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

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

• knowledge of biographies of poets and writers,
• knowledge of the content of the works included in the school curriculum,
• the ability to analyze texts and compare them,
• the ability to draw portraits of heroes and evaluate their actions,
• possession of lexical expressiveness and literacy of the language,
• the ability to rationally use the time on the exam (3 hours 55 minutes).

Where to start preparing?

1. Familiarize yourself with the demo, specification and codifier for the subject.
2. Read works of art from the list approved by FIPI.
3. While reading, write down the main points that will be needed for answers.
4. Practice problem solving.

The second and third points will help you, posted in the CKnow Knowledge Base. Be sure to check it out! And you can start practicing in solving tasks that you may meet on a real exam, you can already on this page. Below you are offered a demo and training options.

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

Tasks 1.1.3, 1.2.3 and criteria for their verification and

evaluation

The last task of part 1 (1.1.3 or 1.2.3) is a task of an increased level of complexity and requires writing, based on the texts given in the work, a detailed connected answer of 5–8 sentences (the indication of the volume is conditional).

The task involves comparing two texts (text fragments) in the indicated direction, independently extracting information from the material proposed for comparison, finding grounds for constructing comparative analysis within the scope defined in the task.

Before completing this task, it is necessary to carefully read the text proposed for comparison, to understand its connection with the main text. Task 1.1.3 (1.2.3) aims the examinee at a transformative reproduction or some interpretation of the information contained in the texts.

The performance of task 1.1.3 (1.2.3) is assessed according to the following universal generalized criteria that do not depend on the content specific texts.

Criteria for checking and evaluating the performance of comparative tasks 1.1.3 and 1.2.3, requiring writing a coherent answer of 5–8 sentences

Indication of the volume is conditional; the assessment of the answer depends on its content (if there are deep knowledge the examinee can answer in a larger volume; with the ability to accurately formulate their thoughts, the examinee can answer quite fully in a smaller volume). If, when checking the task of the specified group, the expert gives 0 points according to the first criterion, the task is considered not completed and is not evaluated according to other criteria (0 points are given in the protocol for checking answers).

Criteria	Points
1. The ability to compare works of art
a) the examinee compares the texts in the direction indicated in the task analysis, is able to build a comparative characteristic
b) the examinee compares the texts in the direction indicated in the task analysis, but allows violations in the construction of a comparative characteristic
c) the examinee, comparing the texts, does not follow the instructions specified in the task direction of analysis; and (or) does not demonstrate the ability to build a comparative characteristic
2. The depth of the judgments made and the persuasiveness of the arguments
a) the examinee gives a direct coherent answer to the question, based on the author's position (when analyzing poems, taking into account the author's intention), if necessary, formulates his point of view, argues for his thesis confirms his thoughts with the text, without replacing the analysis with a retelling of the text; there are no factual errors or inaccuracies
b) the examinee understands the essence of the question, but does not give a direct answer to it; and (or) is limited to the presentation of its point of view; and (or) not all theses are argued; and (or) partly replaces the analysis with a retelling of the text; and/or makes 1-2 factual errors
c) the examinee does not cope with the task: does not give an answer to the question; and (or) replaces the analysis with a retelling of the text; and (or) makes more than 2 factual errors
3. Following the rules of speech
a) no more than 2 are allowed speech errors;
b) more than 2 speech errors were made
Maximum score

Thus, the graduate should be able to:

1. Compare texts bythe direction indicated in the assignment analysis.

2. Build a comparative characteristic.

3. Know the content and problems of the work as a whole (or the features of the poet's work).

4. Understand the problems of the text proposed for comparison.

5. Give a meaningful justification for comparison.

6. Give convincing arguments.

8. Formulate your own justified position (if required by the specifics of a particular task).

9. Do not replace reasoning with a retelling of the text.

10. Own theoretical and literary concepts.

11. Make out the answer in accordance with speech norms.

Examples of task formulations 1.2.3.

