversation between Sophia and Famusov), which serves as a way to characterize the characters and motivate the development of the plot?

AT 5. Establish a correspondence between the three characters in the play “Woe from Wit” and their speech characteristics. For each position in the first column, select the corresponding position from the second column.

CHARACTERS
A) Famusov
B) Molchalin
B) Chatsky

CHARACTERISTICS
1) “we are small in rank”
2) “I’m not a reader of nonsense”
3) “we would learn from our elders”
4) “I’ll give the sergeant major to Walter”

AT 6. What is the name of a brief description of the author of what is happening on stage, which is a recommendation to the actors regarding their behavior, gestures, facial expressions, rate of speech, etc. (for example, “sits down”)?

AT 7. From the first scenes of the play, a confrontation between the “older” and “younger” generations is outlined. What is the name of the acute contradiction underlying the dramatic action?

To complete task C1-C2, give a coherent answer to the question in 5-10 sentences.

C1. How does the dream invented by Sophia compare with the real events of the play?

C2. Which works of Russian classics describe the dreams of heroes and how can they be compared with the dream of the heroine of A. S. Griboedov’s play? (Give 2-3 examples, indicating the authors.)

Part 2

Read the poem below and complete tasks Q8-Q12; C3-C4.

Dreaming of a mighty gift
That it became Russian destiny,
I'm standing on Tverskoy Boulevard,
I stand and talk to myself.

Blonde, almost whitish,
In legends it became like fog,
O Alexander! You were a rake
What a hooligan I am today.

But these cute things
They did not darken your image,
And in the bronze of forged glory
You shake your proud head.

And I stand as if before communion,
And I say in response to you:
I would die now from happiness
Destined for such a fate.

But, doomed to persecution,
I will continue to sing for a long time...
So that my steppe singing too
Managed to ring with bronze.

S. Yesenin, 1924

When completing tasks B8-B12, the answer must be given in the form of a word, or a combination of words, or a sequence of numbers.

AT 8. What is the name of the product? artistic expression, helping the poet create vivid images (“in the bronze of forged glory”, “so that ... the singing can ring like bronze”)?

AT 9. What artistic technique does the poet use to give the description special clarity (“in legends it became LIKE FOG”)?

AT 10 O'CLOCK. To which artistic technique does the poet come running to emphasize the significance of the conversation with Pushkin?

I'm STANDING on Tverskoy Boulevard,
I STAND and talk to myself.

AT 11. What is the name of a figurative single definition (“a mighty gift”, “cute fun”)?

AT 12. In what size is S. A. Yesenin’s poem “To Pushkin” written (without indicating the number of feet)?

To complete task C3-C4, give a coherent answer to the question in 5-10 sentences.

C3. What is unique about the embodiment of the theme of a poetic monument in S. A. Yesenin’s poem?

C4. Which of the Russian poets addressed literary predecessors or contemporaries in their works, and in what ways are these works consonant with Yesenin’s poem? (Give 2-3 examples.)

Part 3

To complete the tasks of part 3, select only ONE of the tasks proposed below (C5.1, C5.2, C5.3). Give a complete, detailed answer to the problematic question (at least 400 words), based on specific literary material and the position of the author of the work, regardless of how much it coincides with your own conclusions and observations expressed in the work.

C5.1. Like the meaning of the epigraph to the novel by A. S. Pushkin “ Captain's daughter"correlates with the fates of the heroes of the work?

C5.2. Did Rodion Raskolnikov kill “himself” or the “old woman”? Give reasons for your answer. (Based on the novel by F. M. Dostoevsky “Crime and Punishment.”)

C5.3. What does Gorky the Romantic condemn and glorify in a person? (Based on the story by M. Gorky “Old Woman Izergil.”)

C3. Traditions of what popular in the 18th century literary genre continues G.R. Derzhavin, creating this poem? (Justify your position.)

C4. Which of the Russian poets developed the theme of “poetic immortality” in their work and what motives bring their works closer to the poem by G.R. Derzhavin "Monument"?

Pushkin (1799-1837)

C3. How do different poetic devices help express the idea of this poem?

C4. What is the peculiarity of Pushkin’s freedom-loving lyrics and which of the Russian poets reveals the theme of freedom in their lyrics?

C3. How does the mood of the lyrical hero change throughout the poem?

C4. What are the similarities and differences between A.S.’s landscape lyrics? Pushkin and poems about nature created by subsequent poets?

C3. What does the lyrical hero of the poem mean when he calls on the poet “not to value the people’s love”?

C4. Which of the Russian lyricists addressed the theme of the high purpose of the poet and in what ways their works are consonant Pushkin's poem"To the poet"?

C3. How does A. S. Pushkin’s poem convey the idea of the “pricelessness” of true friendship?

C4. Which of the Russian writers addressed the theme of friendship in their work and what brings their works closer to the poem by A. S. Pushkin?

Tyutchev (1803-1873)

C3. How do various poetic techniques help the author “convey the feelings that gripped the lyrical hero?

