Test. N

Karamzin’s aesthetic principles, which formed the basis of his prose, were reflected both in programmatic works and in the writer’s theoretical articles. According to Karamzin, feeling, and not the rationalistic task characteristic of the poetics of classicism, should prevail in a literary work. Depicting a person’s life with all its joys and sorrows, conveying his intimate experiences, the writer must be able to “touch our heart,” “fill it with sad or sweet feelings,” and lead the reader to moral perfection.

Karamzin is characterized by attention not only to English and German poetry, but also to antiquity.

In theoretically substantiating the aesthetics of sentimentalism, Karamzin also relied on Rousseau, in whose works he was close to sensitivity, psychologism and a subtle understanding of nature. However, Rousseau's criticism of false-enlightened absolutism and his revolutionary sermons were alien to Karamzin. “Rousseauism” became for Karamzin not a stimulus for the destruction of the feudal system, but a method of justifying freedom from politics.” Moderate liberalism, the desire to solve social issues in a moral and ethical sense, the desire to achieve the “common good” through the gradual development of enlightenment were characteristic of Karamzin’s worldview.

The surrounding reality, the objective world, were refracted through the prism of the author’s, subjective “I” of the writer. Karamzin believed that only true humane man, capable of compassion for other people's misfortunes, can take up the pen. The writer argued that only what is pleasant and “graceful is actually worthy of depiction, for only it is capable of delivering aesthetic pleasure to the reader.

Subjective experiences, subjective emotional perception and assessment of life phenomena, and not reality itself, unlike Radishchev, occupy the main place in Karamzin’s work. The author must “paint a portrait of his soul and heart,” while at the same time helping “fellow citizens to think and speak better.”

The most complete features of Karamzin's sentimental prose: the pathos of humanity, psychologism, subjectively sensitive, aestheticized perception of reality, lyricism of the narrative and simple “elegant” language - were manifested in his stories. They reflected increased attention author for analysis love feelings, emotional experiences heroes, increased attention to the analysis of the love experiences of heroes, increased attention to psychological actions. The birth of Russian psychological prose is associated with the name of Karamzin.

An important and progressive point in creative activity The writer was recognizing the right of the individual, regardless of class, to exercise internal freedom. From here ideological basis the story “Poor Liza” was the writer’s statement “even peasant women know how to love.” Karamzin has no harsh assessments, no pathos of indignation, he seeks consolation and reconciliation in the suffering of the heroes. Dramatic events are intended to evoke not indignation or anger, but a sad, melancholic feeling. Despite the vitality of the situation, the author's subjective and emotional perception of reality prevented genuine typification. The life of Lisa and her mother was not much like real life peasants Lisa, like the heroines of sentimental idylls, lives in a hut.

The lyrical manner of narration creates a certain structure. This in the story is served by the landscape against which the action develops, a landscape in tune with the moods of the heroes, and a special intonation structure of speech that makes Karamzin’s prose melodic, musical, caressing the ear and affecting the soul of the reader, who could not help but empathize with the heroes.

For the first time in Karamzin's prose, landscape became a means of conscious aesthetic influence. Readers of the story believed in the authenticity of the story, and the surroundings of the Simonov Monastery, the pond in which Lisa died, became a place of pilgrimage.

Success prose works Karamzin largely depended on the stylistic reform of the writer. Levin, speaking about Karamzin’s vocabulary, writes: “The stylistic coloring of the word here is not determined by the subject, but is superimposed on the subject, poeticizing it - and often the closer the subject is to everyday life, the less poetic it is in itself, the more necessary it is to poetize it with the help of displayed word".

What is the essence literary reform Karamzin? In an effort to create a new Russian literary language to replace the three “calms” adopted by classicism, Karamzin set himself the task of bringing the literary language closer to the spoken language. He believed that any ideas and “even ordinary thoughts” could be expressed clearly and “pleasantly.”

Karamzin put forward a requirement - to write “as they say,” but he was guided by the colloquial speech of an educated noble class, clearing the language not only of archaisms, but also of common words. He considered it legitimate to enrich the Russian language through the assimilation of individual foreign words and new forms of expression. Karamzin introduced many new words: love, humane, public, industry, etc., which remained and enriched the vocabulary of the Russian language.

He strives to create a single syllable “for books and for society, to write as they speak, and to speak as they write.” And in contrast to Trediakovsky, Karamzin accomplishes this. It frees the vocabulary from excessive bookishness, remarkably simplifies the syntax, creates a logically and at the same time light, elegant, equally convenient both in pronunciation and writing, “a new syllable”. All this had very important consequences. “His style amazed all readers, it affected them like an electric shock,” writes N. I. Grech, hot on the heels. “Scholastic grandeur, half-Slavic, half-Latin,” Pushkin notes about the Lomonosov language, “became a necessity: fortunately Karamzin freed the language from the alien yoke and returned it to freedom, turning it to the living sources of the people’s word.”

Opponents of Karamzin's stylistic reform cruelly reproached him for the Frenchization of the Russian language - for excessive contamination with Gallicisms. Karamzin's orientation towards French in the first period literary activity, indeed, sometimes took on the character of a mechanical transfer into the Russian language of French words, expressions and phrases that littered it no less than the previous Slavic and Latinisms. However, later Karamzin himself tried to free himself from this

The disadvantage of Karamzin’s literary language reform was the departure from the rapprochement of the Russian literary language with the language common people. The limitations of Karamzin’s reform were due to the fact that his language was far from folk basis. Pushkin was able to understand and correct this. At the same time, Karamzin’s merit was the desire, carried out by him in his literary practice, to expand the boundaries of the literary language, liberate it from archaisms, and bring the literary language closer to the living spoken language of an educated society.

Nikolai Mikhailovich Karamzin (1766–1826) completed the trends in the development of literary language that had emerged among his predecessors, and became the head of the sentimentalist literary movement, the theorist of new principles for the use of literary language, which in history received the name “new syllable”, which many historians consider the beginning of the modern Russian literary language.

Karamzin – writer, historian, honorary member St. Petersburg Academy Sciences, editor of the "Moscow Journal" and the magazine "Bulletin of Europe", author of "History of the Russian State", the first representative of sentimentalism in Russian literature ("Letters of a Russian Traveler", "Poor Lisa", "Natalia, the Boyar's Daughter", "Marfa the Posadnitsa" and etc.).

