It was a new passenger who, unnoticeably to any of us, sat down from Konevets. He was still silent, and no one paid any attention to him, but, the Russian language

Test on the creativity of N.S. Leskov. Grade 10

1 .In what city did N.S. Leskov study?

1) Orel 2) Moscow 3) Kyiv

2. Where did N.S. Leskov serve before he decided to devote his life to literary creativity?

1) in the Ministry of Finance 2) in the Kyiv Treasury Chamber 3) in the Ministry of Public Education

3. In what work did N.S. Leskov polemicize with A.N. Ostrovsky’s “The Thunderstorm”?

1) "Lady Macbeth" Mtsensk district" 2) "Nowhere" 3) "The Tale of the Tula Oblique Lefty and the Steel Flea"

4. In what part of N.S. Leskov’s story “The Enchanted Wanderer” is the narrative told on behalf of Ivan Flyagin?

1) introduction 2) main part 3) conclusion

5. What was the name of the cycle of works in which N.S. Leskov included the story “The Enchanted Wanderer”?

1) " Yuletide Stories" 2) "Notes of an unknown person" 3) "The Righteous"

6. What work by N.S. Leskov said: “At times I felt unbearably creepy, my hair stood on end, I froze at the slightest rustle... These were difficult moments that I will never forget.”

1) “Enchanted Wanderer” 2)“The Tale of Tula’s Oblique Lefty and the Steel Flea” 3) “Lady Macbeth of Mtsensk”

7. Suicide of Katerina Lvovna

Nothing has changed; 2) made Sergei repent; 3) evokes sympathy from others

8. B "Lady Macbeth of Mtsensk" some plot endings. Which interchanges belong to this work, indicate incorrect:

1) Exposure, trial, punishment; 2) exposure, awareness of guilt by the heroes; 3) The tragic outcome of Katerina Lvovna’s love

9. In the description of the state of the characters after the murder of Katerina Lvovna’s husband, insert names in place of questions

" Lips? trembled, and ..... had a fever. U? there were only lips cold"

Sergey; 2) Katerina Lvovna 3) Zinovy Izmailov

10. About whom we're talking about in every passage?

And by morning he died (who?) and just like the rats died in his barns.

“He (who?) rushed terribly, like an animal, bit his (whose?) throat with his teeth.

“(who?) rushed at (whom?) like a strong pike at soft flesh, and both never showed up again.”

Zinovy Borisovich; 2) Sonnetka; 3) Boris Timofeevich; 4) Katerina Lvovna

11. Who appeared to the main character of the story “The Enchanted Wanderer” in prophetic dreams and visions?

1) mother; 2) Ivan the Baptist; 3) Old monk

12. What traits did Leskov consider characteristic of a simple Russian person and embodied in the character of the main character Ivan Flyagina? Indicate what is redundant.

Test on creativity by N.S. Leskova Answer form:

Full name________________________________class__________________date____________________

1-Sergey;

2-Katerina Lvovna.

1-Boris Timofeevich

2-Zinovy Borisovich,

Sergey

3. Katerina Lvovna, Sonetka

1,4,6,9,

Nikolai Semenovich Leskov

The text is printed according to the edition:

Leskov N. S. Collection Op.: In 6 volumes. Moscow: Pravda, 1973.

Preface

Nikolai Semenovich Leskov was born on February 4, 1831 in the Oryol province. “Our family, in fact, comes from the clergy... My grandfather, priest Dimitry Leskov, and his father, grandfather and great-grandfather were all priests in the village of Leski. From this village of Leski came our family surname – the Leskovs.”

However, the writer’s father, Semyon Dmitrievich, having graduated from the seminary, decided not to continue family tradition, for which his grandfather kicked him out of the house (traits of his grandfather will appear in the main character of the novel “Soboryan”, Archpriest Savelia Tuberozov). Having chosen a career as a judicial officer, Semyon Dmitrievich remained an honest, disinterested man all his life, in the service he was distinguished by “firmness of convictions, because of which he made a lot of enemies for himself,” and rose to the rank of collegiate assessor, which gave the right to hereditary nobility.

Leskov noted in his autobiography: “I have had religiosity since childhood, and quite a happy one at that, that is, one that early in me began to reconcile faith with reason. I think that I owe a lot to my father here too. Mother was also religious, but in a purely church way - she read akathists at home and every first day she served prayer services and observed what consequences this had in the circumstances of life. Her father did not stop her from believing as she wanted, but he himself rarely went to church and did not perform any rituals except confession and holy communion... He was undoubtedly a believer and a Christian, but if he were to be examined according to Philaret’s catechism, it would hardly be possible recognize him as Orthodox."

