Analysis of "Thunderstorm" Ostrovsky. A.N

Test material on literature on the topic

“Drama A.N. Ostrovsky "Thunderstorm"

The target audience: 1st year students

1. Choose a definition of the concept “remark”.

A) Part of the act in which the composition of the characters does not change or a new character appears.

B) Text containing the words of one of the characters.

C) Introducing the characters, which tells about their age, social status, etc.

D) Most of the dramatic work.

2. To which literary movement should the drama “The Thunderstorm” be classified?

A) romanticism

B) realism

B) classicism

D) sentimentalism

3. What character are we talking about?

He has such an establishment. With us, no one dares say a word about salary, he’ll scold you for what it’s worth. “Why do you know,” he says, “what I have in mind? How can you know my soul? Or maybe I’ll be in such a mood that I’ll give you five thousand.” So talk to him! Only in his entire life he had never been in such a position.

Answer: ______________.

4. Mark the characters that A.N. Ostrovsky refers to the “dark kingdom”.

A) Katerina

B) Boris

B) Wild

D) Kabanikha

D) Kuligin

5. Identify who each character is.

Varvara

A) Tikhon’s wife

Feklusha

B) merchant

Katerina

B) sister Tikhon

Wild

D) self-taught watchmaker

Kuligin

D) wanderer

Answer: 1 - _____, 2 - ______, 3 - ______, 4 - ______, 5 - ______.

6. Which hero does the author “instruct” to characterize the “dark kingdom” (“ Cruel morals, sir, in our city, cruel!”):

Answer: _________________.

Who owns the phrase: “Do whatever you want, as long as it’s safe and covered”?

A) Curly

B) Katerina

B) Varvara

D) Kabanikha

8. Which literary critic most fully described “tyranny” as a social phenomenon in the article “The Dark Kingdom”?

Answer:___________________________.

9. Who said?

“Our parents in Moscow raised us well, they spared nothing for us. I was sent to the Commercial Academy, and my sister to a boarding school, but both suddenly died of cholera, and my sister and I were left orphans. Then we hear that my grandmother died here and left a will so that my uncle would pay us the part that should be paid when we come of age, only on the condition...”

A) Kuligin

Everyone should be afraid! It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts.

B) Katerina

The poor have no time to walk; they work day and night. And they sleep only three hours a day

B) Boris

Answer: 1 - ____, 2 - _____, 3 - ______.

10. Choose several answer options. After her daughter-in-law’s betrayal, Kabanova “began to lock up”...

a) Katerina

b) I say

c) Varvara

d) Feklusha

11. Restore the sequence of events.

A) Katerina’s suicide.

B) Tikhon returns from Moscow.

C) Katerina’s conversation with Varvara about childhood.

D) Getting to know the residents of the city of Kalinov and describing their morals.

D) Boris leaves the city.

12. Define the term.

Drama is ________________________________________________________________________________

________________________________________________________________________________________

_________________________________________________________________________________________.

13. Match the hero of the drama and his dream.

1. “When you stand on a mountain, you feel the urge to fly. That's how she would run up, raise her hands and fly. Anything to try now?

A) old lady

2. “You will all burn in unquenchable fire. Everything in the resin will boil unquenchable!”

B) Katerina

3 “When Tikhon leaves, let’s sleep in the garden, in the gazebo.”

B) Kabanikha

4. “If you don’t know how to do it, you should at least make this example; It’s still more decent, otherwise, apparently, it’s only in words.”

D) Varvara

Answer: 1- _____, 2 - _____, 3 - _____, 4 - ______.

14. Which character in the play criticizes the character of the “dark kingdom”? ( select several answer options )

A) Katerina

B) Kuligin

B) Boris

D) Varvara

D) Tikhon

15. Fill in the missing word. " And then there is the earth,” says Feklusha, “where all the people with _______ heads ».

16. Name the main conflict in the play “The Thunderstorm” ( according to Dobrolyubov ):

A) This is a conflict between generations (Tikhon and Marfa Ignatievna)

B) This is an intra-family conflict between a despotic mother-in-law and a rebellious daughter-in-law

C) This is a clash between the tyrants of life and their victims

D) This is a conflict between Tikhon and Katerina

17. The climax scene in the drama “The Thunderstorm” is the _________ scene.

18. Why do the events in the play “The Thunderstorm” take place in a fictional city?

19) Katerina confesses her “sin” to Tikhon in public. What made her do this?