However, the assessment of the activities of Karamzin and Karamzinists in the history of the Russian literary language is ambiguous. More than a hundred years ago N.A. Lavrovsky wrote that judgments about Karamzin as a reformer of the Russian literary language are greatly exaggerated, that there is nothing fundamentally new in his language, that this is just a repetition of what was achieved before Karamzin by Novikov, Krylov, Fonvizin. Another 19th-century philologist, Y.K. Grot, on the contrary, wrote that only under the pen of Karamzin “smooth, pure, brilliant and musical prose arose for the first time in the Russian language” and that “Karamzin gave the Russian literary language a decisive direction in which it continues to develop even today.”

Karamzinists (M.N. Muravyov, I.I. Dmitriev, A.E. Izmailov, young V.A. Zhukovsky, V.V. Kapnist, N.A. Lvov, N.I. Gnedich) adhered to the historical approach to development language. Language is a social phenomenon; it changes in accordance with the development of the social environment where it functions.

Norms of the Russian “new syllable” Karamzin focuses on the norms of the French language. Karamzin’s task was for the Russians to start writing as they say and so that noble society They began to speak as they write. Otherwise, it was necessary to spread the literary Russian language among the nobility, since in secular society they either spoke French or used the vernacular. These two tasks determine the essence of Karamzin’s stylistic reform.

Creating a “new syllable”, Karamzin starts from Lomonosov’s “three calms”, from his odes and laudatory speeches. The reform of the literary language carried out by Lomonosov met the tasks of the transition period from ancient to new literature, when it was still premature to completely abandon the use of Church Slavonicisms. However, the theory of the “three calms” often put writers in a difficult position, since they had to use heavy, outdated Slavic expressions where spoken language they have already been replaced by others, softer, more graceful.

Karamzin decided to bring the literary language closer to the spoken language. Therefore, one of his main goals was the further liberation of literature from Church Slavonicisms. In the preface to the second book of the almanac “Aonida,” he wrote: “The thunder of words alone only deafens us and never reaches our hearts.”

However, the Karamzinists could not completely abandon Old Church Slavonicisms: the loss of Old Church Slavonicisms would have caused enormous harm to the Russian literary language. Therefore, the “strategy” in the selection of Old Church Slavonicisms was as follows:

1) Outdated Old Slavonicisms are undesirable: abiye, byakhu, koliko, ponezhe, ubo, etc. Karamzin’s statements are known: “To do, instead of to do, cannot be said in conversation, and especially to a young girl,” “It seems that I feel a new sweetness of life,” says Izveda, but do young girls speak like that? It’s as if it’s very disgusting here,” “Colico is sensitive for you, etc. - A girl with taste cannot say or write colic in a letter.” “Bulletin of Europe” even stated in verse: Because they are doing enough in the light of evil.

2) Old Church Slavonicisms are allowed which:

a) in the Russian language they have retained a high, poetic character (“His hand ignited only unified the sun in the firmament");

b) can be used in artistic purposes("Nobody won't throw a stone at a tree , if on onom no fruit");

c) being abstract nouns, they are capable of changing their meaning in new contexts (“There were great singers in Rus', whose creations were buried for centuries”);

d) can act as a means of historical stylization (“Nikon resigned from his supreme rank And… spent his days dedicated to God and soul-saving labors »).

The second feature of the “new syllable” was the simplification of syntactic structures. Karamzin abandoned lengthy periods. In the “Pantheon of Russian Writers” he decisively declared: “Lomonosov’s prose cannot serve as a model for us at all: his long periods are tiresome, the arrangement of words is not always consistent with the flow of thoughts.” Unlike Lomonosov, Karamzin strove to write in short, easily understandable sentences.

Karamzin replaces unions of Old Slavic origin yako, paki, zane, koliko, etc. etc. replacing them with Russian conjunctions and allied words what, so, when, how, which, where, because. Rows of subordinating conjunctions give way to non-union and coordinating constructions with conjunctions a, and, but, yes, or and etc.

Karamzin uses direct word order, which seemed to him more natural and consistent with the train of thought and movement of a person’s feelings.

“Beauty” and mannerism of the “new style” were created by syntactic constructions of the periphrastic type, which in their structure and form were close to phraseological combinations (the luminary of the day - the sun; bards of singing - the poet; the gentle friend of our life - hope; cypress trees conjugal love– family structure, marriage; move to the heavenly abodes - die, etc.).

In addition, Karamzin often quotes aphoristic sayings of one or another author and inserts passages in foreign languages into his works.

Karamzin’s third merit was the enrichment of the Russian language with a number of successful neologisms, which became firmly established in the main vocabulary. “Karamzin,” wrote Belinsky, “introduced Russian literature into the sphere of new ideas, and the transformation of language was already a necessary consequence of this.”

Even in the era of Peter the Great, many foreign words appeared in the Russian language, but they mostly replaced words that already existed in the Slavic language and were not a necessity; in addition, these words were taken in their raw form, and therefore were very heavy and clumsy (“ fortification" instead of "fortress", " Victoria " instead of "victory", etc.). Karamzin, on the contrary, tried to give foreign words a Russian ending, adapting them to the requirements of Russian grammar, for example, “serious”, “moral”, “aesthetic”, “audience”, “harmony”, “enthusiasm”.

Including new words and expressions in the text, Karamzin often left the word without translation: he was sure that a foreign word was more elegant than the Russian parallel. He often uses the words nature, phenomenon instead of nature, phenomenon. However, over time, Karamzin revised his views regarding barbarisms and, when reprinting “Letters of a Russian Traveler,” he replaced foreign words with Russian ones: gestures- actions, voyage- journey, moral– moral, fragment- excerpt, visit– visit, etc.

Trying to develop in the Russian language the ability to express abstract concepts and subtle shades of thoughts and feelings, the Karamzinists introduced into the sphere of scientific, journalistic, artistic speech:

– borrowed terms ( proscenium, adept, poster, boudoir, caricature, crisis, symmetry and etc.);

– morphological and semantic tracing papers ( location, distance, division, focus, refined, inclination, rapture and etc.);

- words composed by Karamzin ( industry, future, public, love, humane, touching, need etc.), some of them have not taken root in the Russian language (realism, namosty, infantile, etc.)