He recalled his first meeting with great literature as follows: “In the village I lived in complete freedom, which I used as I wanted. My peers were peasant children, with whom I lived and got along soul to soul. I knew the life of the common people down to the smallest detail and understood to the smallest nuances how they treated it from the big manor house, from our “small chicken house,” from the inn and from the priesthood. Therefore, when I had the opportunity to read I. S. Turgenev’s “Notes of a Hunter” for the first time, I trembled all over from the truth of the ideas and immediately understood what is called art.”

Nikolai Semenovich first followed in his father’s footsteps - at the age of 16 he went to work at the Oryol judicial chamber. Two years later he was transferred to Kyiv, where he attended lectures at the university as a volunteer, studied Polish language, participated in a religious and philosophical student group and even became interested in icon painting. After leaving the service, Leskov began working in the company of his aunt’s husband, A. Ya. Shkott (Scott), Shkott and Wilkens. On official business he had to travel a lot around Russian Empire. Later he would write: “I think that I know the Russian man to his very depths, and I do not take any credit for this. I didn’t study the people from conversations with St. Petersburg cab drivers, but I grew up among the people...”

After the company closed, Leskov moved to St. Petersburg. That's where it started writing career. In 1863, his first stories “The Life of a Woman” and “Musk Ox” were published. They were soon followed by “Lady Macbeth of Mtsensk” and “Warrior”. Already in these early works The writer's unique fairy-tale style emerged. Leskov’s “tale” received the most expressive embodiment in the story “The Sealed Angel,” where echoes of ancient Russian “walkings” and legends about miraculous icons are heard.

By the time of the creation of the novel “Soborians” (1872), according to Maxim Gorky, “ literary creativity Leskova. becomes bright painting or, rather, iconography.” Creating a gallery of bright ones positive characters was continued by the writer in a collection of stories published under common name"The Righteous" ("Figure", "Man on the Clock", " Non-lethal Golovan”, etc.) As critics later noted, Leskov’s righteous people are united by “straightforwardness, fearlessness, heightened conscientiousness, and inability to come to terms with evil.”

According to the memoirs of the writer’s son, Andrei Nikolaevich Leskov, Nikolai Semenovich believed that by creating cycles about “Russian antiquities,” he was fulfilling Gogol’s will from “Selected Passages from Correspondence with Friends”: “Glorify the unnoticed worker in a solemn hymn.” In the preface to the first of these stories, “Odnodum,” the writer explained their appearance as follows: “It’s terrible and unbearable... to see one “rubbish” in the Russian soul, which has become the main subject new literature, And. I went to look for the righteous."

In this “search for the righteous,” Nikolai Semenovich repeatedly turned to stories from the “Prologue.” “Prologue” is the name of a collection of Christian parables that came to us from Byzantium and supplemented with new stories during Ancient Rus'. The writer recounted many stories from the Prologue literary language XIX century, and in addition, he himself created many stories that can rightfully be called “Modern Prologue”. Each of these works reveals to the reader how the Lord, through His Providence, sometimes through difficult trials, leads people to salvation and understanding of the gospel truth.

IN last years life Nikolai Semenovich became a close friend of Lev Nikolaevich Tolstoy, which was reflected both in his work and in his attitude towards Orthodox Church. However, unlike Tolstoy, Leskov remained an Orthodox Christian until the end of his life.

Nikolai Semenovich Leskov died on March 5, 1895 from an attack of asthma that tormented him for the last five years of his life. He was buried at the Volkov cemetery in St. Petersburg.

Evgeniy Yuferev

Sealed Angel

It was about Christmas time, on the eve of Vasiliev's evening.

In the previous lesson, students were given the following task:

Find in the text of “The Enchanted Wanderer” the dialogues and monologues of the main character, the words of the narrator.

Think about the peculiarities of the speech of Ivan Flyagin and the narrator.

Target:

Give students an idea of the fairy tale form of storytelling.
Identify the main functions of the tale in The Enchanted Wanderer.
Skill Development independent work students.

During the classes

I. The teacher's word. Leskov called his story “The Enchanted Wanderer” a short story. Maybe he’s right, “The Enchanted Wanderer” is a story about life, and if by and large, a tale about life. Of all the varieties of prose - from short stories to epics - the tale is closest to lyricism, to poetry. A tale is a genre of epic based on folk legends and traditions. The story is told on behalf of the narrator, a person with a special character and style of speech.

The fairy tale form is a double portrait: the narrator and the author, a skillful narration, where the confessional and playful principles help each other, one might say, help each other out.

Literary scholars believe that fantastic form Perhaps the most difficult form of speaking, the language of the people must be known thoroughly, from the inside, organically. Leskov argued: “People just need to know their own life, without studying it, and live by it.” So, surviving with it, Leskov knew Russian speech. Didn't know her apart from folk life, but in a blood connection with her, as a powerful expression of her. Nikolai Semenovich Leskov walked the earth as an enchanted wanderer, although in his lifetime he had seen so many disastrous, bitter, terrible, even terrible things.

II. Working with text based on homework material (checking homework):

(during the survey and reading excerpts from the story “The Enchanted Wanderer,” students come to the conclusion that the narrator and the hero “have their own voices.” By giving Ivan Flyagin the floor, the author imitates conversational oral speech character. This phenomenon is called stylization. E this type of work allows the teacher to logically move on to the presentation theoretical material, forming in students an idea of what the tale form of storytelling is.)

Teacher's word (students write in literature notebooks).

The concept skaz is used in two senses:

genre of the work;
form of storytelling...

Tale as a genre- is “a form of fiction constructed primarily as a monologue narrative using the characteristic features of colloquial-narrative speech.”

In this case The function of the tale is genre-forming.

The tale form of storytelling is one of several stylistic layers in a work whose genre is broader than a tale (for example, a novel, a story).

In a work with a skaz form of narration, as a rule, a “two-voice narration appears, which correlates the author and the narrator, stylized as an orally pronounced, theatrically improvised monologue of a person, suggesting a sympathetic audience.”

Common signs literary tale(genre) and narrative tale form are the focus on the reproduction of oral speech (stylizations), the use of colloquial speech techniques, and monologue narration.

The reader perceives the tale form of narration as an orientation towards someone else’s speech, whereas in a literary tale the reader does not have such a feeling. The illusion is created that the narrator is the author of the work. In a text with a tale form of narration, the author is not identified with the narrator, “the narrator appears as an object of the author’s research.”

In a work with a skaz form of narration, a “fairy tale situation” is created, there is an indication of the presence of a listener who asks questions, makes comments, inserts remarks, that is, the image of a listener is created in the work. This distinguishes such a work with a skaz form from a literary skaz, where the listener, as a rule, is an abstract, hypothetical figure.

III. Plan for analyzing the tale form of narration in the story “The Enchanted Wanderer”:

Genre "The Enchanted Wanderer"
Compositional and plot structure.
The narrator's speech.
The narrator's speech.
Functions of the tale.

"The Enchanted Wanderer" is a story with a fantastic form of narration. There are several stylistic layers in this work, but the tale form of the narrative is predominant. The introduction and conclusion are written on behalf of the narrator. His speech differs from the narrator’s speech, as literary form differs from literary unformed. For example:

However, don’t rely on my words on this, because I’m rarely at the service.

Why is this?

My work doesn't allow me to do this.

Are you a hieromonk or a hierodeacon?

No, I’m still just in the ryassophore.

After all, this already means that you are a monk?

N...Yes, sir; In general, this is how it is revered.

The tale in The Enchanted Wanderer does not act as a genre-forming factor. It is present as a form of narration necessary for the author to create the image of the hero-storyteller.

What do you think is the composition of the work? How does the tale form of storytelling influence the composition of the work?

The tale form of the narrative determines the composition and plot of the work. The story is structured simply: the introduction is an exposition in which the reader gets acquainted with the scene of action (“we sailed along Lake Ladoga”), with the characters; the main part is Flyagin’s story about life; The story ends with a brief conclusion on behalf of the narrator. But this simplicity is dictated by the requirements of the fantastic form of storytelling. In the introduction, listeners and readers are introduced to one of the fellow travelers, who will become the narrator. The exposition motivates the hero's story about his own life. The purpose of the introduction and conclusion is to recreate the real situation in which the hero’s monologue unfolded. Thanks to the introduction and conclusion, inserted dialogues, a connection arises between the narrator and the listener, without which the tale is unthinkable.

The plot of the story is constructed as a process of storytelling, in which there are relationships between storytellers and listeners. The hero's story itself has its own plot, which is a series of quickly successive stories from the life of the narrator.

The composition and plot are organized in such a way as to attract the reader's attention to the image of the hero-storyteller.

How does Leskov attract attention to his hero? Find a portrait of the hero.. What is his unusualness, strangeness?

("It was new passenger, who, unnoticed by any of us, sat down from Kontsevets. He had been silent until now, and no one had paid any attention to him, but now everyone looked back at him, and, probably, everyone wondered how he could still remain unnoticed. He was a man of enormous stature, with a dark complexion open face and thick wavy hair lead-colored: his gray cast was so strange. He was dressed in a novice cassock with a wide monastic belt and a high black cloth cap. Was he a novice or a tonsured monk - it was impossible to guess, because the monks of the Ladoga Islands, not only when traveling, but also on the islands themselves, do not always wear kamilavkas, and in rural simplicity limit themselves to caps. This new companion of ours, who later turned out to be extremely interesting person, in appearance it could be given with small years old over fifty; but he was in in every sense the words hero, and a typical one at that. Simple-minded. A kind Russian hero, reminiscent of grandfather Ilya Muromets in the beautiful painting by Vereshchagin and in the poem by Count A.K. Tolstoy. It seemed that he would not walk around in a cassock, but would sit on his “forelock” and ride in bast shoes through the forest and lazily smell how “the dark forest smells of resin and strawberries.”

But, with all this kind innocence, it did not take much observation to see in him a man who had seen a lot and was, as they say, “experienced.” He behaved boldly, self-confidently, although without unpleasant swagger, and spoke in a pleasant bass voice with a demeanor")

Conclusion: The focus on the unusual, original appearance of the hero-narrator is supported by the special “typology” of the hero. Ivan Severyanych Flyagin visibly embodies the image of the Russian hero as he developed in art, the direct author’s word indicates the connection of the image with folklore (epics about Ilya Muromets), painting (Vereshchagin’s painting) and literary stylization of epics (poem by A.K. Tolstoy), and at the same time, another dimension was introduced, which is obligatory for the tale - factuality (both the narrator and the storyteller reproduce what actually happened). This arrangement predetermines the multi-layered nature of the literary text, the special “synthetic” nature of the forms in which it is realized - at the author’s level - deep meaning the narrative as a whole.

The image of the hero is created not only with the help of a description of the appearance, but also with the help of the speech characteristics of the hero. What is the hero’s speech, what does the author of the story focus on? Is speech the main means of creating an image in a tale?

The main means of creating the image of the narrator is his speech. It reflects the hero’s worldview and worldview, his character, social status, cultural development, etc. Skaza speech is characterized by oral conversational intonation, which is expressed in the construction of phrases, the use of special figurative and expressive means, professional terms, vernacular, etc. For example: “... and this report on one essence was fair "The Vladyka ordered this priest to be sent to them in Moscow. They looked at him and saw that this priest was really a drinker, and decided that there was no place for him. The priest became upset and even stopped drinking."

In Flyagin’s speech there are few comparisons, metaphors, epithets; they are not very bright, most often they are brief, but at the same time they exactly correspond to the hero’s worldview. They reveal the artistry of the hero, the subtlety of his nature, the ability to perceive beauty, because artistic tropes characterize not only the subject itself, but also the one who speaks about it. Indicative in this regard is Flyagin’s story about the gypsy Grusha; “And among this entire audience this gypsy woman walks... you can’t even describe her as a woman, but just like a bright snake, moving on her tail and bending all over, and burning with fire from her black eyes<...>eyelashes, by God, these are these eyelashes, long, very long, black, and as if they were alive in themselves, and like birds they move...” The hero’s soul is shocked wonderful art Pears. Describing her, he reveals himself as an artist, an aesthetically sensitive person. The hero uses the usual tropes unusually aptly: “The shadows in front of him in the vision were swimming like skinny geese,” “the stars hung across the sky like lamps, and at the bottom the darkness was so thick that it was as if someone was groping and touching you in it.” Such examples reflect Flyagin’s everyday impressions, his life experience, and his command of folk vocabulary.

The combination of simplicity and beauty gives a special flavor to the speech of the hero-storyteller. Behind simple expressions, behind in simple words- the wonderful world of Flyagin, the world as the hero sees it.

With the help of what and how is the image of the narrator revealed in the tale?

The image of the narrator is also revealed through his attitude towards other characters, about whom he also narrates. Everyone characters the reader perceives through the subjective attitude of the narrator towards them, which manifests itself in the tone of the story, in the choice artistic means through direct or indirect characterization. For example, a story about an owner whose hero is babysitting a child (a Polish woman). There is no detailed description here, but Flyagin’s subjective opinion about this character is revealed in the following words: “My master, his father, from Polish people was an official, and never scoundrel. didn't sit at home."

Sometimes the narrator reproduces the characteristic features of the characters’ speech, imitates their intonation, but in general one speech element dominates in the work.

What is the role of landscape in revealing I. Flyagin’s worldview?

The landscape bears bright features of Flyagin’s worldview (“... the melancholy was felt. Especially in the evenings, or even in the middle of the day, the weather is good, it’s hot, it’s quiet in the camp, all the Tatars from the heat fall into their tents and sleep... A sultry view, cruel; space - there is no land; grass, riot; feather grass, white, fluffy, like a silver sea, is agitated, and the smell carries on the breeze: it smells like sheep, and the sun pours down, burns, and the steppe, as if a painful life, has no end in sight, and here the depth of melancholy there is no bottom... You look, you don’t know where, and suddenly in front of you, no matter how you take it, a monastery or a temple is indicated, and you remember the baptized land and cry.

Or even worse, it was on the salt marshes just above the Caspian Sea: the sun is red, scorching, and in the salt marshes it shines, and the sea sparkles... Where the steppe is more feather-grass, it is still more joyful; there, at least along the ridges here and there, the sage will occasionally grow blue, or the small moose and thyme are full of whiteness, but here it’s all just glitter... There somewhere, a fire will burn across the grass, and a bustle will arise: drokhs are flying, little bustards, steppe sandpipers, and hunting will start on them. We ride in these tudakovs, or in the local language, drokhvas, on horseback and long whips detect; and then, look, you have to run away from the fire with your horses... All this is entertainment. And then the strawberries will grow along the old path again; a different bird will fly at it, more and more little things like this, and there will be chirping in the air... And then somewhere else you will see a bush: meadowsweet, wild peach or chileberry... And when at sunrise the fog sets like dew, it smells like coolness , and smells come from the plant...")

How through this landscape painting is the hero’s emotional state and worldview conveyed?

Student response:

The landscape in works with a fantastic form of narration bears striking features of the subjective perception of the world. The descriptions of nature here not only reflect the emotional state of the hero-storyteller, but also reveal his worldview.

IN this description the hero’s emotional state is conveyed: his deep longing for his homeland, the desire to return home. It is also important that the landscape also reveals main feature The hero's worldview is religiosity.

In the above passage, attention is drawn to the intonation, designed for the sympathetic attention of the listeners, which is also a feature of the fairy tale narrative. people. Without love for the Motherland there is no true human character. The one who loves native land, sees its beauty in every little detail, feels great interest in all its “manifestations”. Ivan Severyanovich is just such a person, and this love helps him verbally accurately express his feelings, mood, aspirations in a landscape description.

Teacher's word: The condition of the fairy tale form of storytelling is the illusion of independence of the hero-storyteller. Using the technique of distinguishing the speech of the narrator and the storyteller, the author creates this appearance of independence. The narrator's speech is literary correct, and his image is devoid of pronounced individual traits. The narrator's position is expressed indirectly: primarily through the choice of the hero-storyteller. Flyagin’s speech, focused on oral conversation, is unique and, therefore, the image of the narrator is clearly individualized.

The narrator expresses himself in words, through which his complex inner world is revealed.

The functions of the tale are:

In individualizing the character of the hero;
In his typification.

Ivan Severyanych Flyagin. - a Russian person, his style of speech, artistic coloring are inextricably linked with the aesthetic thinking of the people, with folk aesthetics, and worldview. His speech testifies to a constant spiritual connection with the spiritual life of the people. “The tale in the story “The Enchanted Wanderer” is a means of embodying in the image of national consciousness and self-awareness, the character of the hero.”

(When studying the story “The Enchanted Wanderer,” you can organize a viewing of the film of the same name, based on Leskov’s work in 1990 (scriptwriters I. Poplavskaya and V. Solovyov, director I. Poshgavskaya, composer K. Volkov). Home luck film - A. Mikhailov in the role of Flyagin.

The film takes into account the specifics of Leskov’s story: the dynamic development of the action, the amazing adventures of the wanderer, unexpected and even “fabulous.”

The authors of the film managed to convey another feature of Leskov’s prose: his appeal to the fantastic form of storytelling. The elusive charm of Leskov’s words is difficult to recreate on screen, but the filmmakers succeeded: the narrator’s voice is heard behind the scenes.

You can complete your study of the story “The Enchanted Wanderer” by watching and discussing the film.)