Why did the experienced mayor believe Khlestakov? Why did the mayor so easily believe the talkers Bobchinsky and Dobchinsky? In which works of Russian classics are the morals of bureaucracy depicted and in what ways can these works be compared with Gogol’s
Why did the mayor so easily believe the talkers Bobchinsky and Dobchinsky?
Read the text fragment below and complete tasks B1-B7; C1-C2.
Bobchinsky<...>We had just arrived at the hotel when suddenly a young man...
Dobchinsky (interrupting). Not bad looking, in a private dress...
: Bobchinsky. Not bad-looking, in a particular dress, walks around the room like that, and in his face there’s a kind of reasoning... physiognomy... actions, and here (twirls his hand near his forehead). many, many things. It was as if I had a presentiment and said to Pyotr Ivanovich: “There’s something here for a reason, sir.” Yes. And Peter Ivanovich already blinked his finger and called the innkeeper, sir, the innkeeper Vlas: his wife gave birth to him three weeks ago, and such a lively boy will, just like his father, run the inn. Pyotr Ivanovich called Vlas and asked him quietly: “Who, he says, is this young man? “- and Vlas answers this: “This,” he says... Eh, don’t interrupt, Pyotr Ivanovich, please don’t interrupt; you won’t tell, by God you won’t tell: you whisper; you, I know, have one tooth whistling in your mouth... “This is, he says, a young man, an official,” yes, sir, “coming from St. Petersburg, and his last name, he says, is Ivan Aleksandrovich Khlestakov, sir, but he’s going, he says, to the Saratov province and, he says, he attests himself in a very strange way: he’s been living for another week, he’s not leaving the tavern, he’s taking everything into his account and doesn’t want to pay a penny.” As he told me this, and so it was brought to my senses from above. “Eh! “I say to Pyotr Ivanovich...
Dobchinsky. No, Pyotr Ivanovich, it was I who said: “eh! »
Bobchinsky. First you said it, and then I said it too. “Eh! - Pyotr Ivanovich and I said. - Why on earth should he sit here when his road lies to the Saratov province? "Yes, sir. But he is this official.
Mayor. Who, what official?
Bobchinsky. The official about whom you deigned to receive a lecture is an auditor.
Mayor (in fear). What are you, God bless you! it's not him.
Dobchinsky. He! and he doesn’t pay money and doesn’t go. Who else should it be if not him? And the road ticket is registered in Saratov.
Bobchinsky. He, he, by God he... So observant: he looked at everything. He saw that Pyotr Ivanovich and I were eating salmon, more because Pyotr Ivanovich was talking about his stomach... yes, he also looked into our plates. I was filled with fear.
Mayor. Lord, have mercy on us sinners! Where does he live there?
Dobchinsky. In the fifth room, under the stairs.
Bobchinsky. In the same room where visiting officers fought last year.
Mayor. How long has he been here?
Dobchinsky. And it’s already two weeks. Came to see Vasily the Egyptian.
Mayor. Two weeks! (To the side.) Fathers, matchmakers! Bring it out, holy saints! In these two weeks the non-commissioned officer's wife was flogged! The prisoners were not given provisions! There's a tavern on the streets, it's unclean! Disgrace! vilification! (He grabs his head.)
Artemy Filippovich. Well, Anton Antonovich? - Parade to the hotel.
Ammos Fedorovich. No no! Put your head forward, the clergy, the merchants; here in the book “The Acts of John Mason”...
Mayor. No no; let me do it myself. There have been difficult situations in life, we went, and even received thanks. Perhaps God will bear it now. (Addressing Bobchinsky.) You say he is a young man?
Bobchinsky. Young, about twenty-three or four years old.
Mayor. So much the better: you’ll get wind of the young man sooner. It's a disaster if the old devil is the one who's young and on top. You, gentlemen, get ready for your part, and I will go on my own, or at least with Pyotr Ivanovich, privately, for a walk, to see if those passing by are in trouble...
N. V. Gogol “The Inspector General”
Indicate the genre to which N.V. Gogol’s play “The Inspector General” belongs.
Explanation.
N.V. Gogol's play “The Inspector General” belongs to the comedy genre. Let's give a definition.
Comedy is a dramatic work that, through satire and humor, ridicules the vices of society and man.
In the comedy, Gogol denounces lazy and careless officials who are rushing about because of the arrival of the “auditor”. A small town is a miniature copy of the state.
Answer: comedy.
Answer: comedy
Name a literary movement that flourished in the second half of the 19th century and whose principles were embodied in Gogol’s play.
Explanation.
This literary movement is called realism. Let's give a definition.
Realism is a truthful depiction of reality.
Realism in The Inspector General is shown by typical characters of that time: careless officials.
Answer: realism.
Answer: Realism
The above fragment conveys a lively conversation between the characters. What is this form of communication between characters in a work of fiction called?
Explanation.
This form of communication is called dialogue. Let's give a definition.
Dialogue is a conversation between two or more persons in a work of fiction. In a dramatic work, the dialogue of the characters is one of the main artistic means for creating an image and character.
Answer: dialogue.
Answer: dialogue|polylogue
Indicate the term that denotes the author's comments and explanations during the action of the play (“interrupting,” “in fear,” etc.)
Explanation.
Such author's comments are called remarks. Let's give a definition. A remark is a commentary by the author that complements the content of the work.
Answer: remark.
Answer: remark|remarks
The action of the play is based on the confrontation between officials of the city of N and the imaginary auditor. What is the name of confrontation, confrontation that serves as a stimulus for the development of action?
Explanation.