Karamzinists, giving preference to words that express feelings and experiences, creating “pleasantness,” often used diminutive suffixes ( horn, shepherdess, stream, little birds, mother, villages, path, bank and so on.).

To create “pleasantness” of feelings, Karamzinists introduced into the context words that create “beautifulness” ( flowers, turtledove, kiss, lilies, ethers, curl etc.). “Pleasantness,” according to Karamzinists, creates definitions that, in combination with different nouns, acquire different semantic shades ( gentle ethers, tender pipe, most tender inclination of the heart, gentle cheeks, gentle sonnet, tender Lisa, etc.). Proper names, naming ancient gods, European artists, heroes of ancient and Western European literature, were also used by Karamzinists in order to give the story a sublime tone.

This is Karamzin’s language program and language practice, which arose on the spiritual soil of sentimentalism and became its most perfect embodiment. Karamzin was a most gifted writer, thanks to which his “new style” was perceived as an example of the Russian literary language. In the first decade of the 19th century, Karamzin’s reform of the literary language was met with enthusiasm and gave rise to keen public interest in the problems of literary norms.

However, despite this, Karamzin’s limited sentimentalist aesthetics, his desire to create a gentle, beautiful, elegant style did not allow him to achieve a true synthesis of natural usage and historical linguistic tradition and become the founder of the modern Russian literary language.

List of used literature:

1. Voilova K.A., Ledeneva V.V. History of the Russian literary language: a textbook for universities. M.: Bustard, 2009. – 495 p.

2. Kamchatnov A.M. History of the Russian literary language: XI - first half of the XIX century: Textbook. aid for students Philol. Faculty of higher education ped. textbook establishments. M.: Publishing center "Academy", 2005. - 688 p.

3. Meshchersky E.V. History of the Russian literary language [ Electronic resource] // sbiblio.com: Russian Humanitarian Internet University. – 2002. – Electron. Dan. – URL: //sbiblio.com/biblio/archive/milehina_ist/ (accessed December 20, 2011). - Cap. from the screen.

4. Yakushin N.I., Ovchinnikova L.V. Russian literary criticism of the 18th – early 20th centuries: Textbook. manual and reader. M.: Publishing House "Cameron", 2005. - 816 p.

Test. N.M. Karamzin. "Poor Lisa"
1. The peculiarity of the language of Karamzin’s works is that:

A) the writer brought him closer to the living colloquial speech;

B) the writer used only “high” vocabulary;

C) the writer introduced words borrowed from other languages into active use.

2. Genre of “Poor Lisa”:

A) essay; B) story;

B) story.

3. The artistic originality of sentimentalism, the founder of which in Russia was Karamzin, consists of:

A) in depicting the inner world and feelings of a person;

B) in studying personal qualities person;

B) in education external beauty person.

4. The task of the narrator in “Poor Lisa”:

A) cover events without expressing your position;

B) give events a subjective-emotional assessment;

C) historically accurately convey the peculiarities of life of the inhabitants of Moscow at the end of the 8th century.

5. Erast’s portrait reflects:

A) only the appearance of the hero;

C) the appearance, lifestyle of the hero, features of his character.

6. Karamzin contrasts the main characters – Lisa and Erast:

A) describing their appearance;

B) talking about their attitude to work;

C) telling about their parents.

7. “Until now, when you woke up with the birds, you had fun with them in the morning, and

a pure, joyful soul shone in your eyes, like the sun

glows in the drops of heavenly dew...” writes Karamzin about Lisa:

A) as a person with a pure soul;

B) with irony;

C) as a frivolous girl.

8. The words of declaration of love for Lisa came from Erast’s lips as:

A) thunder from heaven;

B) amazing music;

B) rustle of leaves.

9. A person spiritually close to Lisa:

A) mother; B) Erast; B) narrator.

10. Erast married a rich widow because:

A) welfare was more important to him than love;

B) could not continue the relationship with the peasant woman;

C) lost his estate in the army and was left without funds.

11. pictures of nature in the work:

A) are the background of the story; B) show the change of seasons;

C) convey Lisa’s mood.

12. A phrase from “Poor Lisa” that became a catchphrase:

A) “However, Lisa, it’s better to feed yourself by your labors and not take anything for nothing”;

B) “And peasant women know how to love”; C) “Death for the fatherland is not scary...”.

13. The epithet “poor” in the title of the work means:

A) beggar; B) disadvantaged; B) unhappy.

14. Karamzin’s innovation manifested itself:

A) in exposing the social inequality of the heroes;

C) in a detailed depiction of the heroine’s inner world.

Test on ballads.

Performed)______________________________
Select the characteristics of a ballad:

Prose form.
Poetic form.
There is a plot
Magical transformations happen
The main character is a hero
There may be a tragic ending
Good conquers evil
The action is often transferred to ancient times.
Animals act, under the mask of which people are hiding
Hyperbole is used
The reign of Russian princes is described.
There is mystery and mysticism.
There is a dialogue.
The hero is helped by a magical assistant.
Humor is used.

Task with a detailed answer:

How did V.A.’s skill manifest itself? Zhukovsky in the ballad “Svetlana”? How does it evoke a mood of mystery, fear, joy in the reader?

Answer the questions:

In what form does the “comforting angel” appear to Svetlana?
What “scares” Svetlana in her dream?
How is the theme of fortune telling revealed in the ballad?
Name five folklore elements used by the author.
What are the genre features of Zhukovsky’s ballad?
Basic ideas of the ballad
What character traits of Svetlana create her romantic image?
What role does color play in a ballad?
In what place does Svetlana experience the strongest feelings?
What instruction does the author give and to whom in the epilogue?