1. Compare the poem "Sea" by V.A. Zhukovsky with the poem by F.I. Tyutchev "Sea and cliff". What is the differenceimage of the seain these works?
2. Compare the poem by A.S. Pushkin "To the Sea" with a poem by A.N. Apukhtin "Farewell to the village", given below. In both works it sounds farewell theme. What is the difference between these farewells?
3. 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 kindmotives and images bring togethert these poems?
4. Compare the poem by A.S. Pushkin "To Chaadaev" with a poem by M.Yu. Lermontov "Goodbye, unwashed Russia... ". What do you seedifferences in the mood of lyrical heroesthese works?
5. Compare the fable of I.A. Krylov "Donkey and Nightingale" with the poem below by A.S. Pushkin "The Poet and the Crowd". Whichissues uniteboth works?
6. Compare the poem by V.A. Zhukovsky "The Unspeakable" with a poem by F.I. Tyutchev "Silentium". What kind ideas bring together these poems?
7. 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. Howcomprehension differstwo poets of the essence of the tragedy that happened?

The main theoretical and literary concepts:

theme, problem, idea, comprehension, representation of the author; motive, image; lyric hero, state of mind lyrical hero, the mood of the lyrical hero.

Work algorithm

1. Read the assignment carefully.
2. Highlight the key words in the sentence.
3. Remember the literary concepts that are required to complete the assignment.
4. Find grounds for comparison in the texts.
5. Build a comparison.

Example.

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?

An example of developing tasks for the OGE, literature, grade 9

Pilipenko Nadezhda Anatolievna,

teacher MBOU "Secondary School No. 12 with UIOP" Stary Oskol,

Belgorod region

Part 2.

To complete the task of part 2, select only ONE of the proposed essay topics (2.1–2.4). In the answer sheet, indicate the number of the topic you have chosen, and then write an essay of at least 200 words (if the essay is less than 150 words, then it is rated 0 points).

Argument your theses based on literary works (in an essay on lyrics, you must analyze at least two poems).

Use literary-theoretical concepts to analyze the work.

Consider the composition of the essay.

Write your essay clearly and legibly, following the rules of speech.

Part 2 contains the task high level difficulty (suggested

a choice of four items: 2.1–2.4) that aims the examinee at

writing an independent full-length essay on literary

Completion of the task requires a high level of mastery from the graduate

educational material, creativity to create an independent

written text, the ability to consciously apply skills and abilities:

new interpretation factual material, find the original

way of problem solving.

This part of the examination paper allows you to fully evaluate

the degree of mastery of graduates in the genre of coherent content

statements, the degree of formation of the ability to interpret

literary text, consistently express your point of view and

argue it.

Completion of the task of part 2 is evaluated according to the following

universal generalized criteria that do not depend on the content

specific texts.

Criteria for checking and evaluating the fulfillment of tasks 2.1–2.4,

requiring an essay (at least 200 words)

Among the five criteria by which the essay is evaluated, the first criterion

puts 0 points for the first criterion, the task is considered not completed and for other

criteria is not evaluated (0 points are given in the protocol for checking answers).

When evaluating the performance of tasks in Part 2, the amount of written work should be taken into account.

less than 150 words (word count includes all words, including service words), then such

The work is considered unfinished and is evaluated with 0 points.

With a volume of work from 150 to 200 words, the maximum number of errors for each

score does not change.

Criteria Points

1. The depth of disclosure of the theme of the essay and the persuasiveness of judgments

a) the examinee reveals the topic of the essay, based on the author's position

formulates his point of view;

convincingly substantiates his thesis;

there are no factual errors or inaccuracies

b) the examinee reveals the topic of the essay, based on the author's position

expresses his point of view

not all theses are convincingly substantiated;

and/or makes 1-2 factual errors

c) the examiner reveals the topic of the essay superficially or one-sidedly,

and (or) does not substantiate his theses;

and/or makes 3-4 factual errors.

d) the examiner does not disclose the topic of the essay;

and/or makes more than 4 factual errors

2. Level of proficiency in theoretical and literary concepts

a) the examinee uses literary-theoretical concepts for analysis

works; there are no errors or inaccuracies in the use of concepts

b) the examinee includes theoretical and literary concepts in the text of the essay,

does not use them to analyze the work,

and / or allows no more than 2 errors in their use

c) the examinee does not use theoretical and literary concepts;

or makes more than 2 errors in their use.

