Moral problems in A. Ostrovsky’s play “The Thunderstorm”

"Columbus of Zamoskvorechye". A. N. Ostrovsky knew the merchant environment well and saw in it the focus of national life. According to the playwright, all types of characters are widely represented here. The writing of the drama “The Thunderstorm” was preceded by A. N. Ostrovsky’s expedition along the Upper Volga in 1856-1857. “The Volga gave Ostrovsky abundant food, showed him new themes for dramas and comedies and inspired him to those that constitute the honor and pride of Russian literature” (Maksimov S.V.). The plot of the drama “The Thunderstorm” was not a consequence of the real story of the Klykov family from Kostroma, as was believed for a long time. The play was written before the tragedy that occurred in Kostroma. This fact testifies to the typical nature of the conflict between the old and the new, which was increasingly making itself known among the merchants. The problems of the play are quite multifaceted.

The central problem is the confrontation between the individual and the environment (and, as a special case, the powerless position of women, about which N.A. Dobrolyubov said: “... the strongest protest is the one that finally rises from the chests of the weakest and most patient”). The problem of confrontation between personality and environment is revealed on the basis of the central conflict of the play: there is a clash between the “warm heart” and the dead way of life of merchant society. The lively nature of Katerina Kabanova, romantic, freedom-loving, hot-tempered, is not able to tolerate the “cruel morals” of the city of Kalinov, about which in the 3rd yavl. Kuligin narrates the first act: “And whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors... They undermine each other’s trade, and not so much out of self-interest, but out of envy. They are at enmity with each other; they get drunken clerks into their high mansions...” All lawlessness and cruelty are committed under the guise of piety. The heroine is unable to put up with hypocrisy and tyranny, among which Katerina’s sublime soul suffocates. And for young Kabanova, an honest and integral nature, Varvara’s principle of “survival” is completely impossible: “Do what you want, as long as it’s safe and covered.” The opposition of a “warm heart” to inertia and hypocrisy, even if the price for such a rebellion is life, will be called by the critic N. A. Dobrolyubov “a ray of light in a dark kingdom.”

The tragic state of mind and progress in a world of ignorance and tyranny. This complex issue is revealed in the play through the introduction of the image of Kuligin, who cares about the common good and progress, but encounters misunderstanding on the part of the Wild: “... I would use all the money for society, for support. Jobs must be given to the philistines. Otherwise, you have hands, but nothing to work with.” But those who have money, for example Dikoy, are in no hurry to part with it, and even admit their lack of education: “What kind of elitism is there! Why aren't you a robber? A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself with poles and some kind of rods, God forgive me.” Feklushi’s ignorance finds deep “understanding” in Kabanova: “On such a beautiful evening, rarely does anyone come out to sit outside the gate; but in Moscow there are now festivals and games, and there is a roar and a groan in the streets. Why, Mother Marfa Ignatievna, they started harnessing the fiery serpent: everything, you see, for the sake of speed.”

Substitution of life according to the gracious Christian commandments for blind, fanatical, “Domostroevsky” Orthodoxy, bordering on obscurantism. The religiosity of Katerina’s nature, on the one hand, and the piety of Kabanikha and Feklusha, on the other, appear completely different. The faith of young Kabanova carries a creative principle, full of joy, light and selflessness: “You know: on a sunny day such a bright pillar goes down from the dome, and in this pillar there is smoke, like clouds, and I see, it used to be like angels in they fly and sing on this pillar... Or I’ll go to the garden early in the morning. As soon as the sun rises, I fall on my knees, pray and cry, and I myself don’t know what I’m crying about; that's how they'll find me. And what I prayed for then, what I asked for, I don’t know; I don’t need anything, I had enough of everything.” Rigid religious and moral postulates and severe asceticism, so revered by Kabanikha, help her justify her despotism and cruelty.

The problem of sin. The theme of sin, which appears more than once in the play, is also closely related to the religious issue. Adultery becomes an unbearable burden for Katerina’s conscience, and therefore the woman finds the only possible way out for her - public repentance. But the most difficult problem is resolving the issue of sin. Katerina considers life in the “dark kingdom” to be a greater sin than suicide: “It doesn’t matter that death comes, that it itself... but you can’t live! Sin! Won't they pray? He who loves will pray..."

The problem of human dignity. The solution to this problem is directly related to the main problem of the play. Only the main character, with her decision to leave this world, defends her own dignity and right to respect. The youth of the city of Kalinov are unable to decide to protest. Their moral “strength” is only enough for secret “outlets” that everyone finds for themselves: Varvara secretly goes for a walk with Kudryash, Tikhon gets drunk as soon as he leaves the vigilant mother’s care. And other characters have little choice. “Dignity” can only be afforded by those who have substantial capital and, as a result, power; the rest include Kuligin’s advice: “What to do, sir! We must try to please somehow!”

Moral problems in Ostrovsky's play "The Thunderstorm"

Ostrovsky was once called the “Columbus of Zamoskvorechye”, emphasizing the artistic discovery of the world of merchants in the plays of the playwright, but today such works as “Dowry”, “Our People – We Will Be Numbered”, “Talents and Admirers”, “Forest” and other plays are interesting not only specific historical issues, but also moral, universal ones. I would like to talk in more detail about the play “The Thunderstorm”.

It is symbolic that in 1859, on the eve of the social upsurge that would lead in 61 to the abolition of serfdom, a play called “The Thunderstorm” appeared. Just as the name of the play is symbolic, its moral issues are also multifaceted, at the center of which are the problems of external and internal freedom, love and happiness, the problem of moral choice and its responsibility.

The problem of external and internal freedom becomes one of the central ones in the play. “Cruel morals, sir, in our city, cruel,” says Kuligin already at the beginning of the play.

Only one person is given the ability to stand out from the background of those who humiliate and humiliate – Katerina. The very first appearance of Katerina reveals in her not a timid daughter-in-law of a strict mother-in-law, but a person who has dignity and feels like an individual: “It’s nice for anyone to endure lies,” says Katerina in response to Kabanikha’s unfair words. Katerina is a spiritual, bright, dreamy person; she, like no one else in the play, knows how to feel beauty. Even her religiosity is also a manifestation of spirituality. The church service was filled with special charm for her: in the rays of sunlight she saw angels and felt a sense of belonging to something higher, unearthly. The motif of light becomes one of the central ones in Katerina’s characterization. “But the face seems to glow,” Boris had only to say this, and Kudryash immediately realized that he was talking about Katerina. Her speech is melodious, figurative, reminiscent of Russian folk songs: “Violent winds, bear with him my sadness and melancholy.” Katerina is distinguished by her inner freedom and passionate nature; it is no coincidence that the motif of a bird and flight appears in the play. The captivity of the Kabanovsky house oppresses her, suffocates her. “Everything seems to be out of captivity with you. I’ve completely wilted with you,” says Katerina, explaining to Varvara why she doesn’t feel happy in the Kabanovs’ house.

