What works of Russian literature depict friends? EGE Russian language. C1

8. How do Dikiy’s arguments confirm Kuligin’s words about the “cruel morals” of the city of Kalinov?

Dikiy’s reasoning confirms Kuligin’s words about the “cruel morals” of the city of Kalinov; Savel Prokofich is one of the brightest representatives of these morals.

So, in his dialogues with Kabanikha, his features are revealed to us.

One of them is his greed, his love of money: “If you mention money to me, it will ignite my entire inner being; it kindles everything inside.” Also, Dikoy appears as a greedy, greedy person. He is a rich man and does not deny himself anything, yet he does not want to help those in need. Diky is a very rude person and loves to scold people: “... if you come and ask me, I’ll scold you. I’ll give it, I’ll give it, and I’ll curse you.”

Thus, Dikiy’s reasoning reveals such qualities as greed, rudeness, and greed. This confirms Kuligin’s words.

9. What works of Russian literature show the relationship between those in power and those under authority, and in what ways can these works be compared with A. N. Ostrovsky’s play “The Thunderstorm”?

Many Russian works show the relationship between those in power and those in authority. A. N. Ostrovsky’s play “The Thunderstorm” can be compared with such works as “The Minor” by D. I. Fonvizin

Thus, in the work “The Minor,” Mrs. Prostakova is very similar to Kabanikha. They both control the entire house. Mrs. Prostokova keeps the whole house under control. She beats not only her peasants, but also her husband (“Mitrofan: As soon as I start to fall asleep, I see that you, mother, deign to beat the priest...”). She treats everyone poorly except her beloved son Mitrofanushka. The heroine of “The Thunderstorm”, also Kabanikha, also exhibits such qualities as tyranny and despotism. Her son is in fear of her, as is his wife.

Also, in A.P. Chekhov’s work “The Death of an Official” the relationship between those in power and those in charge is shown, but only in a different way. In this story, the behavior of the main character, who is a subordinate, is very stupid and implausible. Having accidentally sneezed on a person above his authority, Chervyakov tries to apologize. And he bores the general with his apologies. Ostrovsky paints his subordinates in a completely different way.

Thus, many writers raised the topic of relationships between power and subordinates, but each did it in different ways.

Updated: 2018-10-10

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Useful material on the topic

How do Dikiy’s arguments confirm Kuligin’s words about the “cruel morals” of the city of Kalinov?

Arkady hesitates to propose a toast to his friend out loud?

Arkady does not dare to propose a toast to his friend out loud, because each of the members of the Kirsanov family has unpleasant memories of Bazarov. For Pavel Petrovich it is a duel and injury, for Nikolai Petrovich it is Bazarov’s cheeky behavior in the house and a strong influence on the views of his son, for Fenechka it is a kiss in the gazebo.
Arkady himself is also ashamed to remember how he imitated his friend and wanted to seem like a nihilist. “You are a gentle soul, vulnerable,” Eugene once said, realizing that Arkady could not be his associate. This is confirmed by the fact that by the end of the novel, Arkady abandons the nihilistic theory of his friend and joins the camp of liberal nobles. Bazarov brought discord into the Kirsanov family, so even the mention of this hero at the table would have destroyed the family idyll that had developed in the house.
Thus, the author, depicting the scene of the Kirsanov family feast, excludes the existence of Bazarov and his nihilistic theory.

8.
What features of Tikhon are revealed in the dialogue with Kuligin?

From this dialogue one can judge such traits of Tikhon as lack of independence, irresponsibility, and weakness of will.
The hero appears as a weak-willed man, acting at the instigation of his mother (“And Mama”, “Go and talk to Mama”). All his actions are directed by Kabanova, and he is so unaccustomed to living according to his own understanding that he is even ready to beat his wife against his will.
Having gone to Moscow, Tikhon acts irresponsibly: instead of taking care of Katerina, protecting her from the tyranny of his mother, he left, leaving her, and “drank all the way,” “he didn’t even remember about the house.” This can be done by a person who has no sense of responsibility to loved ones.
At the same time, Tikhon is a gentle, kind person in his own way, capable of compassion. He feels sorry for Katerina, does not want to torment her (“I feel sorry for laying a finger on her”), and also feels sympathy for her seducer Boris (“I can see that he wants to say goodbye”).
So, the hero’s remarks characterize him as an immature person, unable to live with his own mind, but able to sympathize.