C4. What is special about the depiction of human feelings in the lyrics of F.I. Tyutchev and which Russian poets can be called his followers?

C3. For what purpose are ancient Greek mythological characters mentioned in the last stanza of the poem?

C4. What are the main themes of F.I.’s poetry? Tyutchev and the traditions of which of the Russian poets does he continue, revealing these themes?

C3. Can the above poem be classified as philosophical poetry? Justify your point of view.

C4. What are the features of the depiction of nature in the lyrics of F.I. Tyutchev and the lyrics of which of the previous and subsequent poets are close to Tyutchev?

C4. In the poems of which Russian poets can one find a continuation of the tradition of lyric poetry by F.I. Tyutchev and how do they relate to the poem “There are in the brightness of autumn evenings...”?

C3. What do you think the lyrical hero of F. I. Tyutchev’s poem is thinking about?

C4. In the works of which Russian poets does the theme of sympathy, humanism arise, and what motives bring them closer to the poem “We are not given to predict...”?

Lermontov (1814-1841)

C3. How do the composition of the poem and visual means help the author express the main poetic idea?

C4. What is unique about Lermontov’s lyrical hero and which Russian poet can be called his creative successor?

C3. What problems are reflected in the poem?

C4. What are the main motives of M.Yu.’s lyrics? Lermontov and which Russian poets can be called successors of his traditions?

Prayer

C3. What is the main idea of the poem by M.Yu. Lermontov’s “Prayer” (justify your answer)?

C4. Compare the poem by M.Yu. Lermontov “Prayer” with other poems of the poet known to you. What do you think are their similarities and differences?

C3. What feelings are filled with Lermontov’s poem “Prayer” (justify your answer)?

C4. In which works of Russian classical literature turning to God contributed to the “rebirth” of the heroes, and how their experiences relate to the feelings of the lyrical hero of the poem by M.Yu. Lermontov "Prayer"?

C3. What is the thematic affiliation of Lermontov’s poem “Prayer” (justify your answer)?

C4. In which works of Russian classical literature do the heroes, wanting to find peace of mind, resort to prayer, and how do their feelings relate to the experiences of the lyrical hero of the poem by M.Yu. Lermontov "Prayer"?

C3. What do you think of the lyrical heroine in Lermontov’s poem “From Under the Mysterious Cold Half-Mask...” (justify your answer)?

C4. In which works of Russian lyric poetry does the author paint the image of an ideal lover, and how do these images relate to the image of the heroine of the poem by M.Yu. Lermontov “From under the mysterious cold half mask...”?

C3. Describe the lyrical hero of this poem.

C4. What is the meaning of the image of the road, the path in this poem and in which works literature of the 19th century century does the road motif play a leading role?

C3. What causes the sad tone of Lermontov's "Monologue"?

C4. Which Russian poets addressed the theme of personality and era, and in what ways are their works comparable to the above poem by M. Yu. Lermontov?

Fet (1820-1892)

The night was shining. The garden was full of moonlight

C4. What are the features of Fet’s poetic solution to the theme of love and in what poems of Russian poets are the same features found?

C3. How do various poetic techniques help the author convey the leading mood of the poem?

C4. What are the features of Fet’s poetic solution to the theme of love and in what poems of Russian poets are the same features found?

C3. What feelings and emotions does the lyrical hero of A. A. Fet’s poem “This morning, this joy...” experience?

C4. What, in your opinion, are the features of the syntactic structure of A. A. Fet’s poem “This morning, this joy...” and in which works of Russian poetry poetic syntax is an important artistic medium?

C3. What thematic type of lyricism can the above poem by A. A. Fet be classified as and why?

C4. Which of the Russian poets addressed similar motifs in their lyrics and in what ways were their works consonant with the poem by A. A. Fet?

Nekrasov (1821-1877)

Yesterday, around six o'clock

C3. What images of N. Nekrasov’s creativity became the embodiment of the author’s ideal?

C4. Following A.S. Pushkin and N.V. Gogol N.A. Nekrasov in his works addresses the theme of St. Petersburg. As depicted by N.A. Petersburg Nekrasov?

C3. What features of the epic are inherent in the poem “Who Lives Well in Rus'”? (Describe in 2-3 words.)

C4. ON THE. Nekrasov in his works addresses the theme of St. Petersburg. As depicted by N.A. Petersburg Nekrasov? Which other Russian poets and writers turned to St. Petersburg in their work?

C3. What do you think is the dramatic nature of the sound? love theme in this poem?

C4. Which Russian poet is close to Nekrasov in depicting complex relationships between a man and a woman?

Bunin (1870-1953)

C3. Describe the lyrical hero of the poem.

C4. What is unique about Bunin’s landscape and the traditions of which of the previous poets does he embody in his lyrics?

Blok (1880-1921)

Russia

C3. What gives the central image of the poem artistic brightness and depth?