3. The validity of the involvement of the text of the work

a) the text of the work in question is involved in a variety of ways and

justified (quotes with comments to them, retelling of fragments of the text with their

b) the text is involved,

not always justified (i.e. out of direct connection with the thesis put forward)

c) the text is not involved, judgments are not substantiated by the text 0

4. Compositional integrity and consistency of presentation

a) the composition is characterized by compositional integrity, parts

the statements are logically connected, the thought develops sequentially, no

unreasonable repetitions and violations of the logical sequence

b) there are violations of compositional integrity in the composition: parts

sentences are logically connected

the thought is repeated;

and (or) there are violations in the sequence of presentation (including within

semantic parts of the statement);

and (or) there are deviations from the topic of the essay

c) there is no compositional intent in the composition;

and (or) there are gross violations in the sequence of presentation;

and (or) there is no connection between parts and within parts

5. Following the rules of speech

a) no more than 2 speech errors were made 3

b) 3 speech errors were made 2

c) 4 speech errors were made 1

d) the number of speech errors made significantly complicates

understanding the meaning of the statement (5 or more speech errors were made).

Max score 12

Task 2.2. As in the lyrics of M.Yu. Lermontov reveals the theme of loneliness?

Sample Answer

The theme of loneliness is characteristic of the entire work of M.Yu. Lermontov. The poet believed that one can comprehend the meaning of life only by abstracting from the outside world. This is probably why in most of the poems of this author we have a lyrical hero, reflecting and looking for the truth against the background of various pictures of nature.

In the poem “I go out alone on the road ...” the landscape complements the state of the lyrical hero. Gloomy pictures of nature help to penetrate deeper into the thoughts and ideas of the hero, to better understand him. inner world:

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.

Unfulfillment is the main motto of this poem. The hero understands that in this life he managed to do a lot. In a desperate phrase (“I am looking for freedom and peace ...”), a symbol is clearly traced: the poet, unclaimed and incomprehensible to society, leaves hope that sooner or later his poems will win the hearts of many:

I don't 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 sleep.

The theme of loneliness is most fully disclosed by Lermontov in the poem "Prisoner". The lyrical hero is trying to get out into the wild. But this freedom is peculiar: the author wants to find a place on earth where he will be understood by others, find peace and hope:

I am alone - there is no consolation:

The walls are bare all around

Dimly shine a lamp beam

Dying fire.

The motives of loneliness permeate all of Lermontov's work. The poet tried to determine his place in life, putting thoughts into the mouths of lyrical heroes.

The examinee quite fully and convincingly reveals the problem of the composition, showing how the theme of loneliness is reflected in the lyrics of M.Yu. Lermontov. Based on the author's position, the examinee was able to show that loneliness is one of the main ones in the poet's work. When analyzing poems, the author's intention was taken into account. The examinee formulates his point of view, drawing on the text; but not all theses are convincingly substantiated; there are no factual errors or inaccuracies.

Evaluation by criterion K1: 2 points.

2.2 What is the meaning of Pushkin's definition: "The purpose of poetry is poetry?"

Sample Answer

Poetry is not a game, not fun, it is the main thing that determines everything most basic in human life. And therefore, no matter what this or that poem is dedicated to, its goal is, first of all, art itself.

This is exactly what Pushkin spoke about in the poem "Elegy". The poet connects the coming “pleasures” with art and creativity, which will help him overcome fatigue from life, the mood of melancholy and despair:

And I know I will enjoy

Between sorrows, worries and anxiety:

Sometimes I'll get drunk again with harmony,

I will shed tears over fiction ...

Indeed, poetry supported him in the most difficult situations. Then, when he was far from his friends, in the "wilderness, in the darkness of imprisonment" of Mikhailovsky exile. Even when, upon returning, he felt the readers cool down and reflected in a number of poems (“The Poet”, “The Poet and the Crowd”) gloomy reflections on misunderstanding and unwillingness to hear the words of the poet. In these verses, Pushkin seems to have once again returned to the idea of ​​art that arose in the romantic period of his youth. If you “have no response”, then isn’t it better to focus on poetry itself, run away from worldly fuss and listen to the “divine verb”? And even if the crowd does not understand you, if “you are your own highest court”, and the main reward is creativity, but how then to understand Pushkin’s words about the prophetic mission of art, expressed in the poem “Prophet”? If the goal of poetry is in itself, then why is the highest purpose of the poet expressed in the words “burn the hearts of people with the verb”?