8. (based on a fragment from A.P. Chekhov’s story “Ionych”)
How can the above passage serve as an illustration of A.P.’s statement? Chekhov that “philistinism is a terrible evil”?
The above fragment can serve as an excellent illustration of the words of A.P. Chekhov that “philistinism is a terrible evil.”
It shows the vulgarity of one of the best families in the city of S. - the Turkins. It is scary because it draws in thinking people who are ready to work. The atmosphere of idleness and banality is emphasized by such details as Kotik’s playing the piano (at the same time it seemed to Startsev that stones were falling from a high mountain), Vera Iosifovna’s reading of novels that talked about what never happens in life. The father of the family, Ivan Petrovich, jokes, using the words he made up: “Bolshinsky”, “not bad”. Even the footman Pava, imitating the tragic actor, gets into a pose and says: “Die, unfortunate one!”
This world of vulgarity and banality has a detrimental effect on Doctor Dmitry Startsev, turning him simply into Ionych, who gradually forgets about his duty as a doctor and whose main goal becomes profit.

Composition of the answer to task 9 (comparative)
1. Brief answer to the 1st part of the question:
give two works and name two authors.
2. Matching position No. 1:
– justification
– comparison.
3. Comparison position No. 2:
– justification
– comparison.

Comparison:
What is similar and what is different:
– thematically
– plot-wise
– compositionally
– from the point of view of the meaning of images
– from the point of view of the use of visual and expressive means
- from the point of view of the author's attitude.

Rationale
Analysis of the involved text from the point of view of:
– themes, storylines
– author’s position
– features of images, functions of these images
– the visual and expressive means used by the author
– compositions
- appeal to any genre.

For example:
1. The problem raised by N was addressed by such poets as... in the work... and... in the work....
2. ... (the first) uses... techniques, showing... (who? what?). This poet, like N, depicts... (what? how? - point quote). However, unlike N, which... (what?), the first... (does what?).
3. In the spotlight... (second) -... (what? and who?). His hero, just like the hero N (what does he do? is he shown as what? - point quote). However, in contrast to the author’s attitude N, which...(what?), the emotions of the second... (what? In what words are they expressed? - point quote).