This confrontation is called conflict. Let's give a definition.
Conflict is a clash of opposing views of characters in epic, drama, works of the lyric-epic genre, as well as in lyrics, if there is a plot in it. The conflict is realized in the verbal and physical actions of the characters. The conflict unfolds through the plot.
Answer: conflict.
Answer: Conflict
Julia Milach 02.03.2017 16:26
In training books, answers to such tasks are written “antithesis/contrast,” which implies that both options are correct. Even among the tasks on your website that ask the same thing, in some places the antithesis is recognized as the correct answer, and in others it is a contrast.
Tatiana Statsenko
Conflict is not the same as contrast. What is the contrast in this task?
The scenes of reading the letter and the appearance of Bobchinsky and Dobchinsky with the news about the auditor set the course for the main events of the play. Indicate the term denoting this stage of action development.
Explanation.
This stage of development is called the beginning. Let's give a definition.
The plot is the event that begins the development of action in literary work of art.
Mayor. I invited you, gentlemen, in order to tell you some very unpleasant news: an auditor is coming to visit us.
Ammos Fedorovich. How's the auditor?
Artemy Filippovich. How's the auditor?
Mayor. Inspector from St. Petersburg, incognito. And with a secret order.
Ammos Fedorovich. Here you go! "..."
Answer: connection.
Answer: Tie
· Answer: detail|artistic detail|artistic detail
Which works of Russian classics depict the morals of bureaucracy and in what ways do these works have something in common with Gogol’s “The Inspector General”?
Explanation.
The morals of officialdom are a topical topic for Russian classical literature of the 19th century. The theme raised by Gogol in “The Inspector General”, “The Overcoat”, brilliantly developed by him in “ Dead souls ah”, was reflected in the stories of A.P. Chekhov: “Fat and Thin”, “Death of an Official” and others. The distinctive features of officials in the works of Gogol and Chekhov are bribery, stupidity, money-grubbing, inability to develop and fulfill the main function assigned to them - managing a city, province, state. Let us remember the officials of the county town from Dead Souls. Their interests are limited to their own pockets and entertainment, they see the meaning of life in veneration of rank, and the officials in the above excerpt from “The Inspector General” appear like this before us. Bobchinsky and Dobchinsky, Ammos Fedorovich, even the mayor - each of them has something to fear, this fear does not allow them to consider Khlestakov’s true face, but they are frantically trying to get out of an unpleasant situation by any means. In Chekhov’s stories, the official is so insignificant that he is ready to die from fear of a higher rank (“Death of an Official”), this is the path from Gogol’s official to Chekhov’s official - complete degradation.
Explanation.
The mayor has something to fear and something to hide. He is frightened by news from an old friend about the arrival of an auditor. That is why the mayor easily succumbs to Dobchinsky-Bobchinsky’s “provocation” about the arrival of the auditor and believes them. It is truly “fear has big eyes,” which is why the mayor does not see obvious things.
3. Why did the experienced mayor believe in the “significance” of Khlestakov? (based on Gogol's comedy "The Inspector General").For district officials, the St. Petersburg auditor is, first of all, a high rank. Documents show that audits were carried out, as a rule, by senators and adjutants. Hence the double power of the auditor: his own high rank and the even higher one of those who send to audit. If we add to this the local, district veneration of rank, one can imagine in what atmosphere the psychology of the provincial man in the street was formed, whether he was a service person or not. “The power of electricity” in such conditions gave birth to the “force of general fear” in the district town.
But not only in him. Khlestakov, after all, also has a rank, and since it is not a high one - collegiate registrar ("elistratishka"), it cannot snatch a person from the captivity of an eternal state of fear (and what rank, besides the royal one, could snatch it out?).
This is what unites Khlestakov with the mayor and others county officials, and their common fear becomes the basis of the entire dramatic action in The Inspector General. The mayor is afraid of Khlestakov, but Ivan Alexandrovich is also in the same fear of the district mayor. One must understand the depth of Gogol's thoughts about the strange internal similarity of people, born of an unnatural feeling, in order to appreciate the satirical grotesquery of the writer, who recreates an essentially absurd, anecdotal story with comic details.
What is the justification for the grotesque? Is the anecdotal story realistically motivated? The mayor’s fussiness in front of Khlestakov, his lingering delusion about the true high-ranking value of the “elistrate”, and on the other hand, the amazing metamorphoses of Ivan Alexandrovich - from the humiliated pleading tone to the arrogant, shameless fanfare - all the true human and artistic truth. Gogol brilliantly guessed those, to use Shchedrin’s expression, “readiness” that is or can be in human nature. Readiness for blind faith, readiness for mimicry, for whatever the environment wants.
The district environment demands (such is its own psychological “readiness”) that the capital’s “thing” rise above it, and Khlestakov, with all his frivolity, knowing the rules of this social “game,” joyfully meets such a desire. And purely Khlestakov’s recklessness, unbridled lies - the hero gets away with everything, for the environment has already been conquered by the mimicry of Ivan Aleksandrovich, who quickly managed to “match” it in the details of everyday behavior, and on the other hand, he frantically craves fantastic writing (in it - both faith and dream small district man).
Gogol characterized Khlestakov in exactly this way: “He started talking, not knowing from the beginning of the conversation where his speech would lead. Topics for conversation are given to him by the scouts. They themselves, as it were, put everything in his mouth and create a conversation.”