C4. In which works of Russian poets the image of Russia is recreated and what are their similarities and differences with the poem by A.A. Blok?

C3. What is the contradictory nature of the poet’s attitude towards Russia?

C4. What works of Russian poets are close to Blok’s feeling of Russia? (Give reasons for your answer)

C3. What is the meaning of identifying Rus' with the image of a woman (“Oh my Rus'! My wife!”) in the lyrics of A.A. Blok?

C4. Tell us about the main and favorite techniques that A. Blok used in his works. Which other poets used the same techniques in their works?

C3. What is the meaning of identifying Rus' with the image of a woman (“Oh my Rus'! My wife!”) in the lyrics of A.A. Blok?

C4. Theme of the Motherland. Its evolution in the work of A. Blok. What other poets Silver Age did you sing about your homeland in the same way?

C3. In what artistic images embodied the poet's ideas about love?

C4. What feelings are the poem “In the Restaurant” filled with and how is it consonant with love lyrics other Russian poets?

C3. What images help the reader understand the experiences of the lyrical hero of the poem “The wind brought from afar...”?

C4. How do the poems of A. A. Blok echo the poet’s state of mind and the state of the world around him, and what brings his poem closer to the works of other Russian poets?

C3. How did the ring composition of the poem help the poet show the drama of love?

C4. What works of Russian poets depict the drama of unrequited love and in what ways can these works be compared with the poem by A. A. Blok?

C3. What gives grounds to classify the poem in question by A. A. Blok as philosophical poetry?

C4. Which Russian poets addressed the topic of Russian history and in what ways are their works comparable to the above poem by A. A. Blok?

A.K. Tolstoy (1882-1945)

C3. Why does the poet use the epistle form to express his idea?

C4. The work of which Russian poets of the 19th century is close to the poetry of A.K. Tolstoy and how exactly is their commonality manifested?

Akhmatova (1889-1966)

C3. Why is a poem that talks about love, A.A. Akhmatova calls “Poems about Petersburg”?

C4. In the works of which Russian poets does love appear not as a momentary feeling, but rises above time and space, and in what ways can their works be compared with Akhmatova’s poem?

Creation

C3. Describe the change in the state of the lyrical hero of the poem.

C4. The traditions of which of the previous poets were embodied in the lyrics of A. Akhmatova, dedicated to the theme of the poet and poetry?

C3. What is the inner appearance of the lyrical heroine in A. A. Akhmatova’s poem “...There was a voice for me. He called comfortingly...”?

C4. Which of the Russian poets turned to a patriotic theme in their work and what brings their works closer to the poem by A. A. Akhmatova?

Pasternak (1890-1960)

C3. What mood is imbued with the image of the July season in the poem by B.L. Pasternak?

C4. Which Russian poets does Pasternak continue, depicting natural phenomena humanized. Justify your answer by indicating the authors and titles of the poems.

C3. What does B.L. see? Pasternak the tragedy of the lyrical hero of the poem “Hamlet”?

C4. In the works of which Russian poets does the theme of confrontation between the poet and society receive an interpretation similar to that of B.L. Pasternak, given in this poem?

C3. What meaning did the poet put into the final lines of the poem?

C4. Which Russian poets addressed the topic of creativity and in what ways are their works consonant with the poem by B. L. Pasternak?

C3. What feelings does the lyrical hero of B. Pasternak’s poem “It’s snowing...” experience?

C4. In the poems of which poets does the image of fleeting time appear and what brings their works closer to the poem by B. Pasternak?

Tsvetaeva (1892-1941)

C3. How do you understand the meaning of the final stanza of the poem?

C4. Which Russian poets addressed the theme of the homeland and in what ways are their works consonant with the poem by M. I. Tsvetaeva?

Mayakovsky (1893-1930)

C3. As the title of the poem by V.V. Mayakovsky's "The Satisfied Ones" correlate with his problems?

C4. In what works of Russian literature are the life and customs of the bureaucracy depicted and in what ways can these works be compared with the poem by V.V. Mayakovsky's "The Sitting Ones"?

Lilichka! Instead of a letter

C3. How do various poetic techniques help create the image of the lyrical hero of this poem?

C4. What was the innovation of V. Mayakovsky’s lyrics and the traditions of which of the previous poets were reflected in his work?

C3. Describe the lyrical hero of this poem and Mayakovsky’s lyrics in general.

C4. What is the main innovation of V. Mayakovsky’s lyrics and the traditions of which of the previous poets were reflected in his work?

Listen!

C3. How do various poetic devices help the author convey main idea poem "Listen!"?

C4. In which works of Russian lyricism does the “star” theme sound and in what ways is it close to the theme of V.V.’s poem? Mayakovsky "Listen!"?

C3. Read V. Mayakovsky's poem "Listen." Give your interpretation and assessment of the work.

C4. How do you understand the words of V. Mayakovsky, who considered himself an artist, “mobilized and called upon by the revolution”? Which other poet of the early twentieth century felt the same way?