9.
In what other works of literature do we find scenes in which a family gathers at the table, and how do they resonate with the above passage (or with the work of I.S. Turgenev as a whole)?
Let us remember the novel by A.S. Pushkin's "The Captain's Daughter" and the epic novel "War and Peace" by L.N. Tolstoy. It is in these works that such a family idyll is depicted, as in the Kirsanovs in the epilogue of the novel “Fathers and Sons.”
During the family dinner scene in The Captain's Daughter, Pyotr Grinev, who has just arrived at the Belogorsk fortress, gets to know the Mironov family better and sees Masha for the first time. The feast is very similar to what is described in Fathers and Sons. The dinner takes place sincerely: all the heroes are happy with each other: “Vasilisa Egorovna received us easily and cordially and treated me as if she had known each other for a century.” For Turgenev: “everyone was a little awkward, a little sad and, in essence, very good.” Similar awkwardness can be seen in a scene from the novel by A.S. Pushkin, this reflects Masha’s description: at the mention of the dowry, “she blushed all over, and even tears dropped onto her plate.” However, this does not overshadow the overall friendly and peaceful, warm atmosphere.
L.N. Tolstoy describes Natasha's name day as a large family feast. All the heroes are happy to get together, and a real idyll reigns in the Rostovs. The arrival of the respected Countess Marya Dmitrievna does not make the atmosphere tense and official, because even a strict guest is overwhelmed by the emotional and spiritual element of this house. The episode is similar to the feast from the novel “Fathers and Sons”, because in it we see an image of absolute harmony and love in the family.
Thus, I.S. Turgenev, A.S. Pushkin and L.N. Tolstoy showed scenes in his works where the family gathers together at the table in order to depict the relationships of the characters and show family as one of the main values of life.
9.
In what works of Russian classics do the heroes turn to memories of the past and in what ways can these heroes be compared with the characters in the play “At the Lower Depths”?
In many works of Russian writers and poets, heroes turned to memories of the past.
For example, in the play by A.P. Chekhov's "The Cherry Orchard" Ranevskaya often recalls her childhood, the time spent in her parents' house with a cherry orchard. Tears of tenderness and joy well up in her eyes when she comes to her nursery. For her, like for the Actor from Gorky’s play, the past is associated with pleasant and dear memories, something that can no longer be repeated in the present (for Ranevskaya - a carefree, happy childhood and youth, for the Actor - playing on stage, applause from the audience ). Only if Lyubov Andreevna lives in these “sweet” dreams, then the heroes of “At the Lower Depths” are vividly aware of the contrast between the past and reality (The actor forgot his “favorite” poem, wants to get rid of his vice and return to the stage, but, not finding the strength to fight with drunkenness, devoid of hope and faith, commits suicide).
The heroes of Mikhail Bulgakov’s novel “The Master and Margarita” also turn to their past and tell their stories (for example, the Master to the poet Bezdomny in the Stravinsky clinic). From this monologue we learn that the Master, like the heroes of Gorky’s play, also found himself thrown out of the usual flow of life; due to the persecution of critics (such as Latunsky, hated by Margarita), he burns his brilliant manuscript, loses his beloved and ends up in a psychiatric hospital. His situation seems “hopeless”, just like that of the heroes of the drama.
In M. Bulgakov, as in M. Gorky, the heroes’ appeal to the past allows us to understand the logic of their fate.
9.
In which works of Russian literature is the conflict between a private person and the state reflected, and in what ways can these works be compared with the story of A.I. Solzhenitsyn's "Matryonin's Dvor"?
The conflict between a private person and the state is often found in works of Russian literature.
The hero of the story N.V. Gogol's "The Overcoat" of Akaki Akakievich Bashmachkin and Matryona are brought together by their defenselessness against the arbitrariness of officials. Both of them cannot do anything about their position, even if Akaki Akakievich complained to the official, and Matryona told Ignatyich, the person who was simply next to her at that moment, about her “grievances.”
The Master, the hero of M. Bulgakov’s novel “The Master and Margarita,” cannot be called defenseless, but even he, like Matryona, is powerless against the arbitrariness of officials. In this case, literary officials, MASSOLIT figures, who turned creativity into a means of profit.
This world is alien to the master, but he cannot do anything: the person is too weak and insignificant compared to the whole state.

What works of Russian literature show the relationship between those in power and those under authority, and in what ways can these works be compared with A. N. Ostrovsky’s play “The Thunderstorm”?

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

Kabanova. Go, Feklusha, tell me to prepare something to eat.

Feklusha leaves.

Let's go to our chambers!

Wild. No, I won’t go to my chambers, I’m worse in my chambers.

Kabanova. What made you angry?

Wild. Since this morning, from Kabanov himself. They must have asked for money.

Wild. As if they had agreed, the damned ones; first one or the other pesters all day long.

Kabanova. It must be necessary, if they pester you.

Wild. I understand this; What are you going to tell me to do with myself when my heart is like this! After all, I already know that I have to give, but I can’t give everything good. You are my friend, and I must give it to you, but if you come and ask me, I will scold you. I will give, give, and curse. Because if you even mention money to me, my insides will start to ignite; It kindles everything inside, and that’s all; Well, in those days I would never curse a person for anything.

Kabanova. There are no elders over you, so you are showing off.