Khlestakov floats with the flow formed by the district fear and admiration for the metropolitan person. The current could have been different, and Ivan Alexandrovich would have obeyed it. He is ready for anything: his own spiritual obliteration and depersonality can create in his mind a picture of extreme humiliation as quite real. In the words about the non-commissioned officer's widow who was flogged, he is able to hear a hint of a similar execution of him, Khlestakov. The disproportion of guilt (debt for the hotel) and punishment does not come to mind, here again is the omnipotence of a feeling of some kind of constant guilt and constant fear of the “elist.”
But the will of the environment is different, and the playwright’s plan is different: to give an artistic portrait of an entire city, a large association of people gripped by fear - and Khlestakov’s fate is such as readers and spectators have known it for almost a century and a half.
The internal motive of the main action in The Inspector General, which “justifies” all the seemingly implausible plot episodes, is the unbridled desire of the mayor and Khlestakov to rise to a higher rank. Skvoznik-Dmukhanovsky directly expresses his dream, and Khlestakov also wants, in Gogol’s words, “to play a role higher than his own.” The only difference is in the forms of behavior. And also only outwardly their specific ideals differ and the reader’s reaction to them is different. The mayor’s future as a general is simply terrifying; Khlestakov’s “state” activities only cause a smile. But Gogol warns: these differences are insignificant, one must not be mistaken about Khlestakov’s comicalism - it is not at all harmless. It is not for nothing that the mayor listens with delight to Ivan Alexandrovich’s speeches - in them he sees his own realized dream.
And this unity of Khlestakov and the mayor gives rise to the tragicomic grotesque of the play, making understandable the unlikely situation when a young idle man is mistaken for a state dignitary.
There is another artistic motive, similar to what we saw in “The Nose”: the plot’s grotesqueness should convey the absurdity of the social legal order, when the possession of a high rank is achieved not according to a reasonable human law, not according to the true spiritual value of the individual, but, in essence, according to random whim of fate.
Gogol comically sharpens this idea. Khlestakov, according to the author, “having been scolded many times himself, he must skillfully portray this in speeches,” quickly gets into the role, skillfully and even brilliantly (according to provincial standards) represents the formidable nobleman. This playful, grotesque moment is very meaningful: here is a transparent hint of randomness, complete groundlessness, psychological, intellectual, of the appearance significant persons.
We know - and Gogol knew this very well - that there was a social logic in such an appearance, but it was important for him, a humanist and educator, to say: true reason recognizes its illogicality, the improbability of its results.
The contradiction between what is and what should be is recorded in The Inspector General. Isn’t it strange that in the “collective city”, together with Skvoznik-Dmukhanovsky, such monsters as judge Lyapkin-Tyapkin, the trustee of charitable institutions Zemlyanika and the superintendent of schools Khlopov feel like the true owners? Their existence in this role is absurd and insane, just as the organization of life created by such “city fathers” is cruelly absurd. Their power is real, but, from Gogol’s point of view, it is illusory.
The grotesque in “The Inspector General” perfectly expresses the idea of “ghostliness,” but it is realistic at its core and in every detail. Its originality lies in the fact that its main, comic element is constantly “adjacent” to the pathos of the tragic. Reading the play, we always imagine that a real auditor is quite real, and even with almost the fullness of power that is depicted in Ivan Alexandrovich’s heated imagination, only without buffoonery, but with a gloomy severity that is even more terrifying. And sometimes Anton Antonovich’s dreams of a generalship with a natural addition in the form of one of the “first houses in the capital” and with the only possible form of using this generalship: limitless, heavy power over the weak of this world seem not at all like empty projection.
Such multi-layered content of The Inspector General is surprising. Although we have before us a typical district town of Russia, whose existence takes place in some strange isolation from the state, you constantly think about the latter: its image is depicted in a comedy. It is the bureaucratic world of the entire country that is spinning in a terrible and clownish round dance, controlled by an autocratic auditor. Such an extreme generalization could not fail to be noticed immediately, and it was noticed, as is known, by the tsar himself, who attended the first performance of the comedy on April 19, 1836 on the stage of the Alexandria Theater (“Everyone got it, but I got it more than anyone else,” Nicholas allegedly said I).
Where is such a generalizing power of The Inspector General hidden? And in the plot, of course, and in the specific sense of the speeches made by the characters, but above all - in the structure of the characters. A superficial glance may state their unilinearity, but an attentive reader will notice psychological richness and dynamism. They do not appear in the play as simple illustrations of a given way of life or the author’s idea of it, as could be the case in the dramaturgy of classicism.
"The Inspector General" is a genuine comedy of characters. The famous “silent scene” at the end of the play is the end of the psychological functions of the characters, the exhaustion of their dynamism. Here the author’s final thought already sounds, a warning about frightening retribution. This is how Gogol himself interpreted this scene. In “The Denouement of The Inspector General” he wrote: “This very appearance of the gendarme, who, like some kind of executioner, appears at the door, is the petrification that his words induce on everyone, announcing the arrival of a real inspector who must exterminate them all, erase them all.” from the face of the earth, to completely destroy - all this is somehow inexplicably scary."
Despite the fact that the landowners Bobchinsky and Dobchinsky were famous in the city of N as gossips and talkers, the mayor easily believed their words that the guest who had been living in the tavern for a week and was behaving “strangely” was the same auditor about whom “ deigned to receive a notification.” He believed, firstly, because the envoy from the capital, expected with horror by the officials of the city of N, was supposed to arrive incognito. Secondly, according to the landowners, the stranger is suspiciously observant: he looks into the plates of tavern visitors, and he himself “takes everything into the account and does not want to pay a penny.”