I think that all apparent contradictions are removed by a poem written long before his death, in which Pushkin summed up his work, - “I erected a monument to myself not made by hands ...”. Here it is clearly stated: the main thing that deserved the immortality of his lyre is that in the "cruel age" it awakened "good feelings" in the hearts of people. Here is its purpose and meaning. This basic idea of ​​the poem is prepared by the entire previous movement of poetic thought, by all the imagery and even by the sound itself. The slow majestic rhythm of the Alexandrian verse, the high odic style, created by the selection of special epithets (a monument not made by hands, a rebellious head, a cherished lyre), the use of a large number of Slavic words (erected, piit head, until), correspond to the image of the muse, obedient "God's command".

It is such a muse that can and should create poetry that meets the highest destiny, which means, indeed, "the goal of poetry is poetry."

Comment. Evaluation by criterion K1.

The examinee quite fully and convincingly reveals the problem of composition, explaining the meaning of Pushkin's definition. Based on the author's position, the examiner was able to show that poetry determines everything in human life. When analyzing poems, the examinee takes into account the author's intention. Formulates his point of view; convincingly substantiates his theses, involving the text; there are no factual errors or inaccuracies.

2.2. How the image of the motherland is revealed in the lyrics of S.A. Yesenin?

Sample Answer

Sergei Alexandrovich Yesenin rose to the heights of world poetry from the depths of folk life. The Ryazan land became the cradle of his poetry, Russian songs, sad and secluded, were reflected in his poems. The theme of the Motherland is the leading theme in Yesenin's work. Yesenin himself said: “My lyrics are alive alone big love- love for the motherland. The feeling of the Motherland is the main thing in my work.” For him, there was nothing outside of Russia: no poetry, no life, no love, no glory. Outside of Russia, Yesenin simply could not imagine himself. The theme of the motherland was revealed to them in rich, definite colors:

I left my home

Blue left Russia ...

S. Yesenin's poems are landscape sketches, amazing in their beauty, in which the Motherland is, first of all, that corner of the world where the poet was born and grew up. Yesenin makes nature animated in order to display the beauty of the surrounding world as brightly as possible, its living entity. Everything around lives its own life: “sunrise pours red water on cabbage beds”, “birch trees stand like big candles”. Even "nettles dressed up with bright mother-of-pearl" in the poem "Good morning."

Yesenin speaks of an all-consuming love for the Motherland, love "to the point of joy and pain." Such love, which every true Russian probably experiences, cannot exist without “lake anguish”, without a drop of bitterness ... “I won’t give up these chains,” Yesenin says about that unaccountable longing that mixes with love and makes it the feeling is truly deep and eternal. "Chains" are familiar to the lyrical hero, and there is sweetness in their heaviness.

Yesenin's work is one of the brightest, deeply exciting pages in the history of Russian poetry, filled with love for people, beauty native land, imbued with kindness, a sense of constant concern for the fate of the people and all life on earth.

Comment

The examinee quite fully and convincingly reveals the problem of the composition, showing how Russia is depicted in the work of S. Yesenin. Based on the author's position, the examinee was able to show that the feeling of the motherland is the main one in the poet's work, while analyzing the poems, he took into account the author's intention. Formulates his point of view; convincingly substantiates his theses, involving the text; there are no factual errors or inaccuracies.

Evaluation by criterion K1: 3 points.

2.2. How the theme of war is revealed in the lyrics of A.A. Akhmatova?

Sample Answer

Many of Akhmatov's poems are an appeal to the tragic fate of Russia. The beginning of severe trials for Russia was the First World War in Akhmatova's poetry. Akhmatova's poetic voice becomes the voice of people's grief and, at the same time, hope. In 1915, the poetess writes "Prayer":

... I pray for Your liturgy

After so many agonizing days

To cloud over dark Russia

Became a cloud in the glory of rays.

During the Great Patriotic War, Akhmatova was evacuated to Tashkent and returned to Leningrad in 1944. During the war years, the theme of the Motherland becomes the leading one in Akhmatova's lyrics. In the poem "Courage", written in February 1942, the fate of the native land is associated with the fate of the native language, native word, which serves as a symbolic embodiment of the spiritual beginning of Russia:

It's not scary to lie dead under the bullets,

It's not bitter to be homeless,

– And we will save you, Russian speech,

Great Russian word.

We will carry you free and clean,

And we will give to our grandchildren, and we will save from captivity

Forever!

During the war came to the fore human values: life, home, family, motherland. But the idea of ​​"Courage" is not limited to patriotism. Spiritual freedom forever, expressed in faith in the freedom of the Russian word, is what the people accomplish their feat for.