Another moral problem of the play is connected with the image of Katerina - human right to love and happiness. Katerina’s impulse to Boris is an impulse to joy, without which a person cannot live, an impulse to happiness, which she was deprived of in Kabanikha’s house. No matter how hard Katerina tried to fight her love, this fight was doomed from the very beginning. In Katerina’s love, like in a thunderstorm, there was something spontaneous, strong, free, but also tragically doomed; it is no coincidence that she begins her story about love with the words: “I will die soon.” Already in this first conversation with Varvara, the image of an abyss, a cliff appears: “There will be some kind of sin! Such fear comes over me, such and such fear! It’s as if I’m standing over an abyss, and someone is pushing me there, but I have nothing to hold on to.”

The title of the play takes on the most dramatic sound when we feel a “thunderstorm” brewing in Katerina’s soul. The central moral problem play can be called the problem of moral choice. The collision of duty and feeling, like a thunderstorm, destroyed the harmony in Katerina’s soul with which she lived; She no longer dreams, as before, of “golden temples or extraordinary gardens”; it is no longer possible to ease her soul with prayer: “If I start to think, I won’t be able to gather my thoughts, if I’ll pray, I won’t be able to pray.” Without agreement with herself, Katerina cannot live; she could never, like Varvara, be content with thieving, secret love. The consciousness of her sinfulness weighs on Katerina, torments her more than all of Kabanikha’s reproaches. Ostrovsky's heroine cannot live in a world of discord - this explains her death. She made the choice herself - and she pays for it herself, without blaming anyone: “No one is to blame - she did it herself.”

We can conclude that it is precisely the moral problematics of Ostrovsky’s play “The Thunderstorm” that makes this work interesting for the modern reader even today.

Ostrovsky was once called the “Columbus of Zamoskvorechye,” emphasizing the artistic discovery of the world of merchants in the plays of the playwright, but his plays are interesting not only for specific historical issues, but also for moral, universal ones. Thus, it is precisely the moral problematics of Ostrovsky’s play “The Thunderstorm” that makes this work interesting for the modern reader even today. The action of Ostrovsky's drama takes place in the city of Kalinov, which is located among the greenery of gardens on the steep bank of the Volga. “For fifty years I’ve been looking at the Volga every day and I can’t take it all in. The view is extraordinary. My soul rejoices,” Kuligin admires. It would seem that the life of the people of this city should be beautiful and joyful. Especially considering the fact that Kabanikha, a woman who personifies the entire “dark kingdom,” constantly talks about high morality. But why didn’t life in the city become a kingdom of light and joy, but turned into “a world of prison and grave silence”?

There are moral laws that are not written down anywhere, but by following which, a person is able to comprehend spiritual happiness, find light and joy on earth. How are these laws implemented in a provincial Volga town?

1. The moral laws of people's lives are replaced in Kalinov by the law of force, power and money. Dikiy’s big money frees his hands and gives him the opportunity to swagger with impunity over everyone who is poor and financially dependent on him. People are nothing to him. “You are a worm. If I want, I’ll have mercy, if I want, I’ll crush,” he says to Kuligin. We see that the basis of everything in the city is money. They are worshiped. The basis of human relationships is material dependence. Here money decides everything, and power belongs to those who have more capital . Profit and enrichment become the goal and meaning of life for most Kalinov residents. Because of money, they quarrel among themselves and harm each other: “I’ll spend it, and it will cost him a pretty penny.” Even the self-taught mechanic Kuligin, who is advanced in his views, realizing the power of money, dreams of a million in order to talk on equal terms with the rich.

2. The basis of morality is respect for elders, parents, father and mother. But this law in Kalinov is perverted , because it is replaced by a ban on freedom, on respect. Katerina suffers the most from Kabanikha’s tyranny. A freedom-loving nature, she cannot live in a family where the youngest unquestioningly submits to the elder, the wife to the husband, where any desire for freedom and manifestation of self-esteem is suppressed. “Will” for Kabanikha is a dirty word. “Wait for it! Live in freedom! - she threatens the young people. For Kabanikha, the most important thing is not the real order, but its external manifestation. E She is outraged that Tikhon, leaving home, does not order Katerina how to behave, and does not know how to order, and the wife does not throw herself at her husband’s feet and does not howl to show her love. “That’s how you respect your elders...” Kabanova says every now and then, but respect in her understanding is fear. We should be afraid, she believes.

3. The great law of morality is to live in harmony with your heart, according to your conscience. But in Kalinov, any manifestation of sincere feeling is regarded as a sin. Love is a sin. But it’s possible to go on dates in secret. When Katerina, saying goodbye to Tikhon, throws herself on his neck, Kabanikha pulls her back: “Why are you hanging on your neck, shameless one! You are not saying goodbye to your lover! He’s your husband, your boss!” Love and marriage are incompatible here. Kabanikha remembers love only when she needs to justify her cruelty: “After all, parents are strict with you out of love.” She wants to force the younger generation to live by the laws of hypocrisy, arguing that what is most important is not the true manifestation of feelings, but the external keeping up appearances. Kabanikha is outraged that Tikhon, when leaving home, does not order Katerina how to behave, and the wife does not throw herself at her husband’s feet and does not howl to show her love

4.There is no place for sincere feelings in the city . The boar is hypocritical, she only hides behind virtue and piety, in the family she is an inhuman despot and tyrant.. Kabanikha hides her true essence under the mask of righteousness, while tormenting both her children and daughter-in-law with nagging and reproaches. Kuligin gives her an apt description: “Prude, sir! He gives money to the poor, but completely eats up his family.” Lies and deceit, having become an everyday occurrence in life, cripple people’s souls.”

These are the conditions in which the younger generation of the city of Kalinov is forced to live.

5. Only one person can stand out among those who humiliate and humiliate – Katerina. The very first appearance of Katerina reveals in her not a timid daughter-in-law of a strict mother-in-law, but a person who has dignity and feels like an individual: “It’s nice for anyone to endure lies,” says Katerina in response to Kabanikha’s unfair words. Katerina is a spiritual, bright, dreamy person; she, like no one else in the play, knows how to feel beauty. Even her religiosity is also a manifestation of spirituality. The church service was filled with special charm for her: in the rays of sunlight she saw angels and felt a sense of belonging to something higher, unearthly. The motif of light becomes one of the central ones in Katerina’s characterization. “But the face seems to glow,” Boris had only to say this, and Kudryash immediately realized that he was talking about Katerina. Her speech is melodious, figurative, reminiscent of Russian folk songs: “Violent winds, bear with him my sadness and melancholy.” Katerina is distinguished by her inner freedom and passionate nature; it is no coincidence that the motif of a bird and flight appears in the play. The captivity of the Kabanovsky house oppresses her, suffocates her. “Everything seems to be out of captivity with you. I’ve completely wilted with you,” says Katerina, explaining to Varvara why she doesn’t feel happy in the Kabanovs’ house.

6. Another one is connected with the image of Katerina the moral problem of the play is the human right to love and happiness. Katerina’s impulse to Boris is an impulse to joy, without which a person cannot live, an impulse to happiness, which she was deprived of in Kabanikha’s house. No matter how hard Katerina tried to fight her love, this fight was doomed from the very beginning. In Katerina’s love, like in a thunderstorm, there was something spontaneous, strong, free, but also tragically doomed; it is no coincidence that she begins her story about love with the words: “I will die soon.” Already in this first conversation with Varvara, the image of an abyss, a cliff appears: “There will be some kind of sin! Such fear comes over me, such and such fear! It’s as if I’m standing over an abyss, and someone is pushing me there, but I have nothing to hold on to.”