The mayor “grabs his head”: the auditor has been observing the unrest happening in the city for two weeks. During this period, the non-commissioned officer’s wife was flogged, “the prisoners were not given provisions,” and there was “uncleanliness,” “shame,” and “vilification” on the streets.
The mayor’s panicky fear takes over his sanity, forcing him to mistake “an icicle, a rag” for “ important person”, believe gossips and talkers.
Other works on this topic:
- The climax of Nikolai Vasilyevich Gogol’s comedy “The Inspector General” is the episode in which postmaster Shpekin reads Khlestakov’s letter, which he had detained, to all officials. It was then that the mayor and...
- Gorodnichy - character characteristics GORODNHICHY - central character comedy by N.V. Gogol “The Inspector General”. On the list characters: Anton Antonovich Skvoznik-Dmukhanovsky. According to “Notes to Gentlemen...
- It is known that Nikolai Vasilyevich Gogol, no matter how important the fight against all kinds of bribe-takers, embezzlers and other crooks weakening the state seemed to him, was still the main thing...
- The events of N.V. Gogol’s comedy “The Inspector General” take place in 1831 in some county town. As the mayor said about him, “Yes, from here, even for three years, jump...
- The comedy “The Inspector General” was written in 1835. It took two months to write. The plot of the comedy was suggested by A.S. Pushkin. In 1836, the comedy was staged in the Alexandria...
- “The Inspector General” is a comedy fraught with deep vices Russian society XIX century. To focus readers' attention on the flaws of the upper class, Gogol turns to innovative ideas...
- One of the main characters of the comedy “The Inspector General,” so vividly drawn by N.V. Gogol, is the mayor Anton Antonovich Skvoznik-Dmukhanovsky. This is a “not stupid person in his own way.” There are many precise words in his speech...
- In 1824, Alexander Sergeevich Griboedov finished his comedy “Woe from Wit.” Written in the era of preparation for the “knightly feat” of the Decembrists, the play spoke about moods and conflicts...
Nikolai Vasilievich Gogol
(1809–1852)
Comedy "The Inspector General" (1835)
History of creation
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B8. secondary B9.satire Mayor. That's when he stabbed him, he stabbed him like that! Killed, killed, completely killed! I don't see anything. I see some pig snouts instead of faces, but nothing else... Turn it back, turn it back! ( He waves his hand.) Where to turn! As if on purpose, I ordered the caretaker to give me the best three; The devil has managed to give an order ahead. Korobkin's wife. This is definitely an unprecedented embarrassment! Ammos Fedorovich. However, damn it, gentlemen! he took three hundred from me rubles on loan. Artemy Filippovich. I also have three hundred rubles. Postmaster (sighs). Oh! and I have three hundred rubles. Bobchinsky. Pyotr Ivanovich and I have sixty-five, sir. banknotes, yes, sir. Ammos Fedorovich (spreads his arms in bewilderment). How is this, gentlemen? How did we really make such a mistake? Mayor (hits himself on the forehead). How am I - no, how am I, old fool? Survived stupid sheep, out of your mind!.. I’ve been in the service for thirty years; not a single merchant or the contractor could not carry out; scammers on scammers deceived, swindler and such swindlers that they are ready to rob the whole world, he cheated on them! Three He deceived the governors!.. What about the governors! ( waved his hand) nothing to say about governors... Anna Andreevna. But this cannot be, Antosha: he got engaged to Mashenka... Mayor (in our hearts). Got engaged! Kukish with butter - now you're engaged! Gets into my eyes with a betrothal!.. ( In a frenzy.) Look, look, the whole world, all of Christianity, everyone, look how the mayor has been fooled! Fool him, the fool, the old scoundrel! ( He threatens himself with his fist.) Oh you, thick-nosed! He took an icicle and a rag for an important person! There he is now the whole road is filled with bells! Will spread the story around the world. Few so that you become a laughing stock - there is a clicker, a paper maker, a comedy will put you in. That's what's offensive! Rank, title will not be spared, and everyone will grin teeth and clap your hands. Why are you laughing? - You’re laughing at yourself!.. Oh, you!.. (Knocking his feet on the floor in anger.) I would scribble all these papers! Uh, clickers, Damn liberals! damn seed! I would tie you all in a knot and grind you into flour Damn you all! into his hat!.. ( Sticks his fist and hits heel to the floor. After some silence.) I still can’t come to myself. Now, truly, if God wants to punish, he will first take away reason. Well What was there in this helipad that looked like an auditor? There was nothing! It's simple there was nothing like half a little finger - and suddenly everything: an auditor! auditor! Well who the first one to say that he is an auditor? Answer! Artemy Filippovich (spreading his arms). How it happened, for the life of me, I can't explain. It was as if some kind of fog had stunned me, the devil had confused me. Ammos Fedorovich. But who released it - that's who released it: these fellows! (Points to Dobchinsky and Bobchinsky.) Bobchinsky. Hey, not me! I didn't even think... Dobchinsky. I'm nothing, nothing at all... Artemy Filippovich. Of course you are. Luka Lukic. Of course. They came running like crazy from the tavern: “He came, he came and he doesn’t pay for money...” We found an important bird! Mayor. Naturally, you! city gossips, damned liars! Artemy Filippovich. Damn you and your auditor and stories! Mayor. Just prowling around the city and confusing everyone, rattles damned! Sow gossip, short-tailed magpies! Ammos Fedorovich. Damn bastards! Luka Lukic. Caps! Artemy Filippovich. Short-bellied morels! Everyone surrounds them. Bobchinsky. By God, it’s not me, it’s Pyotr Ivanovich. Dobchinsky. Eh, no, Pyotr Ivanovich, you are the first... Bobchinsky. But no; you were the first. ("Inspector") B1. Indicate the genre of the work from which the fragment is taken. B2. What is the name of the hero mentioned by the Mayor? VZ. Establish a correspondence between the three characters appearing in this fragment and their ranks. For each position in the first column, select the corresponding position from the second column. B4. Establish a correspondence between the three characters appearing in this fragment and the characteristics given to them in the play. For each position in the first column, select the corresponding position from the second column. B5. The Mayor’s speech in this scene is accompanied by the comments “waving his hand”, “hitting himself on the forehead”, “threatening himself with his fist”, etc. What are such author’s comments called in dramaturgy? B6. The mayor pronounces the phrase: “Why are you laughing? “You’re laughing at yourself.” What do you call a saying that is distinguished by brevity, capacity of thought and expressiveness? B7. Korobkin's wife does not participate in the main action, appearing only in the above scene. What is the name of such a character? C1. How does the Mayor appear in this episode and what dramatic means help reveal his character? C2. What universal human vices does Gogol reveal in “The Inspector General” and in what other works of Russian literature do these shortcomings come to light? B1. Comedy B2. Khlestakov B5. Remarque B6. Aphorism B7. Secondary |
The hero of the comedy "The Inspector General" - Ivan Aleksandrovich Khlestakov - is not an adventurer, not a selfish deceiver; he does not set himself any conscious goal at all. Khlestakov is all within the limits of a given minute, acts and speaks almost reflexively, under the influence of circumstances. Khlestakov is sincere both when he speaks the truth and when he lies, for his lies are akin to the fantasies of a child.