And here again the personal in Akhmatova is combined with a national tragedy and the eternal, universal. This is the originality of Akhmatova's poetry: she felt the pain of her era as her own pain.

Comment. Estimates by criterion K1.

The examiner does not sufficiently deeply and fully reveal the problem of the essay, superficially and one-sidedly reflects the author's intention. When analyzing poems, he confines himself to presenting his point of view, partly replaces the analysis with citations, without substantiating his theses.

Evaluation by criterion K1: 1 point.

2.2 How is the world of purity and beauty conveyed in A. Blok's lyrics?

Sample Answer

In the lyrics of A. Blok, the leitmotif is the dream of the universal unification of the world, from the depths of which the world of purity and beauty grows. Modern life, according to Blok, is mired in chaos. The poet's soul aspires to unification, the merging of the forces of good, their victory over a world afflicted with vice.

The main advantage of objects and phenomena is their purity, belonging to the common World Soul, harmonious combination with all the realities of life. World Harmony or Soul appears in Blok's poems in the form of a woman, a Beautiful Lady.

I enter dark temples,

I'm doing a secret ritual.

There I am waiting for the Beautiful Lady

In the flickering of red lamps.

In the shadow of a tall column

Trembling from the creak of doors

And he looks into my face, illumined,

Only an image, only a dream about Her.

It is this unification, the appearance of saving beauty, that the poet foresees. Premonition in Blok's lyrics is just as important as the feeling itself, and always precedes thought. Blok's world is a world of halftones and subtle sensations, a realm of intuitions and secrets.

The expectation of a miracle or the repetition of a wonderful moment from the past are constantly present in Blok's lyrics. Such an attitude gives strength to the lyrical hero, who believes that now something is about to happen, something that will make life more beautiful, better or return former happiness.

The tension of expectation sets the reader to a sensitive reading of poems, to the expectation of a phenomenon that Blok must certainly be beautiful.

I anticipate you. Years pass by

All in the guise of one I foresee You.

The whole horizon is on fire - and unbearably clear,

And silently I wait, yearning and loving.

Block speaks to us through a palette of colors and a range of sounds. Sound and color are the most important expressive elements in his poetry. Contrast and halftones create unique images, a mysterious atmosphere of the closeness of the beautiful, which is always present in Blok.

The melodiousness of his poems sets us in a lyrical mood, leads us along the path that the hero himself walked in his dreams and dreams.

The world of suffering, real, mired in fuss and lies, oppresses, so the hero strives for that life that should be established on earth, but its time has not yet come. The constant search for the kingdom of truth leads the poet through the hardships and difficulties of life, leaving the soul young and believing in bright feelings and ideals, searching, restless. The hero of Blok opens up to the reader a world that is inaccessible to the ordinary eye, shares what he was able to see thanks to his poetic talent and a special mood of the soul.

I told you something unearthly.

I forged everything in the air mist.

In the boat is an axe. Dreams are heroes.

So I landed on the ground.

The hero of Blok is not a lonely person in the desert world, not a lyricist, left alone with nature. His hero is among the crowd, among the noisy city, stations, squares. Blok's lyrics break through to us through the noise of the crowd, it is close to our life today. And in crowded cities, the Poet knows how to listen to silence, find an island of calm and feel connected with upper world:

In the night when anxiety

And the city will hide in the mist -

Oh, how much music God has

What sounds on earth!

The image of the homeland in Blok appears in the form of an endless plain, roads, blizzards, snowstorms. Love for the motherland gives the hero hope and consolation. It is the purest and true love. The homeland for Blok is the world where all dreams were born and where all dreams will go, a world closely intertwined with invisible threads with the fate of the poet himself. He is looking for salvation, comfort, faith in his homeland. The poet himself said that his lyrics are about Russia, about its fate. A truly Russian spirit, forgiving everything, believing in the light of the future, looking for ideals, remembering them in any trouble - this is Blok's homeland. Russia is shrouded in mystery, full of strength and calm as a mother.

You are extraordinary even in a dream.

I won't touch your clothes.

I doze - and behind the slumber is a mystery,

And you will rest in secret, Russia.

Alexander Blok proved with all his work: beauty, harmony, inner and outer purity, love for the Motherland, a woman, respect for nature - makes a person a Man.