Wild. No, godfather, keep quiet! Listen! These are the stories that happened to me. I was fasting about fasting, about something great, and then it’s not easy and I slip a little man in; I came for money and carried firewood. And it brought him to sin at such a time! I did sin: I scolded him, I scolded him so much that I couldn’t ask for anything better, I almost killed him. This is what my heart is like! After asking for forgiveness, he bowed at his feet, really. Truly I tell you, I bowed at the man’s feet. This is what my heart brings me to: here in the yard, in the dirt, I bowed to him; I bowed to him in front of everyone.

Kabanova. Why are you deliberately bringing yourself into your heart? This, godfather, is not good.

Wild. How on purpose?

Kabanova. I saw it, I know. If you see that they want to ask you for something, you will take one of your own on purpose and attack someone in order to get angry; because you know that no one will come to you when you’re angry. That's it, godfather!

Wild. Well, what is it? Who doesn’t feel sorry for their own good!

Glasha enters.

Kabanova. Marfa Ignatievna, a snack has been set, please!

Kabanova. Well, godfather, come in! Eat what God sent you!

Wild. Perhaps.

Kabanova. Welcome! (He lets the Wild One go ahead and follows him.)

A.N. Ostrovsky "Thunderstorm"

Indicate the author’s definition of the genre of A. N. Ostrovsky’s play “The Thunderstorm”.

Explanation.

Ostrovsky considered The Thunderstorm a drama. The drama depicts the intense struggle of the heroes and an acute, predominantly social conflict.

Answer: drama.

Carolina Adjuntseva (Moscow) 08.11.2015 18:01

Drama is not a genre of work, but a genus.

Tatiana Statsenko

A very common misconception. Of course, no one has canceled the dramatic genre, but drama also exists as a genre. The definition of drama as a genre is given in the explanation.

The surname of Dikiy carries a certain figurative and semantic load and is a means of characterizing the character. What are these surnames called?

Explanation.

Such surnames originate from classicism and are called speaking ones.

Answer: speakers.

Answer: speaking

In the above scene, the characters talk to each other, exchanging remarks. Indicate the term that denotes this form of communication between characters in a work of art.

Explanation.

Dialogue is a conversation between two or more people.

Answer: dialogue.

Answer: dialogue

Match the three characters in “The Thunderstorm” with their occupations. For each position in the first column, select the corresponding position from the second column. Write your answer in numbers in the table.

Write down the numbers in your answer, arranging them in the order corresponding to the letters:

A	B	IN

Explanation.

A-3. Dikoy - merchant;

B-2. Kudryash is a clerk;

IN 1. Kuligin is a self-taught watchmaker.

Answer: 321.

Answer: 321

The above scene features Glasha, a girl in Kabanova’s house. What term refers to a second-row character who occasionally appears on stage?

Explanation.

A second-row character who occasionally appears on stage, such as Glasha, is called a minor character.

Answer: minor.

Answer: minor|episodic

Sasha Maidanyuk 25.02.2017 18:32

I answered this task several times, and in one case the correct answer was “minor”, in the second “non-stage”. So which option is still correct?

Tatiana Statsenko

Off-stage characters are those who do not appear on stage, but are only mentioned. In this case, we are talking about a minor character, and not an off-stage one. Regarding the other task: give me the link and I’ll check it.

Alexandra Sevostyanova 26.04.2017 15:06

Wouldn't "episodic" be the correct answer in this case?

Tatiana Statsenko

Yes, you can do that.

What are the names of the author's explanations and comments during the action (“Lets the Wild One go ahead and goes after him”)?

Explanation.

Remarque (literally) - (from the French remarque - remark, note) - an extra-plot element of the work; a compositional and stylistic device consisting in the author’s deviation from the direct plot narrative, an explanation containing a brief or detailed description of the dramatic action, everyday details, and the appearance of the characters.

Answer: remarks.

Answer: remarks|remarks

Raya Reinikova 06.05.2016 00:00

How should you write the answer on the form? Isn't it just a "remark"? Or exactly in the form in which the question was asked. Please tell me.