But it was precisely this sincerity that deceived the Governor and the company, who were expecting to meet a real auditor, but found themselves powerless in the face of naivety and unintentionality.
Frightened by the upcoming audit, the Mayor is so overcome with fear of the imaginary authorities, finding out “sins”, that he ingratiatingly fawns over Khlestakov, humiliates himself, being overweight and respectable, bends over before the “strong”, before his superior in rank, “even though he is just a rag.” " Rude and cruel with everyone who is lower in rank or dependent on him, he flatteringly and insinuatingly, kindly and tenderly courtes the guest, trying to please, appease and charm him. With “great happiness” he gives him his daughter as his wife, and is almost ready to sacrifice his wife to him.
The mayor comes to his highest triumph, but does not notice how Khlestakov disappears from under his nose completely and irrevocably.
TICKET 14 question 1
The image of Tatyana Larina as an artistic discovery of the author (Based on the novel by A. S. Pushkin “Eugene Onegin”)
Tatiana was formed under the influence folk origin and sentimental literature, she is a deeply feeling person. Let's remember the night conversation with the nanny. We see her feelings, their depth in Tatiana’s excitement.
Let us turn to the portrait of Tatyana, depicted in Chapter 8. Pushkin gives preference to Tatyana, thereby defending the ideal female beauty naturalness, simplicity, spirituality of appearance with thought and feeling.
Has Tatyana changed by becoming a social beauty? No, Tatyana remained the same inside, she just learned to “control herself.” At the same time, Princess Tatiana is no longer a timid dreamer girl, she is a woman with a sensitive, loving heart and a subtle, deep mind.
Tatyana continues to be alienated from everyone in society, just as in the village. (read Tatyana’s letter to Onegin).
Last explanation Tatiana with Onegin... Although in Tatiana’s words there is a feeling of insulted pride and pain from unfulfilled dreams, there is no ill will in them, no moralizing, no triumph. The verses that follow these words breathe special sincerity. Tatyana speaks sadly about her great love, about his tragic fate, about the fact that “happiness was so possible.” She wants to explain her feelings, her decision and understand Onegin. Pushkin admires the heroine in the last scene. His ideal is a faithful woman, even if she does not love her husband. This is the ideal woman:
“But I was given to another, I will be faithful to him forever.”
There is so much pain and disappointment in these lines, but also so much high feeling!
TICKET 14 question 2
Khlestakov's story about St. Petersburg life in Act 3 as one of the culminating scenes of N. V. Gogol's comedy “The Inspector General”
Khlestakov, as the mayor puts it, is an empty person, an “icicle”, a “rag”.
Already in Khlestakov’s appearance, Gogol emphasizes his insignificance - “a young man of about twenty-three, thin, skinny and, as they say, without a king in his head - one of those people who are called empty in the office.”
Khlestakov is not just a dreamer. He himself does not know what he is saying and what he will say in the next moment. If you are afraid in front of him, then he will go to be brave. And as soon as you step on him, he will tuck his tail between his legs.
Khlestakov’s appearance in comedy is not accidental. The district environment demands that the capital’s “thing” rise above it, and Khlestakov joyfully meets such a desire, getting away with his lies. The characters themselves “make” Khlestakov. There is an expression: “It is the retinue that makes the king.” Topics for conversation are given to him by those around him. They themselves seem to put everything in his mouth and create a conversation. Khlestakov floats with the flow formed by the district fear and admiration for the metropolitan person.
The fear of officials and Khlestakov's St. Petersburg dress miraculously transform him into an auditor. Although he himself had no intention of impersonating an important person. Only in the fourth act does he realize that he was mistaken for a “statesman”; this was due to his “Petersburg physiognomy” and suit.
However, Khlestakov quickly fell into the role and, in the end, even began to talk down to officials.