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. "A 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 Nicholas Russia- "unwashed country" "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 of 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 Yu. Tynyanov, a generation of people "with a jumping gait], people who distinctive feature which was "impatience of the soul" and readiness for a feat. We find a portrait of the Lermontov generation in the poem "Duma". His distinguishing feature is his inability to act, to act ("In the face of danger, shamefully cowardly / and in front of power, contemptible slaves"), since his will is paralyzed by "knowledge and doubt." We find a variant of such self-doubt in the poem "The Prisoner". Pushkin's generation, which absorbed the spirit of the victory of 1812, lived with a sense of the boundlessness of human possibilities, and no vicissitudes of fate could break its spirit. Lermontov, after December 14, 1825, also lost faith in its capabilities, internal freedom became an unattainable ideal for him. It is significant that in Lermontov's poem "Farewell, unwashed Russia ..." freedom for the fugitive-exile is also illusory (is it possible to hide from the "all-seeing eye" and "all-hearing ears" of the tsar's "pashas"?), As well 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 her. 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. bloody food pecks 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 he 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 sea ​​areas, Where we walk only the wind ... yes I! .. 1822 M.Yu. Lermontov. Prisoner Open the dungeon for me, Give me the radiance of the day, Black-eyed maiden, Black-maned horse! I'm a young beauty First I'll kiss you sweetly, Then I'll jump on a horse, I'll fly away to the steppe like the wind. But the window of the prison is high, The door is heavy with a lock; Black-eyed far away, In her magnificent chamber, A good horse in a green field Without a bridle, alone, at will Rides, cheerful and playful, Tail spreading in the wind. I am lonely - there is no consolation: The walls are bare all around, The beam of the lamp dimly shines With a dying fire; You can only 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 the first stanza 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"). initial situation already 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 is "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 clearly 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 lifestyle and 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. Development of the Pushkin plot by F.I. Tyutchev and M.Yu. Lermontov - brightest to that the confirmation. 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 that in cultural memory the most detailed historical chronicle does not always and cannot always preserve. 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 "The kite rose from the clearing" human thought irresistibly strives to comprehend the unknown, but it is impossible for her 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. MOTHERLAND I love my homeland, but 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; By a country road I like to ride in a cart And, with a slow gaze piercing the shadow of the night, To meet on the sides, sighing about an overnight stay, 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 concern 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 his 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, everyday life 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 the poverty, poverty and everyday life of his 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 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, key thought"Borodino" is "a complaint about the present generation, slumbering in inaction, envy of the great past, full of glory and great things." Poetics The genre of the poem is a historical ballad. The poetic meter is an alternation of iambic pentameter and iambic trimeter. About the feat of the people, about the great historic battle tells a simple soldier, 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 psychological stress a soldier 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 rather speech it is 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 why a person can love his homeland: "Neither glory bought with blood, / Nor rest 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 matter is not only in him, but also in this mysterious country itself, about which another great poet, a contemporary of Lermontov, then he will say: “You cannot understand Russia 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, in 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 brutal battle in the mountains of Ichkeria on the Valerik River, whose name - “river of death” - has since then acquired a symbolic meaning, unexpectedly bursts into the narrative of military everyday life: “They cut cruelly, / Like animals, silently, with their breasts…”. The philosophical reflections of the author sum up the bitter results of the military tragedy: 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\One of them 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, nevertheless, nevertheless ...” 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 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? Really the misfortune of a short life Is the most painful for us, 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 all around Native places: a 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 An evening ray looks, and yellow sheets Noise 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 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 it in their eyes iron verse, Drenched in bitterness and anger! .. Two worlds - distinguishing feature romanticism. And in this sense, we have before us a textbook example of the opposition of the real world - hypocritical, soulless, alien to the lyrical hero - and the world of a beautiful dream, where he is free and happy. Speaking about the real world, alien to the lyrical hero and created in the first stanzas, it is important to remember the image of a masquerade - 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 " big light". 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 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

The motif 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 minute mental hardship", there is no beloved. 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, he loses faith in himself and in life, he loses hope for the fulfillment of desires: “... what good is it in vain and forever to wish ?..". “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 a traditional image 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 nagging 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 directed into the distance endless road, above it - the 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 feature: firstly, this 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 eternal peace nature and join its full strength sleep. Stanzas four and five reveal in detail this ideal, new for Lermontov's hero. The dream he dreams is not " cold dream graves", and the fullness vitality. The last (fifth) stanza connects the hope for love ("a sweet voice sang to me about love"), that is, the achievement of personal happiness, and merging with the images of mythological and space life. The oak, at the roots of which the poet would like to plunge into his life-filled sleep, is a cosmic image of the world tree connecting heaven and earth, known to many mythological systems.