Tatiana Statsenko

If you have questions about the format for recording the answer, be sure to see the instructions for the Unified State Exam tasks! There are no recommendations regarding the form of the word in the instructions, therefore, there cannot be errors associated with writing the answer in any specific case. I would advise you to write your answer in the nominative case.

How do Dikiy’s arguments confirm Kuligin’s words about the “cruel morals” of the city of Kalinov?

Explanation.

Dikoy is a typical tyrant. Everyone in the city is afraid of him, so he commits outrages not only in his own house (“behind high fences”), but also throughout Kalinov. Dikoy considers himself entitled to humiliate people and mock them in every possible way - after all, he has no authority. This is how this hero acts with his family (“he fights with women”), and this is how he behaves with his nephew Boris. And all the residents of the city meekly endure the bullying of the Wild One - after all, he is very rich and influential. In the above excerpt from the “thunderstorm,” Dikoy gives himself away with his remarks: “... my heart is like that! After all, I already know that I have to give, but I can’t give everything good. You are my friend, and I must give it to you, but if you come and ask me, I will scold you. I will give, give, and curse. Because if you even mention money to me, my insides will start to ignite; It kindles everything inside, and that’s all; Well, even in those days I would never curse a person.” Dikoy is not afraid to tell the truth about himself, because no one orders him, he doesn’t respect anyone’s opinion, and he doesn’t care about those around him.

Explanation.

In “The Thunderstorm,” A. N. Ostrovsky sharply criticizes the “immobility” and inertia of the “dark kingdom,” which in the play represents the provincial Volga city of Kalinov. Kalinov’s “Dark Kingdom”, the psychology of its inhabitants, are unnatural, ugly, terrible, because they destroy the beauty of true human feelings, the human soul.

The theme of relations between those in power and those under control, raised by Ostrovsky in the drama “The Thunderstorm,” was continued in the works of Chekhov. But Chekhov solves the conflict between tyrant and victim, so beloved in our classics, in a new way. In the story “The Death of an Official,” the behavior of the “victim” is implausible, Chervyakov is exaggeratedly stupid, cowardly and annoying - this does not happen in life. The main object of ridicule in Chekhov's story was a small official who acts meanly and grovels when no one forces him to do so. Chervyakov’s increased, painful attention to the little things of everyday life stems from his spiritual emptiness and self-inadequacy, his “smallness” and worthlessness. The story combines the funny, the bitter and even the tragic: behavior that is ridiculous to the point of absurdity; bitter awareness of the insignificant value of human life; the tragic understanding that the worms cannot help but grovel, they will always find their brizhals.

"Thunderstorm" A.N. Ostrovsky

Kabanova. Go, Feklusha, tell me to prepare something to eat.

Feklusha leaves.

Let's go to our chambers!

Wild. No, I won’t go to my chambers, I’m worse in my chambers.

Kabanova. What made you angry?

Wild. Ever since this morning.

Kabanova. They must have asked for money.

Wild. As if they had agreed, the damned ones; first one or the other pesters all day long.

Kabanova. It must be necessary, if they pester you.

Kabanova. There are no elders over you, so you are showing off.

Kabanova. Why are you deliberately bringing yourself into your heart? This, godfather, is not good.

Wild. How on purpose?

Wild. Well, what is it? Who doesn’t feel sorry for their own good!

Glasha enters.

Marfa Ignatievna, a snack has been set, please!

Kabanova. Well, godfather, come in! Eat what God sent you!

Wild. Perhaps.

Kabanova. Welcome!

(He lets the Wild One go ahead and follows him.)

Show full text

Let's try to compare drama by A.N. Ostrovsky's "The Thunderstorm" with D.I. Fonvizin's comedy "The Minor" and M. Gorky's play "At the Depths". All three works show the relationship between those in power and those subordinate to them. The heroes (Kabanova, Mrs. Prostakova, Kostylev) are close in their personal qualities - tyranny, despotism, ignorance, limitless desire to rule, to adjust the lives of others to their own rules. The attitude of the “subordinates” (Tikhon, Kuligin, Prostakov, night shelters) to the “authorities” is also similar - they are all forced to endure and obey.