Yes, Khlestakov lies, he lies with inspiration, without thinking about what he said, “the words fly out of his mouth completely unexpectedly,” he speaks and acts without any consideration. But his lies are only about one thing: how rich, noble, famous and omnipotent he is. The more officials shake with fear, the more Khlestakov becomes scattered, and vice versa, the more horror the officials experience.
When in the provinces Khlestakov talks about his life in St. Petersburg, he is not just fantasizing, but inventing fables. Only in the first words of the boastful confession is there a mention of the hero’s real role in bureaucratic Petersburg: “You may think that I’m just rewriting: no.” He begins to lie with increasing force: “And the watchman flies on the stairs after me with a brush: “Let me, Ivan Alexandrovich,” he says, “I’ll clean your boots.”
Starting with a simple lie about writing “rhymes,” listeners learn that he is the author of many vaudevilles and comedies, short stories and fashionable novels.
The climax of the comedy, when Khlestakov gives full play to his imagination. And that his imagination is wretched, this is evidenced by his stories about life in St. Petersburg. Let us remember how Khlestakov amazes officials with his St. Petersburg dinners. The watermelon on his table costs “seven hundred rubles,” and the main advantage of the soup is the great distance away—it “came straight by boat from Paris.” Khlestakov's speech is poor and primitive, which corresponds to his inner emptiness and stupidity. He is on “friendly terms” with everyone, calls everyone “brothers,” and Pushkin is “a great original.”
“Scenes of Lies” is a formidable warning from Gogol to subsequent generations, wanting to protect them from a terrible disease - Khlestakovism.
TICKET 15 question 1
The meaning of the name and the originality of the main character of the novel by M. Yu. Lermontov “A Hero of Our Time”
The beginning of the 19th century in literature is characterized by the search for the main character, the hero of the time. Both Griboyedov and Pushkin looked for him, and Lermontov was no exception.
Pechorin is a man of a very specific time and position. He is a nobleman-intellectual, his soul is “spoiled by the light.” By nature, Pechorin is an activist, but since he is a son of his time, his activities are empty and fruitless, and his actions are petty. He poses the question of the purpose and meaning of human life, about his purpose. For example, on the night before his duel with Grushnitsky, he reflects, asking himself: “Why did I live? For what purpose was he born? Oh, that’s right... I had a high assignment...”
Pechorin never found the main goal in life and this is the tragedy of his fate. Pechorin is characterized by individualism. Portrait description helps to understand the inconsistency of Pechorin’s character, his duality.
dazzlingly clean linen and a dusty velvet frock coat, soiled gloves;
wrinkles and feminine tenderness of the skin;
strong build and small aristocratic hand;
Demonic Traits: both 23 and 30 years old; blond hair and black mustache and eyebrows; his eyes did not change when he laughed; phosphorescent shine of the eyes.
Pechorin himself admits that there are two people in him: one lives, the other thinks and judges; one strives for high ideals, the other is a skeptic. Pechorin himself sees and feels that his soul is corrupted.
Having become acquainted with the “hero of our time”, we can draw conclusions:
1. Pechorin is not capable of friendship, he is characterized by selfishness, he has no real affection; every life situation he seeks to bring about conflict.
2. Bela Pechorin forcibly pulls her out of her natural environment and with his selfishness leads her to death.
3. His soul is unable to sympathize with another soul. Free from friendship, Pechorin is repulsed by the simple-minded kindness of Maxim Maksimych.
4. Pechorin destroys Mary’s love, mercilessly kills Grushnitsky, completing his villainy with the words: “Finita la comedia!”
In the novel, Pechorin is a lonely wanderer who cannot sit still. Pechorin speaks about his fate: “I was ready to love the whole world, no one loved me, I learned to hate.” Life itself killed love in him, erasing the line between good and evil. Lermontov describes in Pechorin the desire for something bright, apparently giving rise to such an attractive feature as love for nature. Simply contemplating the beauty and harmony of nature is not enough for him, because he is an active nature and cannot stop there.
Lermontov’s idea is to show a contemporary man, his psychology, his character, as the author himself notes, “... a portrait made up of the vices of our generation, in their full development.” To emphasize the typicality of Pechorin’s image for Russia, Lermontov calls his novel “A Hero of Our Time.” TICKET 15 question 2
The theme of the homeland in the poem by A.A. Bloc "Russia"
“I consciously and irrevocably devote my life to this topic,” wrote Alexander Alexandrovich. This is what Blok said about the theme of Russia, the Motherland in his work. The image of the Motherland appears in his lyrics gradually, as if it reveals first one face, then another.
One of Blok’s poems dedicated to the theme of Russia, the homeland, is the poem “Russia”.
Blok sees the image of Russia through the motifs of the road, the wind, and the path.
As soon as Blok felt like a national poet, he fell in love with the word “wild”. Russia was dear to him precisely because of its savagery, disharmony, and chaos.
Those who were looking for benevolent thoughts about the beauty of Russia in them will not understand anything in Blok’s poems about Russia. He had no pity for Russia:
I don't know how to feel sorry for you
And I carefully carry my cross...
Which sorcerer do you want?
Give me back your robber beauty!..
He expresses a premonition that something terrible is approaching Russia, that Russia will give up its “robber beauty” to a sorcerer who can “lure” and “deceive” it: and at the same time expresses faith that Russia will not be lost:
You won't be lost, you won't perish,
And only care will cloud
Your beautiful features.
“In essence, he praised Russia for what others would curse it for,” Gukovsky said.
TICKET 15 question 3
How does Chatsky’s attitude towards Sophia change during the action of the comedy “Woe from Wit”?