Literature test “Karamzin N.M. Poor Lisa"

Beginning of the form

1. To which literary direction belongs to the work of N.M. Karamzin “Poor Liza”?

2. What literary genre does “Poor Liza” belong to?

1) story
2) novel
3) story
4) poem

3. Specify main topic works.

1) love theme
2) nature theme
3) theme of betrayal
4) the theme of motherhood

4. Where do the events told by the author in the work take place?

1) in St. Petersburg and its suburbs
2) in Moscow and its suburbs
3) in Kyiv and its suburbs
4) in Voronezh and its suburbs

5. How can you characterize Lisa’s love for Erast?

1) reckless
2) limitless
3) random
4) the heroine did not love Erast

6. How does Erast’s love for Lisa appear before us?

1) reliable
2) strong
3) insignificant
4) unable to withstand testing

1) The author loves Lisa, understands her and sympathizes with her.
2) N.M. Karamzin condemns the heroine for recklessness in love.
3) The author condemns the way Lisa passed away.
4) The author’s attitude towards the heroine is not felt in the work.

8. How does N.M. feel? Karamzin to Erast?

1) despises him
2) condemns betrayal towards Lisa
3) understands him, sympathizes with him
4) the author’s attitude towards the hero is not visible in the work

9. What is the role of nature in the work?

1) nature is the background of the story
2) from pictures of nature one can judge the time of year
3) nature conveys Lisa’s mood
4) the author believed that without landscape sketches his work will be incomplete

10. The epithet “poor” in the title of the work means:

1) unhappy
2) beggar
3) destitute
4) penniless

11. What type literary heroes Can I include Lisa?

1) “extra person”
2) “little man”
3) reasoner
4) “offended and insulted”

Test based on the story by A.S. Pushkin “The Captain's Daughter”

The narration in “The Captain’s Daughter” is told from the perspective of:

a) the author;

b) narrator;

c) Masha Mironova;

d) Peter Grinev;

a) compositions

b) epigraphs

d) choosing a hero

3. What historical figures are mentioned in the story?

a) Frederick II

b) Count Minich

c) Grigory Orlov

d) Catherine the First

e) Elizabeth the first

e) Catherine the Second

4. Name artistic techniques, which Pushkin did not use to create the image of Pugachev.

b) portrait

c) epigraphs

d) speech characteristics

d) the attitude of other characters

e) plug-in elements

5. What is the meaning of the title of the story? Masha Mironova - ...

a) the only female character in the story

b) stands in the center of the plot

c) a bearer of high morality and honor

d) daughter of a deceased Russian officer

6. Correlate the elements of the composition and the elements of the development of the love plot.

a) exposition 1) scene of the duel with Shvabrin, father’s letter

b) plot 2) release of Grinev, marriage to Masha

c) climax 3) Petrusha’s childhood on the family estate

d) denouement 4) Grinev’s acquaintance with the main character stories

7. For what purpose is Grinev’s dream introduced into the story?

a) characterizes Grinev

b) foreshadows the development of relations between two characters

c) characterizes Pugachev

d) emphasizes Pugachev’s bloodthirstiness

8. Who owns the statement “God forbid you see a Russian rebellion, senseless and merciless...”?

b) Catherine II

c) Petrusha Grinev

d) Savelich

9. Match pairs of heroes whose characteristics are based on the principle of antithesis.

a) Pugachev 1) Orenburg generals

b) Shvabrin 2) Catherine the Second

c) Pugachev’s “generals” 3) Grinev

10. What folklore genres does A.S. Pushkin use to create the image of Pugachev?

a) epics d) songs

b) riddles e) proverbs, sayings

c) fairy tales e) myths

11. Which chapter is preceded by an epigraph:

“At that time the lion was well-fed, even though he has been ferocious since birth.

“Why did you deign to welcome me to my den?”

he asked affectionately.” (A. Sumarokov)

a) “Court” d) “Uninvited Guest”

b) “Arrest” e) “Rebel settlement”

c) “Attack”

12. What is the main problem of the story “The Captain's Daughter”?

a) the problem of love

b) the problem of honor, duty and mercy

c) the problem of the role of the people in the development of society

d) the problem of comparing the clan and service nobility

13. How is Savelich shown in the story?

a) downtrodden, voiceless serfs

b) obedient, slavishly devoted to their masters

c) deep, endowed with a sense of self-esteem

d) a loving, faithful, selfless, caring assistant and advisor

14. Mark the correct judgment. Literary character is...

a) the image of a specific person, in which the typical features of the time are expressed through individual qualities

b) an artistic depiction of a person

c) personal traits inherent in the hero

15. What symbolic images used by A.S. Pushkin in the story “The Captain's Daughter”?

a) way, road d) dagger

b) grave e) gallows

c) storm, blizzard

d) eagle, raven

16. What features of the Russian national character are shown by A.S. Pushkin in the image of Pugachev?

a) intelligence, ingenuity

b) laziness, inactivity

c) daring, generous nature

d) tendency to drink

d) good memory, gratitude

17. Whose portrait is this? “She was in a white morning dress, a nightcap and a shower jacket. She seemed to be about forty years old. Her face, plump and rosy, expressed importance and calmness, and Blue eyes and the light smile had an inexplicable charm..."

a) Maria Mironova

b) Vasilisa Egorovna

c) Catherine the Second

d) Avdotya Vasilievna

Literature test “Pushkin A.S. The Captain's Daughter" No. 1 for 8th grade

Beginning of the form

1. When was Pyotr Grinev enlisted as a sergeant in the Semenovsky regiment?

1) after he turns 18 years old
2) after he turns 16 years old
3) even before birth
4) immediately after birth

2. Who was the hero Savelich?

1) father
2) godfather
3) uncle
4) friend

3. Why was Beaupre demoted by Grinev's father?

1) he did not have a teacher's diploma
2) didn’t know any science
3) slept and drank a lot
4) chased after women

4. Who are we talking about?

“He was a kind fellow, but flighty and dissolute to the extreme.”

1) Petr Grinev
2) Alexey Shvabrin
3) Zurin
4) Frenchman Beaupré

5. Find out the hero by description.

“The hair was cut into a circle; he was wearing a tattered overcoat and Tatar trousers.”

1) Emelyan Pugachev
2) Savelich
3) Alexey Shvabrin
4) Zurin

6. Recognize the hero by description.

“...a young officer of short stature, with a dark and distinctly ugly face, but extremely lively.”

1) Zurin
2) Alexey Shvabrin
3) Emelyan Pugachev
4) captain Mironov

7. What is the name of the technique used in the passage below?

“The road went along the steep bank of the Yaik. The river had not yet frozen, and its leaden waves sadly turned black in the monotonous banks covered with white snow. Behind them stretched the Kyrgyz steppes.”

1) interior
2) landscape
3) remark
4) portrait

8. What is the name of the technique used by the author in the passage below?

“I entered a clean room, decorated in an old-fashioned way. There was a cupboard with dishes in the corner; on the wall hung an officer's diploma behind glass and in a frame; next to him there were popular prints depicting the capture of Kistrin and Ochakov, as well as the choice of a bride and the burial of a cat.”

1) landscape
2) portrait
3) interior
4) symbol

9. What words are used as an epigraph to the entire work?

1) We live in a fortification, we eat bread and drink water.
2) Is it my side, side. Unfamiliar side!
3) Take care of honor from a young age.
4) Take care of your dress again, and your honor from a young age.

10. Why is the work, dedicated largely to Grinev, called “The Captain's Daughter”? State the incorrect statement.

1) Masha is a person strong will. She had to endure difficult trials, and she passed them with honor.
2) The captain's daughter Masha Mironova is the bearer of the best features of the Russian national character.
3) Masha is the daughter of Captain Mironov, a Russian officer, a patriot who did not defect to the side of the impostor, but remained loyal to the Motherland and the throne. Mironov raised a noble and honest daughter.
4) Masha is the most important character in the work.

End of form

1 option

Indicate the years of Pushkin's life

A) 1798-1837 c) 1799-1837

B) 1801-1837 d) 1799-1835

3) Indicate which fact does not apply to Pushkin’s biography

A) Participated in the literary society "Arzamas"

B) Published the magazine “Sovremennik”

B) I planned to write “The History of Ukraine”

D) Died as a result of a duel with his wife’s suitor

4) What genre does “Song of the Prophetic Oleg” belong to?

A) Song c) Ballad

B) poem d) ode

5) “The Song of the Prophetic Oleg” was written

A) during the years of study at the Tsarskoye Selo Lyceum

B) during the “Boldino autumn”

6) Who was the prophetic Oleg going to take revenge on?

A) Pechenegs c) Polovtsians

B) Khazars d) Tatars

7) Who was present at the “funeral funeral for mournful Oleg”

A) Igor B) Olga

B) Vladimir d) Svyatoslav

8) Who did Peter fight with in Poltava?

A) with the Germans B) with the British

B) with the Swedes d) with the Lithuanians

9) What was the original title of the poem?

A) “Battle of Poltava” c) “Mazepa”

B) “Peter” d) “Kochubey”

10) What technique does Pushkin use in comparing Peter and Charles

A) allegory B) contrast

B) metaphor d) personification

12) How many times does Gregory see the same dream?

A) 4 times c) 3 times

B) 2 times d) 5 times

13) What does Pimen Grigory ask for when he wakes up?

A) pray for him B) bless him

B) help him hide d) help him escape

14) How many murderers were caught immediately after the murder of Dimitri

A) two b) five

B) three d) one

15) Indicate which proverb serves as an epigraph to the story

A.S. Pushkin “The Captain’s Daughter”

a) “Called yourself a milk mushroom - get into the back”

B) “Take care of your honor from a young age”

C) “There’s no point in blaming the mirror if you have a crooked face.”

D) “You can’t even pull a fish out of a pond without difficulty”

16) Petr Grine was registered for military service

A) upon reaching adulthood

B) at 14 years old

D) before birth

17) What was the name of Grinev’s teacher and faithful companion

A) Semenych B) Stepanych

B) Savelich d) Arkhipych

18) His parents received a message about Grinev’s participation in the duel from

A) Savelich c) Masha Mironova

B) Shvabrin d) captain Mironov

19) How Shvabrin behaved after the capture of the fortress

A) paid off

B) went over to Pugachev’s side

B) escaped from the fortress

D) hid in the priest's house

20) Indicate the name of your favorite Pugachev song

A) “Don’t make noise, mother green oak tree”

B) “Dubinushka”

B) “Down along Mother Volga”

G) " Captain's daughter, don’t go for a walk at midnight"

A) Stepan Razin and Alexander I

B) Emelyan Pugachev and Catherine II

B) Catherine II and Stepan Razin

D) Nicholas I and Emelyan Pugachev

Q 1 On the bank of which river did the bones of Oleg’s horse lie?

Q 2 What color were the uniforms of Peter’s enemy army (based on the poem “Poltava”)

Q 3 In what city was Pimen at the time of the death of Tsarevich Dimitri?

(based on the tragedy "Boris Godunov")

In 4 Which chapter of the story “The Captain’s Daughter” is used as

The epigraph is taken from the saying “Worldly rumor is a wave of the sea”

Test on the works of A.S. Pushkin

Option 2

In what city was A.S. Pushkin born?

A) Moscow B) In Kyiv C) St. Petersburg d) Yaroslavl

2) What date is associated with the formation of the Tsarskoye Selo Lyceum

3) Indicate which fact is not included in the biography of A.S. Pushkin

A) Wrote “The History of the Pugachev Rebellion”

B) participated in the Decembrist uprising

B) Studied at the Tsarskoye Selo Lyceum

D) Died at the hands of his wife’s suitor.

4) The basis of the “Song of the Prophetic Oleg” is a plot borrowed from

A) from “The Life of Sergius of Radonezh”

B) from “The Teachings of Vladimir Monomakh”

B) from “The Tale of Igor’s Campaign”

D) from “The Tale of Bygone Years”

B) poetic advanced ancient Russian text

B) part great work A.S. Pushkin

D) an independent literary work

6) What did Oleg offer as a reward when he asked for a fortune teller?

about prophecy

A) horse B) money C) fulfillment of any desire

D) ring

7) When Oleg remembered his horse

A) in battle B) on the river bank C) at a feast

D) having met the fortuneteller again

8) What was the original title of the poem “Poltava”

A) “Battle of Poltava” B) “Mazepa” c) “Peter” d) “Kochubey”

9) Who led the enemy army in Poltava

A) Napoleon B) Charles XII c) William II D) Frederick II

10) In whose honor Peter raised the “cup of health” at the feast

A) for your friends B) for your enemies

B) for your teachers d) for yourself

11) Pushkin dedicated the tragedy “Boris Godunov” to memory

A) N.M. Karamzina B) V.K. Trediakovsky

B) G.R. Derzhavin d) M.V. Lomonosov

12) Where the scene of the conversation between Gregory and Pimen takes place

A) In the Kiev-Pechersk Monastery

B) In the Chudov Monastery

B) In the Trinity-Sergius Lavra

D) In the Vydubitsky Monastery

13) Under what ruler, according to Pimen, Rus'

“comforted in serene glory”?

A) under Ivan the Terrible B) under Fedor

B) under Vasily III D) under Ivan III

14) What does Pimen advise Gregory

A) humble yourself by fasting c) do not stop fighting

B) become a monk d) gather an army against Boris

15) They decided to send Pyotr Grinev to military service

Upon reaching them

A) 16 years old b) 20 years old c) 18 years old d) 22 years old

6) Indicate which printed products have always had a strong

influence" on Andrei Petrovich Grinev

a) “Domostroy” B) “Court Calendar”

b) “Psalter” d) “An honest mirror of youth”

17) Orenburg general Andrei Karlovich did not know the meaning

Russian expression

a) “Take care of your honor from a young age”

b) “Keep a tight rein”

c) “Work carelessly”

D) “Don’t renounce prison or poverty”

18) Indicate the reason for the duel between Grinev and Shvabrin

A) Card debt

B) Unfair game of billiards

B) Shvabrin’s transition to Pugachev’s side

D) Insult inflicted on Masha Mironova

19) Why was Grinev taken into custody

A) Pugachev said that Grinev is his spy

B) Shvabrin slandered him

C) left Orenburg without permission

D) He was slandered by defectors unknown to him

20) Indicate which proverb is on the pages of the story

uses Pugachev

A) “The Lord will not give you away - the pig will not eat

B) “Debt is clear in payment”

B) “A horse has four legs, but it stumbles”

D) "C" black sheep even a tuft of wool"

21) What historical characters act in the story

A) Stepan Razin and Alexander I B) Catherine II and Stepan Razin

B) Emelyan Pugachev and Catherine II D) Nicholas I and Emelyan Pugachev
Q 1 On the gates of which city Oleg nailed his shield

Q 2 What time of day did the Battle of Poltava begin?

Q 3 Who lived in Pimen’s cell before him

Q 4 Name the main characters of the Kalmyk fairy tale, which

Pugachev told Grinev

Performed)

Final test in literature 8th grade

1 option

Tell us about the features of the development of CNT (features of origin, genres, authors, main works)
Creative task:

Option 2

Name the genera and corresponding genres of literature
List the main sections of the development of literature
Tell us about the features of development Old Russian literature(features of origin, genres, authors, main works)
Creative task:
Mini-essay on the topic: “My favorite hero” (for the 8th grade course)

Option 3

Name the genera and corresponding genres of literature
List the main sections of the development of literature
Tell us about the peculiarities of the development of Literature of the 18th century (features of its origin, genres, authors, main works)
Creative task:
Mini-essay on the topic: “My favorite hero” (for the 8th grade course)

Option 4

Name the genera and corresponding genres of literature
List the main sections of the development of literature
Tell us about the peculiarities of the development of Literature of the 19th century (features of its origin, genres, authors, main works)
Creative task:
Mini-essay on the topic: “My favorite hero” (for the 8th grade course)

Literature tests for grade 8 (incoming control).

Test No. 1.

Which definition of folklore do you think is the most complete?

a) a special type of creativity that has retained connections with ancient thinking and understanding of words;

b) art created by the people and existing among the broad masses;

c) oral folk art;

d) a set of works on various topics;

2. What language is the word “folklore” borrowed from?

a) Greek; c) English;

a) poet; c) singer-storyteller;

b) chronicler; d) people;

4. Name the types of art in which elements of folklore can be used.

a) architecture; c) dance;

b) painting; d) literature;

5. What is a riddle?

a) children's game; V) short story with a witty ending;

b) folk genre; d) figurative combination of words;

6.What poem brought fame to M.Yu. Lermontov?

a) “Sail”; b) “Duma”;

c) “Borodino”; d) “Death of a Poet”;

15. Who was A.S.’s closest friend? Pushkin?

a) K. Danzas; b) I. Pushchin;

c) P. Yudin; d) A. Illichevsky;

16. Where was the Lyceum where A.S. studied? Pushkin?

a) in Moscow; b) in St. Petersburg;

c) in Tsarskoye Selo; d) in Mikhailovsky;

17. What was the name of the heroine from the story by A.S. Pushkin's "Peasant Young Lady"?

a) Nastya; b) Lisa;

c) Olga; d) Katerina;

18. What is the name of the collection that includes the story “Bezhin Meadow”?

a) “Notes of a Traveler”; b) “Notes of a Fisherman”;

c) “Notes of a Hunter”; d) “Notes of Turgenev.”

Test work on foreign literature
Give detailed answers to the questions:

Composition of Dante's comedy. Symbolism of numbers in comedy.
Define a sonnet. The structure of a sonnet.
What is the humanism of Francois Rabelais?
The main characters of the novel "Gargantua and Pantagruel".
Shakespeare's question.
External and internal conflict hero of Shakespeare's tragedy "Hamlet".
Eternal images of Cervantes' novel Don Quixote.
Theater of the Classical era.
Composition of the novel "Gulliver's Travels".
The main idea of the novel "Gulliver's Travels".
The history of the creation of Daniel Defoe's novel "Robinson Crusoe" .
The image of the main character Goethe's novel The Sorrows of Young Werther.
The figurative antithesis of Faust - Margarita in Goethe's tragedy "Faust".

Karamzin. "Letters of a Russian Traveler".

Short biography. Nikolai Mikhailovich Karamzin (1766-1826) born in Simbirsk. Here, and then in Moscow at the boarding school of Professor Schaden, he received his education. There he formed his worldview - the desire for moral improvement and the confidence that the common good can be achieved through love for one's neighbor and moderation of desires. He served for some time in St. Petersburg, and then became acquainted with the Freemasons, in particular with Novikov, and joined them. Although serfdom and autocracy were unshakable for Karamzin, he was against despotism, cruelty and ignorance of the landowners. Together with A. A. Petrov, he worked in the magazine “Children's Reading for the Heart and Mind” (1785-1789), where he published translations of works by European sentimentalists. IN " Children's reading"he printed his

the first sentimental story “Eugene and Yulia”. Karamzin argued that only what is pleasant and “elegant” is actually worthy of depiction, for only it is capable of delivering aesthetic pleasure to the reader.

Why did you go? The desire for more extensive knowledge and European education led Karamzin to travel abroad, which he began 18 May 1789 of the year. He visited Germany, Switzerland, Austria, France and England. His journey lasted 18 months, enriching the writer with impressions of political and cultural life these countries, which was reflected in what was written upon returning to Russia “ Letters from a Russian traveler» ( 1791 ). Karamzin's book expanded the horizons of the Russian reader. The book has been translated into German, French, English, Polish and Dutch.

The “Letters” were published in parts in 1791-1792. V "Moscow magazine". They revealed the features of Karamzin’s creative method and aesthetic principles. “Letters”, conveying his impressions of the countries he visited, are distinguished by a free composition, in which pictures of the political and cultural life of Western states united by the author’s personality are interspersed (Karamzin’s journey takes place at the dawn of the French Bourgeois Revolution, to which several chapters of his book are devoted; a lot visits museums: Dresden Museum, Louvre, London art galleries; theaters: Grand Opera and little-known ones; also Westminster Abbey, Windsor Palace, etc.), the morals and customs prevailing there (behavior, language, clothing, habits, characteristics of people different nationalities); meetings of the writer with famous philosophers and writers (Kant, Herder, Weisse, Wieland, etc.). The book contains many philosophical and moral reflections of the author himself. Lots of sensitive tearfulness and sentimentality. This is especially felt in the author’s experiences about friends left behind in Russia, as well as about new acquaintances that cause him emotional excitement.

As I wrote. The genre of letters, characteristic of sentimentalists, was a treatment diary entries, which Karamzin conducted abroad, also supplemented with materials from book sources (encyclopedic notes about artists, about the history of the construction of a particular building). The “Letters” themselves were written in Moscow, but Karamzin managed to create the illusion that these letters were addressed directly to his friends. For example, there are comments like this: “I didn’t receive any news from you from April to July!” This also applies to emotional appeals. All this speaks of the great skill of Karamzin the prose writer.

Karamzin conveys with great subtlety everything he saw abroad, being selective about the huge flow of impressions. Although everything seen is passed through the author’s “I,” the writer goes beyond subjective experiences and fills the letters with a lot of information about the culture and art, geography and life of the countries visited. For example, in London he really liked the fact that the lamps were lit from a very early time, and the whole city was illuminated. And in Paris they try to save on moonlight, and from this saved money they pay a pension.

How to collect impressions. Karamzin studies the life of Europe in theaters, palaces, and universities (he went to a lecture Platner V Leipzig University, and was amazed by the attendance and silence), at country festivities, in monasteries, on a noisy street, in the offices of scientists and in quiet family settings. The most important thing in his book is the attention with which he treats people. Parisian ladies (he talked with one of them at the Grand Opera and, from the freedom of the conversation, could not conclude whether she was an important lady or not), witty abbots, road acquaintances, street loudmouths, Jewish merchants, poets, artists, scientists, Prussian officers, English merchants, German students - they all attract Karamzin's attention.

Policy. While sympathetic to European freedom and democracy, Karamzin refrains from recognizing similar institutions in Russia. He approves of the English Parliament, but treats it with irony, and also says that “ good in England, it will be bad in another land" Particularly characteristic for determining the socio-political views of the author is his attitude towards the French Revolution. In Paris he notes " excellent liveliness popular movements, amazing speed in words and deeds...here everyone is in a hurry to get somewhere; everyone seems to outdo each other; catch, grab thoughts" Karamzin has an extremely negative attitude towards revolution and believes that all revolutions end in defeat. About the rebel people he says: “ The people are sharp iron, which is dangerous to play with, and the revolution is an open coffin for virtue and villainy itself." He asks the French to remember Cato: “I prefer any power over anarchy.” Karamzin sees that only a small part of people take a real part in revolutionary movement, and these are people who have nothing to lose, ragamuffins and vagabonds. In the People's Assembly, where Mirabeau is trying to crush his opponents, Karamzin sees the rudeness and bad manners of the speakers.

Further development revolution, the Jacobin dictatorship frightened Karamzin, who believed that “every rebel prepares his own scaffold”. Karamzin was convinced that only those changes are lasting that are achieved through the gradual development of enlightenment, the success of reason and education.

Meeting with celebrities. In the “Letters” the reader encounters the names of the greatest writers and philosophers of that time. Karamzin gives everyone personal characteristics, recreates a portrait look. He seeks a personal meeting with some of them, and talks about others. Karamzin transfers conversations to philosophical ones, aesthetic themes which he leads with Lavater(physiognomist who studied character by facial features), Wieland, Herder(writers). From conversations we learn the views of the author himself. Calling Montesquieu “the author of the immortal book on laws”, lavishing praises on Rousseau’s “system of education”, he nevertheless prefers the philosophy of Lavater.

Nature. Karamzin has a lot of enthusiasm for nature. The banks of the Rhine, the Rhine Falls, the Alpine mountains - the author pays attention to all of this great attention. In nature, Karamzin sees a manifestation of the divine principle. This reflects his idealistic perception. Already in the “Letters” the landscape is depicted in accordance with the mood of the person contemplating it.

National character. Of the observations of national character, the most interesting are the notes about the English. Thus, talking about the complacency of the English bourgeoisie, who consider poverty a vice, he describes houses with an underground part, where the poorest people huddle in dark rooms. He notes that among the French, poverty lives on the upper floors, but among the British, they went down to the very dungeon, and the author is outraged that the British say: “Whoever is poor among us is not worthy of a better share.” He is interested in both the jury and the London prison. The sight of criminals causes the author to tremble. It seemed especially terrible to him that people in prison for non-payment of debts were next to murderers and thieves. He also visits a madhouse, where many people are delirious from unhappy love. Some crazy people will make him laugh. However, Karamzin leaves England without regret, due to English arrogance and contempt for other nations.

Having visited the London theater, Karamzin demonstrates subtle observations of the actors' performances, indicating knowledge of the theater. He didn’t like Hamlet in their production: “ Actors speak, not act; they are dressed poorly, the scenery is poor... Footmen in livery bring the scenery to the stage, put one on, take another on their shoulders, drag it - and this is done during the performance!»

Home is best. Karamzin compares Russia with Europe. He always thinks about his homeland, which he loves dearly. Arriving in Kronstadt, not the best place in Russia, he rejoices wildly, stops everyone, asks questions only in order to speak Russian.

Conclusion. Lyrical digressions, poetic descriptions of nature, subtle humor, and emotional richness of style made “Letters” deeply a work of art, reflecting the views and aesthetic principles of Karamzin.

Karamzin is characterized by attention not only to English and German poetry, but also to antiquity.

The surrounding reality, the objective world, were refracted through the prism of the author’s, subjective “I” of the writer. Karamzin believed that only a truly humane person, capable of compassion for the misfortunes of others, could take up a pen. The writer argued that only what is pleasant and “graceful is actually worthy of depiction, for only it is capable of delivering aesthetic pleasure to the reader.

The most complete features of Karamzin's sentimental prose: the pathos of humanity, psychologism, subjectively sensitive, aestheticized perception of reality, lyricism of the narrative and simple “elegant” language - were manifested in his stories. They reflected the author’s increased attention to the analysis of love feelings, the emotional experiences of the heroes, increased attention to the analysis of the love experiences of the heroes, and increased attention to psychological actions. The birth of Russian psychological prose is associated with the name of Karamzin.

An important and progressive moment in the writer’s creative activity was the recognition of the individual’s right, regardless of class, to exercise internal freedom. Hence, the ideological basis of the story “Poor Liza” was the writer’s statement “even peasant women know how to love.” Karamzin has no harsh assessments, no pathos of indignation, he seeks consolation and reconciliation in the suffering of the heroes. Dramatic events are intended to evoke not indignation or anger, but a sad, melancholy feeling. Despite the vitality of the situation, the author's subjective and emotional perception of reality prevented genuine typification. The life of Lisa and her mother bore little resemblance to the real life of peasants. Lisa, like the heroines of sentimental idylls, lives in a hut.

The success of Karamzin's prose works largely depended on the writer's stylistic reform. Levin, speaking about Karamzin’s vocabulary, writes: “The stylistic coloring of the word here is not determined by the subject, but is superimposed on the subject, poeticizing it - and often the closer the subject is to everyday life, the less poetic it is in itself, the more necessary it is to poetize it with the help of displayed word".

What is the essence of Karamzin’s literary reform? In an effort to create a new Russian literary language to replace the three “calms” adopted by classicism, Karamzin set himself the task of bringing the literary language closer to the spoken language. He believed that any ideas and “even ordinary thoughts” could be expressed clearly and “pleasantly.”

Karamzin put forward a requirement to write “as they say,” but he focused on the colloquial speech of the educated noble class, clearing the language not only of archaisms, but also of common words. He considered it legitimate to enrich the Russian language through the assimilation of individual foreign words and new forms of expression. Karamzin introduced many new words: love, humane, public, industry, etc., which remained and enriched the vocabulary of the Russian language.

Opponents of Karamzin's stylistic reform cruelly reproached him for the Frenchization of the Russian language - for excessive contamination with Gallicisms. Karamzin’s orientation towards the French language in the first period of his literary activity, indeed, sometimes took on the character of a mechanical transfer into the Russian language of French words, expressions and phrases that littered it no less than previous Slavic and Latinisms. However, later Karamzin himself tried to free himself from this

The drawback of Karamzin's literary language reform was the departure from the rapprochement of the Russian literary language with the language of the common people. The limitations of Karamzin's reform were due to the fact that his language was far from the folk basis. Pushkin was able to understand and correct this. At the same time, Karamzin’s merit was the desire, carried out by him in his literary practice, to expand the boundaries of the literary language, liberate it from archaisms, and bring the literary language closer to the living spoken language of an educated society.

In Russian literature there are many authors who wrote their works in different style, using the features and richness of the Russian language. Despite the fact that most writers adhered to the existing canons, without going beyond accepted standards, there were those who acted as innovators, giving readers works of a completely different direction. For example, Nikolai Mikhailovich Karamzin can be called an innovator in literature. What is the innovation in the work of this writer? It is not difficult to answer this question; it is enough to get acquainted with the works of his contemporaries and compare them with the works of Karamzin, which is what we did in one of our literature lessons.

What is Karamzin’s innovation?

Having studied the author's stories, we can answer the question of what his innovation is. It turns out that before Karamzin, writers in their works never touched on the feelings of their heroes, their inner world, while Karamzin endows the heroes with a sensitive nature. His characters know how to analyze their feelings. Such works were a novelty to eighteenth-century readers who were accustomed to strict classicism. Karamzin brought sentimentalism into his works. So, the work tells about a poor peasant woman and her love. The story of how she was seduced, abandoned, and the story of her suicide becomes a real sensation in the literature of the 18th century. The story shocked the audience with its innovative side, where the heroes turned out to be sensual people. At the same time, Karamzin’s innovation in Poor Liza was also the fact that the writer for the first time opens the topic female destiny. And Karamzin managed to show that peasant women also have souls, feelings, and know how to love. And in other works, Karamzin manages to reveal the inner world of his heroes, creating images of sensitive people. The narrator himself treats the characters with sympathy, expressing his emotions towards the main characters of the works.

The language of narration in Karamzin’s stories was also innovative. He was close to colloquial speeches educated people, where in some places the simplicity of the conversation was also evident, which made the writer’s work clear and easy. With the help of comparisons and other techniques, Karamzin manages to better convey sensory world people and their inner experiences. After Karamzin, all literature of the nineteenth century begins to speak using natural language. This is Karamzin’s innovation, which manifested itself in his works.