7. The title of the play takes on the most dramatic sound when we feel a “thunderstorm” brewing in Katerina’s soul. The central moral problem play can be called the problem of moral choice. The collision of duty and feeling, like a thunderstorm, destroyed the harmony in Katerina’s soul with which she lived; She no longer dreams, as before, of “golden temples or extraordinary gardens”; it is no longer possible to ease her soul with prayer: “If I start to think, I won’t be able to gather my thoughts, if I’ll pray, I won’t be able to pray.” Without agreement with herself, Katerina cannot live; she could never, like Varvara, be content with thieving, secret love. The consciousness of her sinfulness weighs on Katerina, torments her more than all of Kabanikha’s reproaches. Ostrovsky's heroine cannot live in a world of discord - this explains her death. She made the choice herself - and she pays for it herself, without blaming anyone: “No one is to blame - she did it herself.”

We can conclude that it is precisely the moral problematics of Ostrovsky’s play “The Thunderstorm” that makes this work interesting for the modern reader even today.

2. “A poet in Russia is more than a poet” (according to the lyrics of N. A. Nekrasov). Reading by heart one of the poet's poems (at the student's choice).

The theme of the poet and poetry is traditional for Russian lyrics. It is this theme that is one of the main ones in Nekrasov’s lyrics.

N. A. Nekrasov’s ideas about the essence and purpose of poetry developed in the process of creative communication with the ideologists of revolutionary democracy N. G. Chernyshevsky, N. A. Dobrolyubov, as well as such progressive writers as M. E. Saltykov-Shchedrin, L. N. Tolstoy. Nekrasov believes that the role of the poet in the life of society is so significant that it requires from him not only artistic talent, but also citizenship, activity in the struggle for civic beliefs.

1. Nekrasov repeatedly states his views for the purpose of your creativity . Thus, in the poem “Yesterday, at about six o’clock...” he says that his muse becomes the sister of all the humiliated and insulted:

There they beat a woman with a whip,

Young peasant woman...

...And I said to the Muse: “Look!

Your dear sister!

The same idea is heard in a later poem, “Muse” (1852). The poet sees from the very beginning my calling is to glorify the common people, sympathize with their suffering, express their thoughts and aspirations, and attack their oppressors with censure and merciless satire . Nekrasov's muse, on the one hand, is a peasant woman. But on the other hand, this is the fate of this gender itself, persecuted and persecuted by the powers of this world. Nekrasov’s muse is suffering, chanting the people and calling them to fight.

2..In a poem “The Poet and the Citizen” (1856) Nekrasov argues with representatives of the “pure art” movement, who, in his opinion, lead the reader away from pressing social problems. The poem is structured as a dialogue. This dialogue in Nekrasov is an internal dispute, a struggle in his soul as a Poet and a Citizen. The author himself tragically experienced this internal rupture and often made the same claims against himself as the Citizen did against the Poet. The citizen in the poem shames the Poet for inaction; in his understanding, the immeasurable sublimity of civil service overshadows the previous ideals of freedom of creativity, the new high goal is to die for the Fatherland: “... go and die blamelessly.”

A poet who truly loves his homeland must have a clear civic position , without hesitation to expose and condemn the vices of society, as did Gogol, on the day of whose death the poem was written. Nekrasov emphasizes that the life of a poet who has chosen such a path is immeasurably more difficult than the life of one who avoids social problems in his work. But this is the feat of a true poet: he patiently endures all adversity for the sake of his high goal. According to Nekrasov, such a poet will be appreciated only by future generations, posthumously:

They curse him from all sides,

And just seeing his corpse,

They will understand how much he has done,

And how he loved - while hating!

According to Nekrasov, Without civic ideals, without an active social position, a poet will not be a true poet . The Poet, the protagonist of the poem “The Poet and the Citizen,” agrees with this. The dispute ends not with the victory of the Poet or the Citizen, but with a general conclusion: the role of the poet is so significant that it requires civic convictions and the fight for these convictions .

3.. In 1874 Nekrasov creates a poem "Prophet". This work, of course, continued the series in which the works of Pushkin and Lermontov already stood. . It again talks about the difficulty of the chosen path, about the divine beginning of creativity :

He hasn't been crucified yet,

But the time will come - he will be on the cross,

4. But N. A. Nekrasov sees the highest purpose of the poet in selfless service to the people . The theme of the people, the homeland becomes one of the most important themes of the poet’s entire work. He is sure: as long as the theme of the suffering of the people is relevant, the artist has no right to forget it. This selfless service to people is the essence of N. A. Nekrasov’s poetry. In a poem “Elegy”, (1874) In one of his most beloved poems, Nekrasov seems to sum up his work:

I dedicated the lyre to my people.

Perhaps I will die unknown to him,

But I served him - and my heart is calm...

The poet creates poems not for the sake of fame, but for the sake of conscience... Because you can only live in service to the people, and not to yourself.

« A poet in Russia is more than a poet,” these words do not belong to Nekrasov, but can rightfully be attributed to his work. A poet in Russia is, first of all, a person with an active life position. And all of Nekrasov’s work affirmed the thought: “You may not be a poet, but you must be a citizen.”

(using the example of one work).

2. The theme of the poet and poetry in the lyrics of A. A. Akhmatova. Reading one of the poems by heart.

1. The drama “The Thunderstorm” is based on an image of an awakening sense of personality and a new attitude towards the world.

Ostrovsky showed that even in the ossified little world of Kalinov, a character of amazing beauty and strength can arise. It is very important that Katerina was born and formed in the same Kalinovsky conditions. In the exposition of the play, Katerina tells Varvara about her life as a girl. The main motive of her story is the permeating mutual love and will. But it was a “will” that did not at all conflict with the centuries-old way of life of a woman, whose entire range of ideas is limited to housework and religious dreams.

This is a world in which it does not occur to a person to oppose himself to the general, since he does not yet separate himself from this community, and therefore there is no violence or coercion here. But Katerina lives in an era when the very spirit of this morality: harmony between an individual and the ideas of the environment has disappeared and the ossified form of relationships rests on violence and coercion. Katerina’s sensitive soul caught this. “Yes, everything here seems to be out of captivity.”

It is very important that it is here, in Kalinov, that a new attitude towards the world is born in the heroine’s soul, new feelings that are still unclear to the heroine herself: “There is something so extraordinary about me. It’s like I’m starting to live again, or... I don’t even know.”

This vague feeling is an awakening sense of personality. In the heroine’s soul it is embodied in love. Passion is born and grows in Katerina.

The awakened feeling of love is perceived by Katerina as a terrible sin, because love for a stranger for her, a married woman, is a violation of moral duty. Katerina does not doubt the correctness of her moral ideas; she only sees that no one around her cares about the true essence of this morality.

She sees no outcome to her torment other than death, and it is the complete lack of hope for forgiveness that pushes her to commit suicide - a sin even more serious from a Christian point of view. “Anyway, I lost my soul.”

Ticket number 12

1. The image of Bazarov in I. S. Turgenev’s novel “Fathers and Sons”, his author’s assessment.

2. The theme of the Motherland and nature in the lyrics of S. A. Yesenin.

1. I. S. Turgenev wrote to A. A. Fet: “Did I want to scold Bazarov or praise him? I don’t know this myself, for I don’t know whether I love him or hate him.” The novel “Fathers and Sons” depicts the era of the 50s of the 19th century. Two camps: nobles and commoners. Sharp ideological struggle between successive

social forces. By his convictions, Turgenev was a supporter of the reformist transformation of Russia. But as a great artist, he could not help but draw a portrait of the social type emerging in Russia.

D.I. Pisarev: “Turgenev himself will never be Bazarov, but he thought about this type and understood him in a way that none of our realists will understand.” Turgenev: “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest and yet doomed to death.” Bazarov is a bright personality, captivating those around him with his originality. Despite the feigned swagger, one can discern in him an energetic, courageous and at the same time sincere and kind character. Against the background of the inactive Pavel Petrovich, the impractical Nikolai Petrovich and the “sybaritic” Arkady, Bazarov stands out with his love of work, perseverance in achieving goals, and the desire to bring real benefit to Russia.

But on the other hand, Turgenev endowed Bazarov with features that reduced his image. Bazarov is cynical about women, love, marriage, and family. He speaks of Madame Odintsova: “a woman with a brain” and a “rich body.” Bazarov does not accept art. In his opinion, “Raphael is not worth a penny,” and all art is “the art of making money.” He recognizes only natural sciences due to their usefulness for the present Russia.

Bazarov retreats from many of his beliefs. The meeting with Odintsova reveals “romanticism” and the ability to love in Bazarov. The hero begins to doubt whether Russia really “needs” him. In the face of death, Bazarov begins to understand the value of such manifestations of life as poetry and beauty.

Bazarov's story illustrates Turgenev's philosophical idea: no matter what kind of people come into the world, no matter how passionately they want to turn life around, no matter how much they deny the spiritual beginning of life, they leave, disappear, and what remains is what is eternal - love, children, earth, sky. “Whatever passionate, sinful, rebellious heart may hide in the grave

the flowers growing on it serenely look at us with their innocent eyes. they say. about eternal reconciliation and endless life.”

“Drawing the figure of Bazarov, I excluded everything artistic from the circle of his sympathies, I gave him a harshness and unceremonious tone - not out of an absurd desire to offend the younger generation (!!!), but simply as a result of observations of my acquaintance, Doctor D. and people like him

“This life developed this way,” experience told me again, “maybe erroneous, but, I repeat, conscientious; I had no need to split hairs - and I had to draw his figure just like that. Probably many of my readers will be surprised if I tell them that, with the exception of his views on art, I share almost all of his beliefs.

And they assure me that I am on the side of the “fathers”. I, who in the figure of Pavel Kirsanov even sinned against artistic truth and over-salted, brought his shortcomings to the point of caricature, made him funny!

The whole reason for the misunderstandings, the whole “trouble,” as they say, was that the Bazarov type I reproduced did not have time to go through the gradual phases through which literary types usually go.

At the very moment of the appearance of a new person - Bazarov - the author was critical of him. objectively. This has confused a lot of people." (I.S. Turgenev).

2. Yesenin’s poetry is distinguished by its extraordinary integrity, because everything in it is about Russia. “My lyrics are alive with one great love, love for my homeland. The feeling of homeland is central to my work.” In the 1914 poem “Go away, my dear Rus'.” Yesenin argued: “If the holy army shouts: / “Throw away Rus', live in paradise!” / I will say: “There is no need for paradise, / Give me my homeland,” but even after 10 years in “Soviet Rus'” he stands his ground: “I will sing / With all my being in the poet / The sixth part of the earth / With the short name “Rus”. The blood connection with the land that gave birth to him was the main condition thanks to which Yesenin was able to bring

Ticket No. 1

Ticket number 2

1 .Family values ​​and their influence on the formation of a person’s personality (using the example of 2-3 heroes of the novel) (based on the novel “War and Peace”).

In the novel L.N. Tolstoy describes the life of several families: the Rostovs, Bolkonskys, Kuragins, Bergs, and in the epilogue also the families of the Bezukhovs (Pierre and Natasha) and the Rostovs (Nikolai Rostov and Marya Bolkonskaya). These families are very different, each is unique, but without the common, most necessary basis of family existence - loving unity between people - a true family, according to Tolstoy, is impossible. By comparing different types of family relationships, the author shows what a family should be like, what true family values ​​are and how they influence the formation of personality. It is no coincidence that all the heroes who are spiritually close to the author were brought up in “real” families, and, on the contrary, egoists and opportunists grew up in “false” families in which people are related to each other only formally. The Rostov and Bolkonsky families are especially close to the writer. He describes in detail the daily life of the Rostovs in the Moscow house, in Otradnoye, and the Bolkonskys in the estates of Lysye Gory and Bogucharovo. The Rostovs and Bolkonskys have a House, they have a great universal value.

Peaceful life in the novel “War and Peace” is not isolated from the “big” history, it has its own “pool of life”, and people are like rivers: each has its own channel, its own source. This source is the home, family, its traditions, way of life.

The author considers the moral core of the Rostov family to be the mother, and the highest virtue of a woman is the sacred duty of motherhood: “The Countess was a woman with an oriental type of thin face, about 45 years old. The slowness of her movements and speech, which stemmed from weakness of strength, gave her a significant appearance that inspired respect.” . The author emphasizes the closeness of mother and daughter with one name - Natalya. Tolstoy also describes the Count with tenderness. Count Rostov greeted all the guests equally cordially... “dear or dear” he said to everyone without exception, without the slightest shade, both above and below him, he laughed with a “sonorous and bassy laugh”, “laughing, he screams...”, he is “loose kindness itself.”

The hospitable and generous house of the Rostovs cannot but charm the reader. Both in St. Petersburg and in Moscow, a variety of people came to dinner with them: neighbors in Otradnoye, poor old landowners, Pierre Bezukhov. There is a feeling of selfless cordiality. The life of the Rostovs in the village is even more patriarchal in nature - the serfs on Christmastide dress up and have fun with the masters.

These elderly people love each other tenderly and reverently, they have wonderful children. The relationship between parents and children in the Rostov family is built on sincerity of feelings, love, understanding, respect, and trust in each other. The spirit of equality and selflessness dominates in this family. Here they openly rejoice, cry and worry together. The Rostovs are ready to accept and caress anyone: in addition to their children, Sonya and Boris Drubetskoy are being raised in the family. Their home is comfortable for both friends and strangers.

Simplicity and cordiality, natural behavior, cordiality and mutual love in the family, nobility and sensitivity, closeness in language and customs to the people - all this is inherent in the family, which in the author’s understanding is ideal.

The first time we encounter the Bolkonsky family in its entirety is at the end of the first part of the first volume, when everyone in Bald Mountains, on the main Bolkonsky estate, is awaiting the arrival of Prince Andrei and his wife. The distinctive features of the Bolkonskys are spirituality, intelligence, independence, nobility, high ideas of honor and duty. The old prince, a former nobleman of Catherine, a friend of Kutuzov, is a statesman. He, serving Catherine, served Russia. Not wanting to adapt to the new time, which demanded not to serve, but to be served, he voluntarily imprisoned himself on the estate.

The Bolkonskys are truly attached to each other. They are united by a hidden, not expressed in words, kindred warmth. The old prince, although excessively stern and strict, is proud of his son and loves his daughter, and feels guilty for quarrels with children. Only before his death does he give free rein to the feeling of pity and love for his daughter, which he had previously carefully hidden. Prince Andrei respects and highly honors his father. They have a real understanding. After leaving for the war, Prince Andrei wrote letters to his father every day. Children are accustomed to reckoning with the weaknesses and quirks of an old person. Therefore, Prince Andrei, at the request of his father, is forced to postpone his wedding with Natasha for a whole year. However, internally the Bolkonskys are very close to each other. Their love is shown in difficult times. When the news arrived about the death of Prince Andrei, Marya, hugging her father, said: “Let’s cry together.”

It is no coincidence that Tolstoy describes in detail the home life of the Bolkonskys. They have a real, native Home, a family hearth, and certain traditions.

2. The theme of loneliness in the works of M.Yu. Lermontov. (using the example of 2-3 poems)

The lyrics of M. Yu. Lermontov are the work of a romantic poet. It is no coincidence that one of the main motifs of his lyrics, which grows into a whole theme, is the motif of loneliness, which sounds in many poems: “Leaf”, “Cliff”, “Stanzas”, “Duma”, “Both Bored and Sad”, “Clouds” , "Prophet", "Sail". It should be noted that this is not only a kind of romantic “mask” of the lyrical hero, but also the poet’s personal worldview. The ultimate expression of the poet’s worldview is reflected in the poem “Sail” (1832)

The lonely sail turns white
In the blue sea fog! ..
What is he looking for in a distant land?
What did he throw in his native land? ?..

The waves are playing, the wind is whistling,
And the mast bends and creaks ...
Alas! he is not looking for happiness,
And he’s not running out of happiness!

Below him is a stream of lighter azure,
Above him is a golden ray of sunshine ...
And he, the rebellious one, asks for a storm,
As if there is peace in the storms! (By heart)

The poem “Sail” describes a sea storm and a lonely sail sailing on a rough sea. The theme of loneliness runs through all the early lyrics of the young poet. It is with loneliness that Lermontov connects his freedom, which is so dear to him.

Each of us and the poet himself associates Lermontov’s “Sail” not only with the sight of a sail, but also with a specific person who has suffered many difficult trials. Reading the work, we observe the seascape, the lonely white sail, and the poet himself, since he himself is alone in the raging world of people.

Lermontov's "Sail" is thematically close to the experiences of the poet, who left his dream and his native place. The poem is full of vivid images of the raging sea and sails against its background. Poetic beauty can also be traced in the chosen words, which characterize not only the sea and the lonely sail, but also the inner state of the poet himself. A clear line draws the entire depth of the experiences with which Lermontov struggles. Falling in love in Moscow does not leave the author alone. At the same time, reading the work, we feel the amazing maturity inherent in the thoughts of the young poet.

The second quatrain begins with the rushing wind, which raised the waves and the sail. It would seem that with a tailwind you can overcome any obstacles and travel long distances. But “alas”, a sudden feeling of disappointment and melancholy appears. The poet associates lost happiness and dreams with this feeling.

The third quatrain describes the ensuing natural harmony and sea silence. The sun is peeking through, the azure becomes lighter. But the young poet is not at all happy about this; he feels suffering from discord in his soul and unsettled life.

In the composition of the poem, you can feel the inner experiences of the poet, who wants to escape from the ocean of experiences that have overtaken him, like a sail to find its quiet harbor.

In the poem "Cliff"(“The golden cloud spent the night / / On the chest of a giant cliff...”) the windy soul of the cloud is contrasted with the lonely soul of the cliff, thirsty for love and tenderness. The basis of the work is parallelism between human life and nature: human experiences and actions are transferred to the old cliff and the golden cloud. Composition"Utesa" was built on contrast of the main characters– clouds and cliffs, created using various means: grammatical categories (characters are designated by masculine and feminine nouns), the use of antithesis ( The cloud plays merrily - the cliff cries, the young cloud - the old cliff).

The cloud symbolizes an easy and carefree attitude towards life, and the cliff symbolizes a more thorough attitude towards life.

The poem “The Cliff,” revealing the poet’s inner world, encourages a person to strive to achieve inner harmony, the ability to live in harmony with himself and the world around him.

Ticket number 3

1 .Love line in the novel by I.S. Turgenev "Fathers and Sons". The role of women in the destinies of Bazarov, Pavel Petrovich, Nikolai Petrovich.

The theme of love becomes one of the leading ones in the novel “Fathers and Sons”. All his characters undergo the test of love. And the true essence and dignity of each person depends on how they managed to pass this test.

The central love line of the novel is Evgeny Bazarov’s love for Anna Sergeevna Odintsova. The nihilist Bazarov does not believe in love, viewing it only as physical attraction. But it is precisely this seemingly cynical and reasonable nature that is overtaken by a frantic, passionate love for the secular beauty Odintsova. Undoubtedly, Anna Sergeevna is an extraordinary person. She is smart, majestic, not like others. But her heart is cold, and Odintsova cannot respond to Bazarov’s feelings; his passion frightens her, threatening to disrupt her usual calm world.
Having been defeated in love, Bazarov is not broken. It may even seem that he has forgotten Odintsova. But, facing death, which overtook him by a strange and absurd accident, Bazarov wants to say goodbye to Anna Sergeevna. Their last meeting reveals the depth of his feelings. “Magnanimous!.. and how young, fresh, clean... in this disgusting room!” - this is what Bazarov says about his beloved woman.

Another character in the novel, capable of experiencing deep and passionate feelings, turns out to be the antipode (although in many ways a double) of Bazarov - Pavel Petrovich Kirsanov. But his love is very different from what Bazarov experiences. Bazarov will never become a slave to the woman he loves, which in many ways pushes Odintsova away from him. Pavel Petrovich, for the sake of love for a certain princess R., crossed out his entire life, abandoned his career, was subjected to humiliation... As a result, an unrequited painful passion dried up the soul of the hero, turning him into a living dead.

Nevertheless, there is something in common in the love of Bazarov and Pavel Petrovich. No wonder, having experienced the drama of rejected love, they are both drawn to the simple girl Fenechka. But the attention of Pavel Petrovich, who saw in her appearance a resemblance to Princess R., only frightens Fenechka, and Bazarov’s unceremoniousness offends her.

There are also two stories in the novel of a completely different, calm, “homely” love - this is Nikolai Petrovich Kirsanov’s love for Fenechka and Arkady’s love for Katya. Both of them end with pictures of quiet family happiness, but the genuine passion of which Turgenev himself and the central characters of his works were capable is not present in these stories. Therefore, they do not arouse much interest either among readers or the author himself.

2 . “How can the heart express itself? How can someone else understand you? The philosophical nature of F.I.’s lyrics Tyutchev. (using the example of 2-3 poems) Reading by heart one of the poet’s poems (of the student’s choice).

F.I. Tyutchev is a famous Russian poet of the 19th century. His work is unusually emotional and diverse. In it you can find the sound of spring waters, the first thunder, suffering from unrequited love, and deep reflections. Most people know Tyutchev, first of all, as an inspired singer of nature, who created real hymns to nature. However, philosophical lyrics also occupy an equally important place in his literary heritage. In poems of this direction, the poet reflects on the world and man, on chaos and the secrets of nature, on space and on the eternal problems of existence.

Tyutchev did not write for the public; mainly, he wrote for himself, putting his thoughts on paper. In every poem he searches for truth, truth.
Tyutchev's poem "Silentium!" was written in 1830.

Be silent, hide and hide

And your feelings and dreams -

Let it be in the depths of your soul

They get up and go in

Silently, like stars in the night, -

Admire them - and be silent.

How can the heart express itself?

How can someone else understand you?

Will he understand what you live for?

A spoken thought is a lie.

Exploding, you will disturb the keys, -

Feed on them - and be silent.

Only know how to live within yourself -

There is a whole world in your soul

Mysteriously magical thoughts;

They will be deafened by the outside noise,

Daylight rays will disperse, -

Listen to their singing - and be silent!.. (by heart)

The incorrect emphasis of some words in the poem is explained by the fact that for Tyutchev it was more important to show true feelings rather than lies. He turns to the questions of life, seeks answers to them, doubts or, conversely, becomes convinced of the correctness of his thoughts. Tyutchev argues that even the heart sometimes finds it difficult to admit its thoughts and assumptions, but whether another person will understand you is an eternal question, because all people’s ideas about life, thoughts and feelings are different and contradictory. Tyutchev advises:

Be silent, hide and hide
Both your feelings and your dreams.
It’s as if fear is born in a person: “Will they understand me? What will they say in response? But Tyutchev believed that he would be understood by humanity. But Tyutchev also calls for listening to other people’s opinions,

Exploding, you will disturb the keys, -
Feed on them - and be silent.

…thereby deepening your knowledge and understanding of the world.
You cannot show your every thought to the world, you just need to enjoy it yourself, as well as hide your feelings and restrain the emotions that overwhelm your soul.
A person must live in his own world, in his own soul, so that it is a secret for everyone, because, having revealed it, he may not be understood by other people and alien to those who do not consider his opinion and assumption to be correct.

In the poem “There is melodiousness in the sea waves” the poet-philosopher says that everything in nature is in tune, since there is always order in it, but the lyricist complains that a person begins to feel and understand his separation from nature only when he begins to feel at least a little about nature . He says that the discord with the natural world is manifested in the fact that the human soul and the sea do not sing together, but in different ways.

Philosophical lyrics are reflected in all Tyutchev’s poems, and in love too. These thoughts about philosophy give rise to only wonderful and strong feelings in his soul. Thus, in the love lyrics of the poet-philosopher, the main motive is recognition, which continues beyond the boundaries of Tyutchev’s lyrics. His famous creation "Oh, how murderously we love..." love and the cosmos either goes into a state of peace, or it is an eternal struggle.

Ticket number 4

1. The position of the Russian woman in the 19th century. (using the example of 1-2 plays by A.N. Ostrovsky)

Two dramas by A. N. Ostrovsky “The Thunderstorm” and “Dowry” are devoted to the same problem - the position of women in Russian society. Before us are the fates of three young women: Katerina, Varvara, Larisa. Three images, three destinies.

Katerina differs in character from all the characters in the drama “The Thunderstorm”. Honest, sincere and principled, she is not capable of deception and falsehood, resourcefulness and opportunism. Therefore, in a cruel world where wild and wild boars reign, her life turns out to be unbearable and impossible and ends so tragically. Katerina’s protest against Kabanikha is a struggle of the bright, pure, human against the darkness of lies and cruelty of the “dark kingdom.” No wonder Ostrovsky, who paid great attention to names and surnames, gave the heroine of “The Thunderstorm” the name Ekaterina, which translated from Greek means “eternally pure.” Katerina is a poetic person. Unlike the rude people around her, she feels the beauty of nature and loves it. “I used to get up early in the morning; in the summer, I’d go to the spring, wash myself, bring some water with me and that’s it, water all the flowers in the house. I had many, many flowers,” she says about her childhood. Dreams were filled with miracles , fairy-tale visions. She often dreamed that she flies like a bird. She speaks about the desire to fly several times. With this, Ostrovsky emphasizes the romantic sublimity of Katerina’s soul. Married early, she tries to get along with her mother-in-law, to love her husband, but in the Kabanov house, sincere feelings for no one are not needed. The tenderness that fills her soul finds no application. Deep melancholy sounds in her words about children: “If only there were someone’s children!” Eco woe! I don’t have any children: I would still sit with them and amuse them. I really like talking to children - they are angels.” What a loving wife and mother she would have been under different conditions!

Bondage is Katerina's main enemy. The external conditions of her life in Kalinov seem to be no different from the environment of her childhood. The same motives, the same rituals, that is, the same activities, but “everything here seems to be from under captivity,” says Katerina. Captivity is incompatible with the freedom-loving soul of the heroine. “And captivity is bitter, oh, so bitter,” says she is in the scene with the key, and these words, these thoughts push her to the decision to see Boris. Katerina’s behavior has formed a character that will endure, but will not betray herself.

Varvara is the complete opposite of Katerina. She is not superstitious, is not afraid of thunderstorms, and does not consider strict adherence to established customs obligatory. Due to her position, she cannot openly oppose her mother and therefore is cunning and deceives her. She hopes that marriage will give her the opportunity to leave this house, to break out of the “dark kingdom.” To Katerina’s words that she doesn’t know how to hide anything, Varvara replies: “Well, you can’t live without it! Remember where you live! Our whole house rests on this. And I was not a liar, but I learned when it became necessary.” Varvara despises her brother’s spinelessness and is indignant at her mother’s heartlessness, but she cannot understand Katerina. She is only interested and concerned about the external side of life. She resigned herself and adapted to the laws of the old world around her.

Larisa, unlike Katerina, grew up and was raised in conditions where the weak are humiliated, where the strongest survive. Her character does not have the integrity that Katerina has. Therefore, Larisa does not strive, and cannot, realize her dreams and desires. Her name translated from Greek means “Seagull”. This bird is associated with something white, light, piercingly screaming. And this image fully corresponds to Larisa.

Katerina and Larisa have different upbringings, different characters, different ages, but they are united by the desire to love and be loved, to find understanding, in a word, to become happy. And each one moves towards this goal, overcoming obstacles created by the foundations of society.

Katerina cannot connect with a loved one and finds a way out in death. At Larisa's the situation is more complicated. She became disillusioned with her loved one and stopped believing in the existence of love and happiness. Realizing that she is surrounded by lies and deception, Larisa sees two ways out of this situation: either the search for material values, or death. And given the circumstances, she chooses the first. But the author does not want to see her as an ordinary dependent woman, and she leaves this life.

2. “I love my fatherland, but with a strange love!” What is the “strangeness” of love for the Motherland M.Yu. Lermontov (using the example of 2-3 poems). Reading by heart one of the poet’s poems (of the student’s choice).

Why does the poet call his love for his homeland strange? Lermontov's hope for a happy future for Russia was connected with people's Russia. The poet saw in the Russian people potential forces for the revival of Russia. And of course, such love seemed unusual, “strange” in those years when official patriotism was proclaimed with its demand for love for the autocracy, when most of the nobility was far from the people. The poet's love for Russia has nothing in common either with official monarchism or with the glory of the empire, purchased with the blood of the people. She is sincere, sincere, folk.

The lines of the poems cannot leave you indifferent: “Farewell, unwashed Russia”, “Motherland”(1841). “Farewell, unwashed Russia...” is the poet’s most dramatic political poem. The idea is to reject all aspects of reality:

Goodbye, unwashed Russia,

Country of slaves, country of masters,

And you, blue uniforms,

And you, their devoted people.

But the “country of slaves and masters” is not all of Russia. The Motherland is also ordinary Russian people.

In his poems, she appears in her heroic past, and in the greatness of her vast expanses, and in the poet’s bitter thoughts about lawlessness and spiritual slavery.

Poem "Motherland" was born under the impression of traveling through Russia after the crop failure of 1839, when even roofing straw was eaten in Russian villages.

I love my fatherland, but with a strange love!
My reason will not defeat her.
Nor glory bought with blood,
Nor the peace full of proud trust,
Nor the dark old treasured legends
No joyful dreams stir within me,
But I love - for what, I don’t know myself -
Its steppes are coldly silent,
Her boundless forests sway,
The floods of its rivers are like seas;
On a country road I like to ride in a cart
And, with a slow gaze piercing the shadow of the night,
Meet on the sides, sighing for an overnight stay,
Trembling lights of sad villages.
I love the smoke of burnt stubble,
A convoy spending the night in the steppe
And on a hill in the middle of a yellow field
A couple of white birches.
With joy unknown to many,
I see a complete threshing floor
A hut covered with straw
Window with carved shutters;
And on a holiday, on a dewy evening,
Ready to watch until midnight
To dance with stomping and whistling
Under the talk of drunken men.
(By heart)

Russia in Lermontov’s poem is huge, immense. The image of the steppe immediately evokes the idea of ​​something free and wide. The second image is a forest... It is difficult to imagine Mother Russia without forests, green oak forests, white-trunked birches. Like the steppe, the forest reminds us of the richness of the Russian land and its vast expanses. The third remarkable image is the image of a river. There are many of them in Russia. These are, first of all, the great and mighty Volga and Don. The author resorted to a comparison - the floods of its rivers are like seas.

He admits that he rejoices when he sees “a full threshing floor, a hut covered with straw, a window with carved shutters.” And during a village holiday, when peasants tired of work are resting, the lyrical hero loves to watch “the dance with stomping and whistling to the chatter of drunken peasants.”

It is noteworthy that all these are attributes not of landowner, wealthy, well-fed Russia, but of peasant, people's Rus'.

“With a joy unfamiliar to many,” says the poet. What does he mean? Not every landowner tends to rejoice when looking at traces of the prosperity of peasant life: “a full threshing floor,” “an elegant, carved window.”

The poet calls his love for his homeland a strange love. It is clear from everything that the poet denies “glory bought with blood.” The fact is that after the victory of the Russian people over Napoleon, the glory of Russia thundered throughout the world, but all the laurels went to the tsar, the government, generals, and commanders. This glory was bought with the blood of soldiers, ordinary participants in the war, but they were forgotten.

Ticket number 5

1.What is the tragedy of Rodion Raskolnikov in F. M. Dostoevsky’s novel “Crime and Punishment”?

A person will always be interested in another person. His life, his story.

We read literature, first of all, in order to better understand ourselves, our lives, with the help of even fictional characters.

It will be all the better if we take a less clear-cut character. Let us turn to the image of Rodion Raskolnikov from the novel by F.M. Dostoevsky "Crime and Punishment". Grigory Pechorin (M.Yu. Lermontov “Hero of Our Time”), and Evgeny Onegin (A.S. Pushkin “Eugene Onegin”), and Luka (M.A. Gorky “At the Lower Depths”), and Woland ( M.A. Bulgakov "The Master and Margarita").

Not all the people we meet in our lives are interesting to us, and we do not accept everyone. In the same way, we do not accept some heroes of literary works; we understand the reasons for their actions, but often there is something that repels us.

Rodion Romanovich Raskolnikov, a young man, a tradesman by birth, abandoned his studies at the university, being unable to pay for it. It is on the appalling poverty in which all the characters in the novel live that the author focuses his attention from the first pages. Raskolnikov lives in a closet, which “looked more like a closet than an apartment” and for which he was also unable to pay. His situation was so difficult that Rodion could not eat normally, since the student was boarding with the owner of the house.

Raskolnikov puts forward an interesting theory according to which society is divided into two categories of people: human rulers, who, in order to achieve their goal, are allowed to commit a crime at the beginning of their career, and the rest of humanity, weak and submissive. And so Raskolnikov decides to cross the line that separates these “great” people from the crowd. This very feature becomes the murder of a decrepit, petty old woman - a moneylender, who, in Raskolnikov’s opinion, has nothing to do in this world.

“Everything is in the hands of a person, and yet he misses everything out of sheer cowardice,” thinks Raskolnikov. One day in a tavern, in one of the conversations, he hears a theory similar to his, that this old woman can be easily killed and everyone will only say thank you for it. But in response to the question: “Will you kill the old woman yourself or not?” the other speaker replies, “Of course not.” Is this cowardice? For Raskolnikov, apparently yes, but in reality... It seems to me that these are elementary human, ethical and moral norms. “Thou shalt not kill,” says one of the commandments. This is what Raskolnikov steps over, and it is for this crime that his punishment will follow.

What can we accept in a person who has committed the heaviest of all human sins - the murder of another person? Rodion Raskolnikov in the novel by F.M. Dostoevsky's "Crime and Punishment" kills the old money-lender in order to test his theory, the essence of which is that all people are divided into two categories: trembling creatures, and those who have the right.

Raskolnikov’s tragedy is that, according to his theory, he wants to act according to the principle “everything is permitted,” but, at the same time, the fire of sacrificial love for people lives in him. The result is a monstrous and tragic contradiction for the hero: the theory professed by Raskolnikov, exhausted by the suffering of others and his own, hating the “masters of life,” brings him closer to the scoundrel Luzhin and the villain Svidrigailov. After all, these contradictory and complex personalities believe that a person with strength and anger “everything is permitted.”

“We are birds of a feather,” says Svidrigailov to Raskolnikov. Rodion understands that this is so, because they both, although for different reasons, “stepped over the blood.”

Raskolnikov's tragedy intensifies because the theory that was supposed to lead him out of the dead end led him into the most hopeless of all possible dead ends. The consciousness of this causes the suffering and torment of the hero, who after the murder felt his complete isolation from the world and people. He cannot be near his beloved mother and sister, he does not enjoy nature... He, as if with scissors, cut himself off from everyone.

The pangs of conscience, the chilling fear that haunts Raskolnikov at every step, the thought that he is not Napoleon, but a “trembling creature”, a “louse”, the consciousness of the meaninglessness of the crime committed - all this weighs unbearably on Raskolnikov’s soul. Rodion understands the inconsistency of his “strong man” theory; it did not stand the test of life. The hero fails, like any person who associates himself with a false idea. And this is also the tragedy of Raskolnikov.

It is the internal struggle that turns out to be a tragedy for him. A way out of a mental and ideological crisis is possible only with a full understanding of one’s own mistake and a revision of all one’s positions in life.

Dostoevsky the psychologist revealed with such force the tragedy of Raskolnikov, all sides of his spiritual drama, the immensity of his suffering, that the reader is convinced: these pangs of conscience are stronger than the punishment of hard labor.

It was not because of his good life that Raskolnikov took such a step; he actually saved many, like himself, from the need to repay debts.

We can condemn as much as we like the way of life that the old pawnbroker led, but each of us must learn to decide how to live so as not to be in conflict with our inner world.

One can understand Raskolnikov, but no normal society, no normal person should accept the right to kill.

2. Landscape lyrics by A.A. Feta. (using the example of 2-3 poems) Reading by heart one of the poet’s poems (student’s choice)

In his poems, Afanasy Afanasievich Fet wrote about the simplest things - about pictures of nature, about rain, about snow, about the sea, about mountains, about forests, about stars, about the simplest movements of the soul, even about minute impressions. His poetry is joyful and bright, it is characterized by a feeling of light and peace. The beauty, naturalness, and sincerity of his poetry reach complete perfection; his verse is amazingly expressive, imaginative, and musical. Many romances were written based on Fet's poems, which quickly gained wide popularity.

Fetov’s poetics is based on a special philosophy that expresses the visible and invisible connections between man and nature (the cycles “Spring”, “Summer”, “Autumn”, “Snow”, “Fortune-telling”, “Evenings and Nights”, “Sea”). Romantic the hero Fet strives to merge with the beyond.
In his landscape lyrics, nature appears before the reader in the brightest colors:

I came to you with greetings,
Tell me that the sun has risen
What is it with hot light
The sheets began to flutter;

The novelty of Fet's depiction of natural phenomena is associated with a bias towards impressionism, which Fet precisely appeared in. The hallmark of this style is “the desire to convey the subject in sketchy strokes that instantly capture every movement.” The poet vigilantly peers into the outside world and shows it as it appears to his perception, as it seems to him at the moment. He is interested not so much in the object as in the impression made by the object. Fet's nature is always calm, quiet, as if frozen. And at the same time, she is surprisingly rich in sounds and colors, lives her life, hidden from an attentive gaze (“I came to you with greetings...”, “At dawn, don’t wake her,” “Whisper, timid breathing...”)

In the poem “Whisper, timid breathing...” (1850). Fet perfectly conveys the “fragrant freshness of feelings” inspired by nature, its beauty and charm. His poems are imbued with a bright, joyful mood, the happiness of love. The poet unusually subtly reveals the various shades of human experiences. He knows how to catch and put into bright, living images even fleeting mental movements that are difficult to identify and convey in words:

Whisper, timid breathing.
The trill of a nightingale,
Silver and sway
Sleepy stream.

Night light, night shadows,
Endless shadows
A series of magical changes
Sweet face

There are purple roses in the smoky clouds,
The reflection of amber
And kisses and tears,
And dawn, dawn!.. (by heart)

Fet plays on every string of his soul in his poems. Changes in the “sweet face” and changes in nature - such parallelism is typical of Fetov’s poems. Fet, seeing the beauty of the world, tries to preserve it in poetry. The poet introduces this connection between nature and love because feelings and impressions can only be expressed by talking about the beautiful and eternal, and love and nature are the two most beautiful things on earth, and there is nothing more eternal than nature and love. In this poem, love and landscape lyrics merge into one. The heroes of the poem are he and she. They have neither names nor ages. The reader simply feels their presence in the poem. The favorite time of lovers is night: “...Night light, night shadows...”
The poem begins with the appearance of the heroes themselves: “...Whisper, timid breathing...”.

And it’s no coincidence that the word “whisper” comes from the word “whisper”, because at night you can’t shout, especially in
date. Hence the breathing - timid. This also suggests that the heroes are all
still young.
From the second line, another hero is “woven” into the fabric of the work -
nightingale. He not only contemplates the world and lovers, he also sings: “...Trill
nightingale..." - complementing the beautiful picture of love reigning "in the universe."
The third and fourth lines introduce us to the stream. But Fet doesn’t have it
just a geographical concept, it is also the background, and the next hero of this
poems. The poet personifies it.
The stream is sleeping (“…sleepy…”). And at the same time it moves (“…swaying…”). AND
the water in the stream looks like silver under the moonlight, so Fet uses
metaphor: “...Silver and the swaying of a sleepy stream...”.
The epithet “smoky” emphasizes the lightness of the clouds, weightlessness, purity. The author uses color symbolism: “... the purple of a rose, the reflection of amber...”. And before us is one beautiful moment, maybe that’s why at the end of the poem the word appears - “...tears...”, indicating that the moment of parting is coming.

Ticket number 6

1.What features of the Russian national character in the image of I. Flyagin are revealed during his travels? (based on the story “The Enchanted Wanderer” by N. Leskov).

In today's world, with its rampant violence, enmity, misunderstanding of each other, the works of Nikolai Semenovich Leskov are especially relevant, because his heroes bring the light of goodness, justice, and purity.

Real life and a real person were paramount for the writer. But Leskov was always fascinated by life that did not fit into patterns, by amazing human characters. He, who had seen a lot during his endless travels around Russia, in this sense had something to tell. He knew about Russian life and especially about the Russian people something that perhaps few writers knew about. Therefore, it is no coincidence that the concept of “Leskovsky man” exists as a sign of a special, separate, integral human personality.

“The Enchanted Wanderer” is a story by Leskov, created in the 2nd half of the 19th century. In the center of the work is an image of the life of a simple Russian peasant named Ivan Severyanovich Flyagin. Researchers agree that the image of Ivan Flyagin absorbed the main features of the Russian folk character.

Leskov's story presents a completely new type of hero, incomparable with any other in Russian literature. He has so organically merged with the elements of life that he is not afraid to get entangled in it.

In the story by N.S. Leskov’s “The Enchanted Wanderer” (1873) tells the story of the main character -

Ivan Severyanovich Flyagin, whose life is a chain of incredible adventures. Subject Leskov's stories are a depiction of a simple Russian person, in whose image the author saw the characteristic features of the Russian nation. Idea story - to present a positive hero - a “righteous man”,

as the writer himself calls it.

In the image of Flyagin, the author showed the formation of a person with a new national identity. The main character lives, as it were, in two eras. In his youth, he was a serf of Count K., and he was brought up with traits important for serfs: hard work, devotion to masters.
After the Manifesto of February 17, 1861, Ivan Severyanovich becomes a free man and must look for new life guidelines. As a result of his “walk through torment,” he comes to the idea: the main thing is not devotion to the owner, but service to the people.

Ivan Severyanovich is not an ideal hero. At the beginning of his life's journey, he does not distinguish between good and evil (does not feel guilty for death