The conflict in Griboyedov's play "Woe from Wit" represents the unity of two principles: public and personal. Being an honest, noble and progressive-minded person, Chatsky opposes Famus society. At the same time, the drama is intensified by a feeling of ardent, but unrequited love for Famusov’s daughter Sophia.
Upon returning to Moscow, Chatsky is excited by the meeting with Sophia, discouraged by her cold reception, trying to find in her the understanding that apparently existed before. What happens between Chatsky and Sophia to some extent is what happens between Sophia and Molchalin: he loves not the Sophia he saw on the day of his arrival, but the one he invented.
Chatsky makes no attempt to understand Sophia; it is difficult for him to understand why Sophia does not love him. Chatsky turns out to be too straightforward, not allowing the idea that Sophia might fall in love with Molchalin, that love does not obey reason. Unwittingly, he puts pressure on Sophia, causing her hostility. Chatsky can be justified by his blindness by passion; we can say that his “mind and heart are not in harmony.”
Gradually, Chatsky begins to see the light. Sophia, dissatisfied with his phrase addressed to Molchalin, says about Chatsky: “Not a man, a snake.” With her tacit consent, a rumor spreads that Chatsky is out of his mind. This rumor spreads quickly. The hero, embarrassed by Sophia's coldness and trying to understand who she loves, begins to behave imprudently, he is at a loss. But until the end of the play he is as if blind. His epiphany comes in the last act, when he, hiding in the footman's room, hears Molchalin's love dialogue with Liza, and then Molchalin with Sophia.
Complete disappointment pushes him to leave Moscow, and his famous “Carriage for me, carriage” ends the action of the comedy.
TICKET 16 question 1
Female images in the novel by M. Yu. Lermontov “A Hero of Our Time”
Roman M.Yu. Lermontov is not without reason called “Hero of Our Time,” because the entire work is subordinated to the disclosure of the image of Pechorin. The same can rightfully be said about the female characters in the novel.
The first female character the author introduces us to is Bela, a savage, the daughter of a mountain people. What attracts Pechorin to this woman? Of course, she was good, the author created a romantic picturesque portrait, which emphasizes that she was thin, tall, her eyes stood out - “black, like a mountain chamois.” Bela is proud and independent, the blood of her people flows in her.
And what is Pechorin’s attitude towards this love? We learn with some surprise from his lips that the love of a savage is little better than love noble lady. He is ready to give his life for Bela, but it’s boring with her. Bela is one of the captivating and touching images of the novel.
Another woman on Pechorin's path was Princess Mary, that same noble lady.
The image of Princess Mary is drawn most fully. She is smart, pure and naive, passionate about romanticism, loves to talk about feelings and passions. Its purity reveals Pechorin's selfishness. By his own admission, he does not love Mary, wants to seduce her and will never marry. The story of Princess Mary's seduction is the reason for Pechorin's deep introspection and detailed monologues in his diary.
The only woman who was able to understand and feel Pechorin was Vera. Her image is given only in hints, which can be explained precisely by the similarity with the character of Pechorin himself. Vera, who loves devotedly and selflessly, could make Pechorin happy. Realizing this, Pechorin, after Vera’s departure, tries to catch up with her, drives his horse, cries and is glad that he can cry. But this one love story even more emphasized the loneliness of the hero, his inability to truly feel.
Thus, female images The novel "A Hero of Our Time" reveals Pechorin's character traits. However, Lermontov’s skill as a narrator lies in the fact that even without creating detailed, complete images, sometimes using only characteristic details, the author creates vivid and memorable portraits.
TICKET 16 question 2
Philosophical theme of the poem by S. A. Yesenin
“I don’t regret, I don’t call, I don’t cry...”
This is a poem was written in 1922, already in the mature period of the author's life. In the system philosophical works Yesenin, it plays an important role, since it most clearly reflects his worldview. It is of particular importance for all creativity, because in general in Yesenin’s lyrics much more attention is paid to the theme of the homeland and the theme of love.
Theme of the work- thoughts of a mature person about past life, about its meaning, about its perception. The lyrical hero is trying to solve for himself a problem that sooner or later faces every person - the problem of accepting or not accepting the passing of youth. The author makes his decision: the main idea of the poem is the need for humility in the face of the inevitable.
All of us, all of us in this world are perishable...
Philosophical idea humility dominates everything else.
The theme of the inevitability of the end. Humility lyrical hero- this is the acceptance of the world as a whole, in all its diversity.
Poem composition. The change of seasons, the course of the life of the lyrical hero, the movement of certain images: the beating of the heart, the galloping of a pink horse.
Genre of the poem- reflection - most relevant to the topic and allows you to better convey the idea to the reader.
The poem is very musical, which is generally characteristic of Yesenin’s lyrics.
To convey emotionality in the poem, the author uses exclamations, questions, frequent references (“vagrant spirit”, “my life”, etc.) For the same purpose, the first line presents a selection of verbs close in meaning (“I don’t regret, I don’t call , I’m not crying”).
The work contains many metaphors (“withering with gold”, “land of birch chintz”, “flame of the mouth”, etc.) and comparisons (“as if I rode on a pink horse in the echoing early morning”).
Unusually bright color rendering in the work- white smoke of apple trees, gold of withering, copper of leaves.
General mood of the work- tranquility, unhurriedness, the narration is calm and measured, promotes further reflection of the reader, allows you to think out and speculate.
The attitude towards Yesenin’s lyrics is very ambiguous, which is explained primarily by the deep personal fullness and emotional charge of his entire work.
TICKET 16 question 3
to the main character of the story?