How is the theme of loneliness revealed in Lermontov's poem "I go out alone on the road"? The poem 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 inner feeling the hero emphasizes the contrast between the calm, harmonious world of nature (“It is solemn and wonderful in heaven”, “... the earth is sleeping”) and the deep dissatisfaction of the lyrical hero, who seeks to join the peaceful outside world, breaking out of the world of inner loneliness, in which “it hurts” 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 of strength slumbers in his chest"), but calmed and no longer responding to earthly passions. At the end of the poem, the theme of the meaning of life passes: the poet calls nature and love the highest values.

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 earth and heavenly worlds in a 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 means of expression 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, theomachy 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 in order 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 magic song angel forever remained in the soul of man, and he carried 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 at the time of 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 is a memory of the song of an angel, which gives him a feeling of joy and 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 Looked at the pure spirit And the involuntary ardor of emotion For the first time vaguely recognized. “Forgive me,” he says, “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. 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 lyric poem relating to romanticism. If at the beginning of the work there is a comparison of two images, then at the end the demon asks forgiveness from the angel. He talks about how he really isn't as evil as everyone makes him out to be. The demon did not despise and hate everything. As a result, good nevertheless triumphed, and even the “gloomy demon” could not resist the “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, - So empty and silly 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 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, and the storm has passed, 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 that are 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 north - Petersburg, south side - Caucasus, azure steppe - sky, pearl chain - clouds), rhetorical questions and syntactic parallelism (Who is driving you? Is it fate, is it secret envy? Is it open malice? Or is crime weighing on you? Or poisonous slander of friends?); 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, 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 it figurative structure, composition, expressive means, etc. Artistic image- any phenomenon creatively recreated by the author in a work of art. It is the result of the artist's understanding of 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 A poet is compared to a dagger, haven't you, a poet, Lost your purpose Appointment of a poet: ... the measured sound of your mighty words Inflamed 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 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, has divine origin: “heavenly flies to us from heaven”, she brings “azure clarity” to 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.

"Poets death". 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 to pieces? 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 the sorrows 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 has disappeared in the fog of the night, In heavy meditation, alone, by the moon, I am riding a good horse across the field ... 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); desire to forget, get away from heartache through “pleasures” and deceit - embodied more in the prose than in the lyrical works of Lermontov. The theme of “angelic”, sublime, ideal love, which the hero of this poem expected and did not find, is also indicative. The poem is written in the genre of a message, which immediately refers us to the Pushkin tradition. But unlike poems that glorify love and 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, a card game in Russian literature of the 19th century).

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 of better 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? Other poems by Lermontov himself (“Cliff”, “It stands alone in the wild north ...”, “Leaf”, “No, I am not Byron ...”, etc. are suitable for comparison. 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 ignoramuses, the reproach of 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 (believe, cry, easily, easily - 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 liberation 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 the anxiety of my soul humbles itself, Then the wrinkles on the brow disperse, - And I can comprehend happiness on earth And in the sky I see God... How are landscape sketches related to the main idea of ​​the poem? What artistic means are 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 saga”, “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 joy…” (The motive of loneliness in Lermontov's lyrics) “Loneliness” is the usual state of a romantic lyrical hero. “Initiated” into the secrets of an 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 creativity, reflected in most of his works. 1. Comparison of the poems "The Prisoner" by Pushkin and Lermontov: the motif of the joylessness of loneliness, the hopelessness of the latter's desire for freedom. The “damp dungeon” (almost a folklore 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 poem's finale allows for ambiguity in 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 transient 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.

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 in 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 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 the 2019 OGE exams, will be chosen by students who wish to continue their studies 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.

home OGE feature in literature from other exams taken by ninth graders in 2019 is the fact that there are no tests with answers on the ticket. Exam 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 the control sections for various subjects just answering tests, afraid of essays, which is indispensable part of the OGE 2019 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 converting test scores to this subject assessments use a special correspondence table:

Thus, if the preparation for the OGE in literature in 2019 was weak, and the goal of the graduate was to overcome minimum threshold passing, 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 a complete list of references for the 2019 OGE 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: