Ticket number 1

Ticket number 2

1 .Family values \u200b\u200band their influence on the formation of a person's personality (for example 2-3 heroes of the novel) (based on the novel "War and Peace").

In the novel by L.N. Tolstoy describes the life of several families: the Rostovs, Bolkonsky, Kuragin, Berg, and in the epilogue also the families of the Bezukhovs (Pierre and Natasha) and Rostovs (Nikolai Rostov and Marya Bolkonskaya). These families are very different, each is unique, but without a common, most necessary basis for family life - loving union between people - a true family, according to Tolstoy, is impossible. Comparing various types of family relationships, the author shows what a family should be like, what true family values \u200b\u200bare and how they affect the formation of personality. It is no coincidence that all the heroes who are spiritually close to the author were brought up in "real" families, and, on the contrary, egoists and opportunists grew up in "false" families in which people are only formally related to each other. The families of Rostov and Bolkonsky are especially close to the writer. He describes in detail the everyday life of the Rostovs in a Moscow house, in Otradnoye, and the Bolkonskys - in the estates of Lysye Gory and Bogucharovo. The Rostovs and Bolkonskys have a House, there is a great universal value.

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

The author considers the mother to be the moral core of the Rostov family, and the highest virtue of a woman is the sacred duty of motherhood: “The Countess was a woman with an oriental type of thin face, 45 years old. ... The author emphasizes the closeness of mother and daughter with one name - Natalia. Tolstoy describes the count with affection. Count Rostov equally affably welcomed all the guests ... "sweetheart or sweet" spoke to everyone, without exception, without the slightest shades, both above and below him, to the people standing, he laughs "with a sonorous and bass laugh", "laughing, shouts ...", he is "loose kindness itself."

The hospitable and generous house of the Rostovs cannot but charm the reader. Both in St. Petersburg and in Moscow, a variety of people came to dinner with them: neighbors in Otradnoye, old poor landowners, Pierre Bezukhov. Feels disinterested hospitality. The life of the Rostovs in the village bears an even more patriarchal character - the serfs at Christmas time dress up and have fun with their masters.

These elderly people love each other tenderly, anxiously, they have wonderful children. The relationship between parents and children in the Rostov family is based on sincerity of feelings, love, understanding, respect, and trust in each other. The spirit of equality, selflessness prevails in this family. Here they openly rejoice, cry and worry together. The Rostovs are ready to accept and caress anyone: Sonya and Boris Drubetskoy are brought up in the family, in addition to their children. In their house it is comfortable for theirs and strangers.

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

The first time we come across the entire Bolkonskys family is at the end of the first part of the first volume, when everyone in Lysyh Gory, on the Bolkonskys' main estate, is awaiting the arrival of Prince Andrey and his wife. The distinguishing features of the Bolkonskys are spirituality, intelligence, independence, nobility, high ideas about honor and duty. The old prince, a former nobleman of Catherine, a friend of Kutuzov, is a statesman. He, while serving Catherine, served Russia. Not wanting to adapt to the new time, which required not to serve, but to serve, he voluntarily imprisoned himself in the estate.

The Bolkonskys are truly attached to each other. They are united by a latent kindred warmth that is not expressed in words. The old prince, although excessively stern and strict, is proud of his son and loves his daughter, feels guilty in quarrels with children. Only before his death does he give vent to the feeling of pity and love for his daughter, which he had carefully hidden before. Prince Andrew respects and honors his father highly. They have a real understanding. Having left for the war, Prince Andrey wrote letters to his father every day. Children are used to reckoning with the old man's weaknesses and quirks. Therefore, Prince Andrey, at the request of his father, is forced to postpone the wedding with Natasha for a whole year. However, internally the Bolkonskys are very close to each other. Their love is shown in difficult times. When the news of the death of Prince Andrey came, Marya, hugging her father, said: "Let's cry together."

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

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

Lyrics of M. Yu. Lermontov - the work of the poet-romantic. It is no accident that one of the main motives of his lyrics, growing into a whole theme, is the motive of loneliness, which sounds in many poems: "Leaf", "Cliff", "Stanzas", "Duma", "And boring and sad", "Clouds" , "Prophet", "Sail". It should be noted that this is not only a kind of romantic "mask" of the lyrical hero, but also the poet's personal worldview. The ultimate expression of the poet's attitude was reflected in the poem "Sail" (1832)

The sail is white alone
In the mist of the blue sea! ..
What is he looking for in a distant country?
What he threw in his native land ?..

Waves play - the wind whistles
And the mast bends and squeaks ...
Alas! he is not looking for happiness,
And he is not running out of happiness!

Under it a stream is brighter than azure,
Above him a ray of golden sun ...
And he, rebellious, asks for the storm
As if there is peace in the storms! (By heart)

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

Lermontov's "Parus" is associated with each of us and the poet himself not only with the appearance of a sail, but also with a specific person who has suffered many difficult trials. Reading the work, we observe and seascape, and the white lonely sail, and the poet himself, since he himself is alone in the raging world of people.

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

The second quatrain begins with the oncoming wind, which lifted the waves and the sail. It would seem that with a tailwind, you can overcome any obstacles and go long distances. But “alas,” there is a sudden feeling of disappointment and melancholy. With this feeling, the poet connects the lost happiness and dream.

The third quatrain describes the natural harmony and silence of the sea. The sun peeps through, the azure becomes brighter. But the young poet is not at all happy with this, he feels the suffering from discord in his soul and disorder in life.

In the composition of the poem, one can feel the inner experiences of the poet, who wants to escape from the ocean of emotions that has overtaken him, like a sail to find its own quiet haven.

In the poem "Cliff" (“A golden cloud spent the night / / On the chest of a giant cliff ...) the windy soul of the cloud and the lonely soul of the cliff, thirsting for love and tenderness, are opposed. parallelism between human life and nature: human experiences and actions are transferred to an old cliff and a golden cloud. Composition "Cliff" is built on the contrast of the main characters - clouds and cliffs, created using various means: grammatical categories (characters are denoted by masculine and feminine nouns), the use of antithesis ( the cloud plays merrily - the cliff is crying, the young cloud is the old cliff).

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

Poem "Cliff" revealing inner world poet, encourages a person to strive to achieve inner harmony, the ability to live in harmony with himself and the world around him.

Ticket number 3

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

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

Central love line the novel is Evgeny Bazarov's love for Anna Sergeevna Odintsova. The nihilist Bazarov does not believe in love, considering it only as a physical attraction. But it is precisely this seemingly cynical and judicious nature that overtakes a frantic, passionate love for the secular beauty Odintsova. Undoubtedly, Anna Sergeevna is an outstanding nature. She is smart, majestic, not like others. But her heart is cold, and Odintsova cannot respond to Bazarov's feelings, his passion frightens her, threatening to disrupt her usual calm world.
Defeated in love, Bazarov is not broken. It may even seem that he has forgotten Odintsov. But, facing death that overtook him by a strange and absurd accident, Bazarov wants to say goodbye to Anna Sergeevna. Their last meeting reveals the depth of his feelings. "Generous! .. and how young, fresh, clean ... in this disgusting room!" - this is what Bazarov says about his beloved woman.

Another character in the novel, capable of experiencing a deep and passionate feeling, turns out to be the antipode (although in many ways a double) of Bazarov - Pavel Petrovich Kirsanov. But his love is very different from what Bazarov experiences. Bazarov will never become a slave of his beloved woman, which in many respects repels Odintsova from him. Pavel Petrovich, for the sake of love for a certain princess R., crossed out his whole life, gave up his career, was humiliated ... As a result, an unrequited tormenting passion dried up the hero's soul, turning him into a living dead.

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

The novel also contains two stories of a completely different, calm, "home" love - this is the love of Nikolai Petrovich Kirsanov for Fenechka and the love of Arkady for Katya. Both of them end with pictures of quiet family happiness, but the true passion of which Turgenev himself was capable, and the central characters of his works are not in these stories. Therefore, they do not arouse particular interest either among the readers or the author himself.

2 . “How can the heart express itself? How can another understand you? " The philosophical character of F.I. Tyutchev. (For example, 2-3 poems) Reading by heart one of the poet's poems (student's choice).

F.I. Tyutchev is a famous Russian poet of the 19th century. His work is unusually emotional and diverse. In it one can find the sound of spring waters, and the first thunder, and suffering from unrequited love, and deep reflections. Most people know Tyutchev, first of all, as an inspired singer of nature, who created real hymns for her. However, an equally important place in its literary heritage is also occupied by philosophical lyrics. In the poems of this trend, the poet reflects on the world and man, on chaos and the mysteries of nature, on the cosmos and on the eternal problems of being.

Tyutchev did not write for the public, basically, he wrote for himself, setting out his thoughts on paper. In every poem he seeks the truth, the truth.
Tyutchev's poem "Silentium!" was written in 1830.

Shut up, hide and thai

And feelings, and your dreams-

Let in the depths of the soul

One get up and go

As silent as stars in the night

Admire them - and be silent.

How can the heart express itself?

How can another understand you?

Will he understand how you live?

A spoken thought is a lie.

Exploding, you will disturb the keys, -

Eat them - and be silent.

You can only live in yourself.

There is a whole world in your soul

Mysterious and magical thoughts;

They will be deafened by the noise outside

Daytime rays will disperse, -

Listen to them singing - and be silent! .. (By heart)

The incorrect stress of some words in the poem is explained by the fact that for Tyutchev it was more important to show true feelings, and not a lie. He turns to the questions of life, looks for answers to them, doubts or, conversely, is convinced of the correctness of his thoughts. Tyutchev argues that it is sometimes difficult even for the heart to admit its thoughts and assumptions, and whether another person will understand you is an eternal question, because the ideas about life, thoughts and feelings of all people are different and contradictory. Tyutchev advises:

Shut up, hide and thai
And feelings, and their dreams.
As if fear is born in a person: “Will they understand me? What will they say in response? " But Tyutchev believed that he would be understood by mankind, but also Tyutchev urges to listen to other people's opinions,

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

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

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

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

Ticket number 4

1.The position of a Russian woman in the nineteenth century. (on the example of 1-2 plays by A.N. Ostrovsky)

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

Katerina differs in character from all the characters in the drama "The Thunderstorm." and ends so tragically. ”Katerina’s protest against Kabanikha is a struggle of the light, pure, human against the darkness of lies and cruelty of the“ dark kingdom ”. No wonder Ostrovsky, who paid great attention to names and surnames, gave the heroine of "The Storm" the name Catherine, which in Greek means "eternally pure." Katerina is a poetic nature. Unlike the rough people around her, she feels the beauty of nature and loves it. “I used to get up early in the morning; in the summer, I’ll go to the spring, I’ll wash, bring some water with me and that's it, I’ll water all the flowers in the house. I had many, many flowers,” she tells about her childhood. Dreams were filled with miracles She often dreamed that she flies like a bird. She talks about the desire to fly several times. By this Ostrovsky emphasizes the romantic sublimity of Katerina's soul. Married early, she tries to get along with her mother-in-law, to love her husband, but in the Kabanovs' house there are sincere feelings to no one The tenderness that fills her soul does not find application for itself. Deep melancholy resounds in her words about children: "If only somebody's children! Eco grief! I have no children: I would sit with them and amuse them. I love to talk to children very much, - these are angels ”. What a loving wife and mother she would have been under different conditions!

Bondage is Katerina's main enemy. The external conditions of her life in Kalinov seem to be no different from those of her childhood. The same motives, the same rituals, that is, the same activities, but "everything here seems to be out of bondage," says Katerina. Bondage is incompatible with the heroine's freedom-loving soul. "And bondage is bitter, oh, how bitter," says she is in a scene with a key, and these words, these thoughts push her to the decision to see Boris. In the behavior of Katerina, a character has formed that will withstand, but will not change itself.

Varvara is the complete opposite of Katherine. She is not superstitious, is not afraid of thunderstorms, does not consider it necessary to strictly adhere to established customs. According to her position, she cannot openly oppose her mother and therefore cunning and deceiving her. She hopes that marriage will give her the opportunity to leave this house, to break out | from the “dark kingdom.” To Katerina's words that she doesn’t know how to hide anything, Varvara replies: “Well, you cannot do without it! Remember where you live! Our whole house is based on that. And I was not a deceiver, but I learned when I needed to. " Varvara despises her brother's spinelessness and is indignant at her mother's heartlessness, but she does not understand Katerina. She is interested and worried only about the outer side of life. She resigned herself and adapted to the laws of the old world around her.

Larisa, unlike Katerina, grew up and was brought up in conditions where the weak are humiliated, where the strongest survive. Her character lacks the integrity that Katherine has. Therefore, Larisa does not seek, and indeed cannot, realize her dreams and desires. Her name, translated from Greek, means “Seagull.” This bird is associated with something white, light, shrill screaming, and this image is fully consistent with Larisa.

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

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

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

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

They cannot leave indifferent the lines of poems: "Goodbye, unwashed Russia", "Motherland"(1841). "Farewell, unwashed Russia ..." is the poet's harshest political poem. The idea is to reject all sides of reality:

Goodbye unwashed Russia

Land of slaves, land of masters

And you blue uniforms

And you, their loyal people.

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

In his poems, she appears in her heroic past, and in the grandeur of her boundless expanses, and in the poet's bitter thoughts about lawlessness and spiritual slavery.

Poem "Homeland" was born under the impression of a trip through Russia after a poor harvest in 1839, when even roofing straw was eaten in Russian villages.

I love my homeland, but with a strange love!
My mind will not conquer her.
Not blood-bought glory
No peace full of proud confidence,
Neither dark antiquity cherished traditions
Do not stir in me a joyful dream,
But I love - why, I don't know myself -
Her steppes are cold silence,
Its boundless forests sway,
The floods of her rivers are like the seas;
I like to ride in a cart on a country road
And, with a slow gaze piercing the night shadow,
To meet on the sides, sighing for an overnight stay,
The flickering lights of the sad villages.
I love the smoke of burnt stubble
Overnight wagon train in the steppe
And on a hill in the middle of a yellow cornfield
A couple of white birches.
With joy, unfamiliar to many,
I see a full threshing floor
Hut, covered with straw,
Window with carved shutters;
And on a holiday, dewy evening,
Watch until midnight ready
To the dance with stamping and whistling
Under the talk of drunken peasants.
(By heart)

Russia in Lermontov's poem is huge, immense. The image of the steppe immediately evokes the idea of \u200b\u200bsomething free and wide. The second image is a forest ... It is difficult to imagine Mother Russia without forests, green oak forests, white-trunk birches. Like the steppe, the forest reminds of the wealth of the Russian land, its vast expanses. The third remarkable image is the image of the river. There are many of them in Russia. These are, first of all, the great and mighty Volga and Don. The author resorted to comparison - its river floods are like seas.

He confesses that he is happy seeing "a full threshing floor, a hut covered with straw, a window with carved shutters." And during a village holiday, when peasants tired of work are resting, the lyrical hero loves to watch "dancing with stamping and whistling to the sound of drunken peasants."

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

“With joy, unfamiliar to many,” says the poet. What does he mean? It is not common for every landowner to rejoice when looking at the traces of the prosperity of the peasant life: "full threshing floor", "smart, carved window."

The poet calls his love for his homeland a strange love. It is evident that the poet denies "the glory bought by blood." The fact is that after the victory of the Russian people over Napoleon, the glory of Russia thundered all over the world, but all the laurels went to the tsar, government, generals, commanders. This glory was bought by the blood of soldiers, ordinary participants in the war, and something was forgotten about them.

Ticket number 5

1What is the tragedy of Rodion Raskolnikov in FM Dostoevsky's novel "Crime and Punishment"?

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

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

It will be all the better if we take an ambiguous character. Let's turn to the image of Rodion Raskolnikov from the novel by F.M. Dostoevsky's "Crime and Punishment". Grigory Pechorin (M.Yu. Lermontov "A Hero of Our Time"), and Eugene Onegin (A.S. Pushkin "Eugene Onegin"), and Luka (M.A. MA Bulgakov "The Master and Margarita").

Not all people we meet in our life are interesting to us, not all of us accept. Likewise, we do not accept some heroes literary works, we can understand the reasons for their actions, but often there is something that repels.

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

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

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

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

Raskolnikov's tragedy is that, according to his theory, he wants to act according to the principle "everything is allowed", but at the same time, the fire of sacrificial love for people lives in him. It turns out a monstrous and tragic contradiction for the hero: the theory that Raskolnikov professes, tormented by strangers and his sufferings, hating the "masters of life", brings him closer to the villain Luzhin and the villain Svidrigailov. After all, even these contradictory and complex personalities believe that a person with strength and anger, "everything is allowed."

"We are of the same berry field," Svidrigailov says to Raskolnikov. Rodion understands that this is so, because both of them, although for different reasons, "stepped over the blood."

Raskolnikov's tragedy is amplified because the theory that was supposed to bring him out of the impasse led him into the most hopeless of all possible impasses. Consciousness of this causes suffering and torment of the hero, who after the murder felt his complete rejection from the world and people. He cannot be near his beloved mother and sister, he does not enjoy nature ... He, like scissors, cut himself off from everyone.

The pangs of conscience, the chilling fear that haunts Raskolnikov at every step, the thought that he is not Napoleon, but a "trembling creature", "a louse", the consciousness of the senselessness of a perfect atrocity - all this is an unbearable oppression falls on Raskolnikov's soul. Rodion understands the inconsistency of his theory of a "strong man"; it has not stood the test of life. The hero fails, like any person who tied himself to a false idea. And this is also Raskolnikov's tragedy.

It is the inner struggle that turns out to be a tragedy for him. From the mental and worldview crisis, a way out for him is possible only with a full understanding of his own mistake and a revision of all his life positions.

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

Raskolnikov did not take such a step from a good life, he really saved many, like himself, from the need to repay debts.

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

You can understand Raskolnikov, but not a single normal society, not a single normal person should accept the right to murder.

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

In his poems, Afanasy Afanasievich Fet wrote about the simplest - about pictures of nature, about rain, about snow, about the sea, about the mountains, about the forest, about the stars, about the most simple movements souls, even about momentary impressions. His poetry is joyful and light, it has a sense of light and peace. The beauty, naturalness, sincerity of his poetry reach full perfection, his verse is amazingly expressive, figurative, musical. Many romances were written on Fet's poems, which quickly gained wide popularity.

At the heart of Fet's poetics is a special philosophy that expresses the visible and invisible connections between man and nature (cycles "Spring", "Summer", "Autumn", "Snow", "Fortune telling", "Evenings and nights", "Sea"). Feta's hero seeks to merge with the beyond.
In his landscape lyrics, nature appears before the reader in the brightest colors:

I came to you with greetings,
Tell that the sun is up
That it is hot light
The sheets fluttered;

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

In the poem "Whisper, timid breath ..." (1850). Fet perfectly conveys the "fragrant freshness of feelings" inspired by nature, its beauty, charm. His poems are imbued with a light, joyful mood, the happiness of love. The poet unusually subtly reveals the various shades of human experience. He knows how to catch and clothe in bright, vivid images even fleeting spiritual movements, which are difficult to describe and convey in words:

Whispers, timid breathing.
Nightingale trills,
Silver and wobble
Sleepy brook.

Night light, night shadows
Shadows without end
A series of magical changes
Sweet face

In the smoky clouds, purple roses
Reflection of amber,
And kissing and tears
And dawn, dawn! .. (by heart)

Fet in his poems plays on every string of the soul. Changes in the “sweet face” and changes in nature - such parallelism is typical of Fet's poems. Fet, seeing the beauty of the world, tries to preserve it in poetry. The poet introduces this connection between nature and love because one can express feelings and impressions only by talking about the beautiful and the eternal, and love and nature are the two most beautiful things on earth, and there is nothing more eternal than nature and love. In this poem, love and landscape lyrics merge into one. The heroes of the poem are he and she. They have no name or age. The reader simply feels their presence in the poem. Lovers' favorite time is night: "... Night light, night shadows ..."
The poem begins with the appearance of the heroes themselves: "... Whisper, timid breath ...".

And it is no coincidence that from the word "whisper", you cannot shout at night, especially at
goodbye. Hence the breathing is timid. This also suggests that the heroes are all
still young.
From the second line in the fabric of the work is "woven" and another hero -
nightingale. He not only contemplates the world and lovers, he also sings: “... Trill
nightingale ... ", - complementing the beautiful picture of love that reigns" in the universe. "
The third and fourth lines introduce us to the stream. But Fet does not
just a geographic concept, it is also a background, and the next hero of this
poems. The poet personifies him.
The brook sleeps ("... sleepy ..."). And at the same time it moves ("... waving ..."). AND
the water in the stream looks like silver under the moonlight, so Fet uses
metaphor: "... Silver and the waving of a sleepy stream ...".
The epithet "smoky" emphasizes the lightness of clouds, weightlessness, purity. The author uses color symbols: "... purple roses, a reflection of amber ...". And we have one beautiful moment before us, maybe that's why at the end of the poem the word appears - "... tears ..." indicating that there is a moment of parting.

Ticket number 6

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

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

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

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

Leskov's story presents an absolutely new type of hero, incomparable with any other in Russian literature. He merged so organically with the element of life that he is not afraid to get lost in it.

In the story of N.S. Leskov "The Enchanted Wanderer" (1873) tells the story of the protagonist -

Ivan Severyanovich Flyagin, whose life is a chain of incredible adventures. Theme Leskov's story - the image of a simple Russian man, in whose image the author saw character traits Russian nation. Idea stories - to present a positive hero-"righteous man",

as the writer himself calls it.

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

Ivan Severyanovich is not a perfect hero. At the beginning life path he does not distinguish between good and evil (does not feel guilt for death

Moral issues in the plays of A.N. Ostrovsky. Drama "Thunderstorm"

The people of the "Groza" live in a special state of the world: crisis, catastrophic. The supports holding back the old order shook, and the agitated life began to shake. The first action introduces us to the pre-storm atmosphere of life. Outwardly, so far everything is all right, but the restraining forces are too fragile: their temporary triumph only increases tension. It thickens towards the end of the first act: even nature, as in a folk song, responds to this with a thunderstorm approaching Kalinov. Kabanikha- a man of a crisis era, like other heroes of the tragedy. He is a one-sided adherent of the worst aspects of the old morality. Assuming that everywhere and in everything Kabanikha observes the rules of "house building", that she is chivalrously faithful to his formal regulations, we succumb to deception inspired by the strength of her character. In fact, she easily deviates not only from the spirit, but also from the letter of the Domostroy prescriptions. ... “... If they offend - do not take revenge, if they blaspheme, pray, do not repay evil for evil, do not condemn those who sin, remember your sins, take care of them first of all, reject the advice of evil people, look up to those who live in truth, their deeds write in your heart and do the same yourself, ” says the old moral law. "The enemies must forgive, sir!" - exhorts Tikhon Kuligin. And what does he hear in response? “Come talk to mamma, what will she tell you about that. " The detail is significant! The boar is terrible not for loyalty to antiquity, but for petty tyranny "Under the guise of piety." The old morality is largely denied here: the most rigid formulas that justify despotism are extracted from the "house building". Willfulness Wild in contrast to the tyranny of Kabanikha, it is not reinforced on anything, it is not justified by any rules. The moral foundations in his soul are thoroughly shaken. This "warrior" is not happy with himself, a victim of his own self-will. He is the richest and most distinguished person in the city. Capital unties his hands, makes it possible to swagger freely over the poor and financially dependent people. The more Wild he gets richer, the more unceremonious he becomes. “Why are you going to sue, or what, you will be with me? - he declares to Kuligin. So you know that you are a worm. I want to have mercy, if I want - I will crush ”... Boris's aunt, leaving a will, in accordance with custom, made it the main condition for receiving an inheritance respectfulnessnephew to uncle. As long as the moral laws were unshakable, everything was in favor of Boris. But their foundations were shaken, it became possible to turn the law this way and that, according to the well-known proverb: "The law is that the tongue: where you turned, there it went". “What can we do, sir! - says Kuligin to Boris. We must try to please somehow. " "Who will please him, - the knowing one reasonably objects the soul of the Wild Curly, - if his whole life is based on swearing? .. " "Again, even if you were respectful to him, who would forbid him to say something that you are disrespectful?"But he is strong financially, Savel Prokofievich Dikoy is weak spiritually. He can sometimes give a pass before someone who is stronger in law than him, because the dim light of moral truth still flickers in his soul: “Somehow about fasting, about great things, I was fasting, but here it’s not easy and slip a peasant; I came for the money, carried firewood. And he brought him to sin at a time like this! He did sin: he scolded him, he scolded him so much that it was impossible to demand better, he almost nailed him. Here it is, what a heart I have! After he asked for forgiveness, he bowed at his feet, really, so. Truly I tell you, I bowed to the peasant's feet. I bowed to him in front of everyone. "Of course, this "insight" of the Wild is just a whim, akin to his tyrannical whims. This is not a repentance to Katya rina, born of guilt and excruciating moral torment.fathers cities revolt young forces of life. These are Tikhon and Varvara, Kudryash and Katerina.Trouble Tikhon is born of the dark kingdom lack of will and fearin front of mama. In essence, he does not share her despotic claims and neitherthan she does not believe. Deep in his soul, Tikhon curled up into a ballkind and generous person who loves Katerina, able to forgive her anyresentment. He tries to support his wife in the moment of repentance and even wants hug her. Tikhon is much more subtle and morally discerning than Boris, who at this moment, guided byweak-hearted nym "shit-covered", comes outout of the crowd and bows to Kabanov, thereby aggravating the sufferingKaterina. But Tikhon's humanity is tootimid and inactive. Only at the end of the tragedywakes up it has something likeprotest: “Mamma, you ruined her!you, you., you ... ". Tikhon was dodged from the oppressive tyrannyat times, but even in these evasions there is no freedom.Revelry and drunkenness are akin to self-forgetfulness. As Katerina correctly notes, "and at will, he is definitely bound."

Ostrovsky was once called “Columbus of Zamoskvorechye”, emphasizing artistic discovery the world of merchants in the plays of the playwright, but today such works as "Dowry", "Our people - numbered", "Talents and admirers", "Forest" and other plays are interesting not only for concrete historical problems, but also for moral, universal human. In more detail I would like to tell you about the play "Thunderstorm".

It is symbolic that in 1859, on the eve of a social upsurge, which in 61 will lead to the abolition of

Serfdom, there was a play called "The Thunderstorm". Just as the title of the play is symbolic, its moral problems are also multifaceted, in the center of which are the problems of external and internal freedom, love and happiness, the problem of moral choice and responsibility for it.

The problem of external and internal freedom becomes one of the central issues in the play. " Cruel manners, sir, in our city, cruel, ”- already at the beginning of the play says Kuligin.

Only one person is given to stand out against the background of the humiliated and humiliated - Katerina. Already the first appearance of Katerina reveals in her not a timid daughter-in-law of a strict mother-in-law,

And a person who has dignity and feels like a person: “It’s pleasant for someone to endure in vain,” says Katerina in response to Kabanikha's unfair words. Katerina is an inspired, light, dreamy nature, she, like no one in the play, knows how to feel the beauty. Even her religiosity is also a manifestation of spirituality. The church service is filled with a special charm for her: in the rays of sunlight, she saw angels, felt a sense of belonging to something higher, unearthly.

The motive of light becomes one of the central in the characterization of Katerina. “But from the face it seems to be shining,” - it was enough for Boris to say this, and Kudryash immediately realized that it was about Katerina. Her speech is humorous, figurative, reminiscent of Russians folk songs: "The winds are violent, you will transfer to him my sadness and anguish." Katerina is distinguished by inner freedom, passion of nature, it is not by chance that the motif of a bird and flight appears in the play. The bondage of the boar house oppresses her, strangles her. “Everything is as if out of bondage. I have completely wilted with you, ”says Katerina, explaining to Varvara why she does not feel happiness in the Kabanovs' house.

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

The title of the play acquires the most dramatic sound when we feel a "thunderstorm" brewing in Katerina's soul. The central moral problematic play can be called the problem of moral choice. The clash of duty and feeling, like a thunderstorm, destroyed the harmony in Katerina's soul, with whom she lived; she doesn’t dream, as before, “golden temples or extraordinary gardens”, it is already impossible to relieve the soul with a prayer: “I’ll start to think - I can’t collect my thoughts, pray - I won’t pray in any way”. Without agreement with herself, Katerina cannot live, she could never, like Barbara, be content with thieves', secret love. The awareness of her sinfulness burdens Katerina, torments her more than all the reproaches of Kabanikha. Ostrovsky's heroine cannot live in a world of discord - this explains her death. She herself made a choice - and she pays for it herself, without blaming anyone: “No one is to blame - she went for it herself.”

It can be concluded that it is precisely the moral problematics of Ostrovsky's play “The Thunderstorm” that makes this work interesting for the modern reader even today.

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The problematic of a work in literary criticism is a range of problems that are somehow touched upon in the text. This can be one or several aspects on which the author focuses. This work will focus on the problems of Ostrovsky's "Thunderstorm". A. N. Ostrovsky received a literary vocation after the first published play. "Poverty is not a vice", "Dowry", "A profitable place" - these and many other works are devoted to social and everyday topics, but the problem of the play "The Thunderstorm" should be considered separately.

The play was received ambiguously by critics. Dobrolyubov saw in Katerina hope for new life, Ap. Grigoriev noticed the emerging protest against the existing order, and L. Tolstoy did not accept the play at all. The story of The Thunderstorms, at first glance, is quite simple: everything is based on a love conflict. Katerina secretly meets with a young man while her husband left for another city on business. Unable to cope with the pangs of conscience, the girl confesses to treason, after which she rushes into the Volga. However, behind all this mundane, everyday life, lies much more ambitious things that threaten to grow to the scale of space. Dobrolyubov calls the situation described in the text "Dark Kingdom". An atmosphere of lies and betrayal. In Kalinov, people are so used to moral filth that their uncomplaining consent only aggravates the situation. It becomes scary from the realization that it was not a place that made people like that, that people independently turned the city into a kind of accumulation of vices. And now already " dark kingdom»Begins to influence the inhabitants. After a detailed acquaintance with the text, you can see how widely the problems of the work "The Thunderstorm" are developed.

The problems in Ostrovsky's "Thunderstorm" are diverse, but they have no hierarchy. Each problem taken separately is important in itself.

The problem of fathers and children

Here we are not talking about misunderstanding, but about total control, about patriarchal orders. The play shows the life of the Kabanov family. At that time, the opinion of the eldest man in the family was undeniable, and wives and daughters were practically deprived of their rights. The family is headed by Marfa Ignatievna, a widow. She took over male functions. This is a domineering and calculating woman. Kabanikha believes that she takes care of her children, ordering them to do as she wants. This behavior led to quite logical consequences. Her son, Tikhon, is a weak and spineless person. Mother, it seems, wanted to see him like that, because in this case it is easier to control a person. Tikhon is afraid to say anything, to express his opinion; in one of the scenes he admits that he has no point of view at all. Tikhon cannot protect himself or his wife from mother's hysterics and cruelty. Kabanikha's daughter, Varvara, on the contrary, managed to adapt to this lifestyle. She easily lies to her mother, the girl even changed the lock on the gate in the garden in order to freely go on dates with Kudryash. Tikhon is not capable of any rebellion, while Varvara escapes from her parents' house with her lover in the finale of the play.

Self-realization problem

When talking about the Thunderstorm problems, one cannot but mention this aspect. The problem is implemented in the image of Kuligin. This self-taught inventor dreams of doing something useful for everyone in the city. His plans include assembling a perpetual mobile, building a lightning rod, and getting electricity. But this entire dark, semi-pagan world needs neither light nor enlightenment. Dikoy laughs at Kuligin's plans to find an honest job, openly mocks him. After talking with Kuligin, Boris understands that the inventor will never invent a single thing. Perhaps Kuligin himself understands this. He could be called naive, but he knows what manners reign in Kalinov, what happens behind closed doors, what are those in whose hands the power is concentrated. Kuligin learned to live in this world without losing himself. But he is not able to feel the conflict between reality and dreams as keenly as Katerina did.

Power problem

In the city of Kalinovo, power is not in the hands of the relevant authorities, but in those who have money. The proof of this is the dialogue between the Wild merchant and the mayor. The mayor tells the merchant that there are complaints about the latter. To this Savl Prokofievich answers rudely. Dikoy does not hide the fact that he is cheating ordinary men, he speaks of deception as a normal phenomenon: if merchants steal from each other, then you can steal from ordinary residents. In Kalinov, nominal power decides absolutely nothing, and this is fundamentally wrong. After all, it turns out that it is simply impossible to live in such a city without money. Dikoy imagines himself to be almost a priest-king, deciding who to lend money, and who does not. “So know that you are a worm. If I want - I will have mercy, if I want - I will crush ”- this is how Dikoy Kuligin answers.

Love problem

In The Thunderstorm, the problem of love is realized in the pairs Katerina - Tikhon and Katerina - Boris. The girl is forced to live with her husband, although she does not feel any feelings except pity for him. Katya rushes from one extreme to another: she thinks between the option of staying with her husband and learning to love him or leaving Tikhon. Katya's feelings for Boris flare up instantly. This passion pushes the girl to a decisive step: Katya goes against public opinion and Christian morality. Her feelings were mutual, but for Boris this love meant much less. Katya believed that Boris, like her, was incapable of living in a frozen city and lying for profit. Katerina often compared herself to a bird, she wanted to fly away, to escape from that metaphorical cage, and in Boris Katya saw that air, that freedom that she so lacked. Unfortunately, the girl was mistaken about Boris. The young man turned out to be the same as the inhabitants of Kalinov. He wanted to improve relations with Dikim for the sake of getting money, talked with Varvara that feelings for Katya are best kept secret as long as possible.

Conflict of old and new

It is about the resistance of a patriarchal way of life with a new order that presupposes equality and freedom. This topic was very relevant. Let us recall that the play was written in 1859, and serfdom was abolished in 1861. Social contradictions reached their climax. The author wanted to show what the lack of reforms and decisive action can lead to. This is confirmed by the final words of Tikhon. “Good for you, Katya! Why am I left to live and suffer! " In such a world, the living envy the dead.

Most of all, this contradiction was reflected in the main character of the play. Katerina cannot understand how one can live in lies and animal humility. The girl was suffocating in the atmosphere that had been created by the residents of Kalinov for a long time. She is honest and pure, so her only desire was so small and so great at the same time. Katya just wanted to be herself, to live the way she was brought up. Katerina sees that everything is not at all as she imagined before marriage. She can't even afford a sincere impulse to hug her husband - Kabanikha controlled and suppressed any attempts by Katya to be sincere. Varvara supports Katya, but cannot understand her. Katerina is left alone in this world of deceit and filth. The girl could not bear such pressure, she finds salvation in death. Death frees Katya from the burden of earthly life, turning her soul into something light, capable of flying away from the "dark kingdom."

It can be concluded that the problems in the drama "The Thunderstorm" are significant and relevant to this day. These are unresolved issues of human existence that will concern a person at all times. It is thanks to this formulation of the question that the play "The Thunderstorm" can be called a work outside of time.

Product test

moral problems in the play Thunderstorm and got the best answer

Answer from Valera --14-88 - [guru]
The drama "The Thunderstorm" is based on the image of the awakening sense of personality and a new attitude towards the world.
Ostrovsky showed that even in the ossified little world of Kalinov, a character of striking beauty and strength can arise. It is very important that Katerina was born and formed in the same Kalinov conditions. In the exposition of the play, Katerina tells Varvara about her life as a girl. The main motive of her story is all pervading mutual love and will. But it was a "will" that did not at all contradict the centuries-old way of the closed life of a woman, whose entire range of ideas was limited to domestic work and religious dreams.
This is a world in which it does not occur to a person to oppose himself to the general, since he does not yet separate himself from this community, and therefore there is no violence or compulsion here. But Katerina lives in an era when the very spirit of this morality - the harmony between the individual and the ideas of the environment - has disappeared and the ossified form of relations rests on violence and coercion. Katerina's sensitive soul caught it. "Yes, everything here seems to be out of bondage."
It is very important that it is here, in Kalinov, that a new attitude to the world is born in the soul of the heroine, new feelings that are not yet clear to the heroine herself: “Something in me is so extraordinary. As if I'm starting to live again, or ... I really don't know. "
This vague feeling is an awakening sense of personality. In the soul of the heroine, it is embodied in love. Passion is born and grows in Katherine. The awakened feeling of love is perceived by Katerina as a terrible sin, because for her, a married woman, love for a stranger is a violation of moral duty. Katerina does not doubt the fidelity of her moral ideas, she only sees that none of those around her cares about true essence this morality.
She does not see the outcome of her torment, except death, and it is the complete absence of hope for forgiveness that pushes her to commit suicide - a sin even more serious from the Christian point of view. "All the same, I have ruined my soul."

Answer from 2 answers[guru]

Hello! Here is a selection of topics with answers to your question: moral problems in the play The Storm

Answer from Marina Skorodumova[newbie]

Answer from L l[active]
Summary and problems, arguments for the exam for the work "The Thunderstorm" by Ostrovsky

Answer from Irishka[newbie]
Ostrovsky knew very well such a part of society as merchants and he looked through it as the center of city life. All types of characters can be traced in this layer. The central moral problem is the struggle between the environment and the individual. This problem is revealed in the center of the main conflict of the work, where you can see the clash of an ardent soul and the everyday, insensitive traditions of the life of the merchants. In this society, all lawless and cruel acts are committed under the shield of nobility. It is difficult to come to terms with this self-deception and hypocrisy, especially for such a living and exalted person as Katerina Kabanova. This clash of justice and soulfulness with the hypocrisy and hypocrisy that we see in this play, later one of the critics will be called "a ray of light in the dark kingdom."
The next problem is understanding sin. Katerina is cheating on her husband and cannot forgive herself for this. She finds the only correct way out - this is public repentance. But this is not the main thing in this problem. The main issue here remains the solution to the question of sin. As a rule, in our society, suicide is considered almost the most terrible sin. But Katerina's understanding of sin differs significantly from this conclusion. She considers the most terrible sin to live in this soulless and full of injustice society.
Another important moral problem in Ostrovsky's play is the problem of human dignity. This problem is closely intertwined with the main problem works. Of all the characters, only Katerina has a sense of her own dignity. She defends him with her decision to leave this world. The rest of the young people of the city are unable to protest against humiliation and constant moralizing from their entourage.

Answer from Vita Milkin[guru]
Family foundations.
Love is a new feeling (to love a lawful husband, to love a loved one).
Is it possible to overcome this feeling.
Do I have to fight him.
Is it moral to love not a husband?
Is it possible to go against the opinion of the family, mother-in-law, neighbors.
Such a modern play!