The author of “The Word...” set out to not reproduce historical events, but give them an assessment. Igor’s battle with the Polovtsians and his defeat is an occasion to depict the situation of the Russian land, torn apart by the internecine strife of the princes. The author expresses the idea of the need for unity, the resurrection of the old ideals of “brotherly love.”
The attitude of the author of “The Lay” towards his hero is ambivalent. On the one hand, he condemns him, and on the other, he sympathizes with him. After all, Igor is a man of his troubled times. He sees in him one of the representatives of Rus', sympathizes with him, proud of his successes and mourning his failures. However, at the same time, the author of the Lay speaks condemningly of local politics and discord.
The reasons that forced Prince Igor to oppose the Polovtsians are tragically contradictory. He was motivated by family interests, a heightened sense of military honor, and an awareness of his patriotic duty. The bravery of the warrior, according to the author, defeated his sober political calculation: the nomadic Steppe could not be resisted alone. Igor's unreasonable actions destroyed the army and forced the prince to experience the shame of captivity and escape from it. Brave but reckless Igor goes on a campaign, despite the fact that this campaign is doomed to failure from the very beginning. He goes despite all the unfavorable “signs”. His main motivation in this case is the desire for personal glory. Nothing stops Igor on his fateful path.
TICKET 17 question 1
The theme of fate and its development in Lermontov’s novel “A Hero of Our Time”
Lermontov’s novel “A Hero of Our Time” was created in an era that brought to life a whole gallery of images that for many years critics habitually called “ extra people" But was Pechorin superfluous?
Lermontov portrayed Pechorin's fate as very tragic; His soul contains “immense powers,” but there is a lot of evil on his conscience.
His character is so contradictory that it is difficult to understand what Pechorin is really thinking and feeling.
Each person has his own destiny, his own fate. But strong and “alive” people are able to change it, make it better. This is how Pechorin seeks applications for his extraordinary abilities, “immense spiritual powers.”
Inner world Pechorin is very complex: neither the beautiful “savage” Bela, nor the kind-hearted Maxim Maksimych, who does not understand the depth of the officer’s suffering after Bela’s death, can comprehend him. And only because Pechorin was unwell for a long time and lost weight, we understand the true power of Grigory Alexandrovich’s experiences. We notice his eyes, which did not laugh when he laughed. “This is a sign of either evil entitlement or deep, constant sadness.” Longing for the fact that Grigory Alexandrovich does not find a worthy use for his extraordinary abilities.
In the novel “A Hero of Our Time,” Pechorin speaks about his fate: “I was ready to love the whole world, no one loved me, I learned to hate.” Life itself killed love in him, erasing the line between good and evil. Lermontov describes in Pechorin the desire for something bright, apparently giving rise to such an attractive feature as love for nature. Simply contemplating the beauty and harmony of nature is not enough for him, because he is an active nature and cannot stop there.
Pechorin does not stand still, he is looking for himself, but to no avail. on his life path Interesting personalities appear (Bela, Mary, Vera) who would help him find himself and save his soul. Pechorin is a lonely wanderer. And, realizing that he was created for something big, he moves on, but alone. Pechorin is a wanderer through life. Throughout the novel, the hero's life is bright and varied. And the ending is a quiet death, unnoticeable to society, somewhere far away, in one of the corners of our Motherland...
TICKET 17 question 3
Why did Sophia choose Molchalin and how does this characterize her?
(Based on the comedy by A.S. Griboyedov “Woe from Wit”)
One of greatest works first half of the 19th century century is the comedy by A. S. Griboedov “Woe from Wit”. The author raised a number of the most important problems of his time.
Main character Comedy Chatsky is considered both in relationships with representatives Famusov society, and so with Sophia, whom he loves. The author shows her attitude not only towards Chatsky, but also towards Molchalin.
By nature, Sophia is endowed good qualities: strong mind and independent character. She is capable of deeply experiencing and sincerely loving. For a girl of the noble circle, she received a good education and upbringing.
The image of Sofia Pavlovna is complex; two souls live in her:
One is a sentimental girl who gets her ideas about people from French novels, and it was they who developed dreaminess and sensitivity in Sophia.
It was no coincidence that she paid attention to Molchalin, who, with his features and behavior, reminded her of her favorite heroes. However, it cannot be said that the heroine is blinded: she is able to evaluate her chosen one sensibly and critically.
Sophia loves Molchalin, but hides it from her father, who, of course, would not recognize him as a son-in-law, knowing that he is poor. The heroine sees a lot of good in her father’s secretary:
Compliant, modest, quiet,
Not a shadow of worry in his face,
…
That's why I love him.
Another Sophia- a child of Famus society with all the ensuing consequences.
Sophia also fell in love with Molchalin because she, a girl with character, needed a person in her life whom she could control.
But suddenly Sophia becomes an involuntary witness to Molchalin’s conversation with Liza and sees her chosen one in a different light. She realized that in fact Molchalin was pretending to be a lover; he needed Sophia only in order to take advantage of her influence at the right moment. His goal was also to get a higher rank, so he, according to his father’s precepts, was to please. But now she has lost a man who was very suitable for her to play the role of a boy-husband, a servant-husband, she is struck to the very heart, she is destroyed. Sophia does not understand that she needs another person like Chatsky. And if she had grown up in a different environment, she might have chosen Chatsky. But she chooses the person who suits her best, since she cannot imagine any other hero. ("A bird in the hand is worth two in the bush")
Griboyedov introduced us to the heroine of the comedy as a dramatic person. This is the only character who is conceived and executed as close to Chatsky.
TICKET No. 18 question 1