A) Feeling of shame

B) Fear of mother-in-law

C) The desire to atone for guilt before God and torment of conscience by confession

D) The desire to leave with Boris

20. N.A. Dobrolyubov called one of the heroes of the play “The Thunderstorm” “a ray of light in the dark kingdom.” This_______________.

Keys:

Wild

in, g.

1-c, 2-d, 3-a, 4-b, 5-d.

Kuligin

ON THE. Dobrolyubov

1-c, 2-b, 3-a.

a, c

– d, c, b, d, a.

12. – Drama is

13. 1 - b, 2 - a, 3 - d, 4 - c.

14 –b, d

15. – dog

16 – in

17. – with a key.

18. in

19. in

20. Katerina.

Without a doubt, “The Thunderstorm” (1859) is the pinnacle of Alexander Ostrovsky’s dramaturgy. The author shows, using the example of family relationships, the most important changes in the socio-political life of Russia. That is why his creation needs detailed analysis.

The process of creating the play “The Thunderstorm” is connected by many threads with past periods in Ostrovsky’s work. The author is attracted by the same issues as in the “Muscovites” plays, but the image of the family receives a different interpretation (the denial of the stagnation of patriarchal life and the oppression of Domostroi was new). The appearance of a bright, good beginning, a natural heroine is an innovation in the author’s work.

The first thoughts and sketches of “The Thunderstorm” appeared in the summer of 1859, and already in early October the writer had a clear idea of ​​the whole picture. The work was greatly influenced by the trip along the Volga. Under the patronage of the Maritime Ministry, an ethnographic expedition was organized to study the customs and morals of the indigenous population of Russia. Ostrovsky also took part in it.

The city of Kalinov is a collective image of different Volga cities, which are at the same time similar to each other, but have their own distinctive features. Ostrovsky, as an experienced researcher, entered all his observations about the life of the Russian province and the specific behavior of the inhabitants in his diary. Based on these recordings, the characters of "The Thunderstorm" were later created.

Meaning of the name

A thunderstorm is not only the rampant nature of the elements, but also a symbol of the collapse and purification of the stagnant atmosphere of a provincial town, where the medieval order of Kabanikha and Dikiy ruled. This is the meaning of the title of the play. With the death of Katerina, which occurred during a thunderstorm, the patience of many people is exhausted: Tikhon rebels against the tyranny of his mother, Varvara escapes, Kuligin openly blames the inhabitants of the city for what happened.

Tikhon first spoke about the thunderstorm during the farewell ceremony: “...For two weeks there will be no thunderstorm over me.” By this word he meant the oppressive atmosphere of his home, where an oppressive mother rules the roost. “A thunderstorm is being sent to us as punishment,” Dikoy says to Kuligin. The tyrant understands this phenomenon as punishment for his sins; he is afraid of paying for his unfair treatment of people. Kabanikha agrees with him. Katerina, whose conscience is also not clear, sees the punishment for sin in thunder and lightning. God's righteous wrath - this is another role of the thunderstorm in Ostrovsky's play. And only Kuligin understands that in this natural phenomenon one can only find a flash of electricity, but his progressive views cannot yet get along in a city in need of cleansing. If you need more information about the role and significance of thunderstorms, you can read on this topic.

Genre and direction

“The Thunderstorm” is a drama, according to A. Ostrovsky. This genre defines a heavy, serious, often everyday plot, close to reality. Some reviewers mentioned a more precise formulation: domestic tragedy.

If we talk about the direction, this play is absolutely realistic. The main indicator of this, perhaps, is the description of the morals, habits and everyday aspects of the existence of residents of provincial Volga cities (detailed description). The author attaches great importance to this, carefully outlining the realities of the heroes’ lives and their images.

Composition

1. Exposition: Ostrovsky paints an image of the city and even the world in which the heroes live and future events will unfold.
2. What follows is the beginning of Katerina’s conflict with her new family and society as a whole and the internal conflict (dialogue between Katerina and Varvara).
3. After the beginning, we see the development of the action, during which the heroes strive to resolve the conflict.
4. Towards the end, the conflict reaches a point where problems require urgent resolution. The climax is Katerina’s last monologue in act 5.
5. Following it is a denouement that shows the intractability of the conflict using the example of Katerina’s death.

Conflict

Several conflicts can be distinguished in “The Thunderstorm”:

1. Firstly, this is a confrontation between tyrants (Dikay, Kabanikha) and victims (Katerina, Tikhon, Boris, etc.). This is a conflict between two worldviews - old and new, obsolete and freedom-loving characters. This conflict is highlighted.
2. On the other hand, the action exists thanks to a psychological conflict, that is, internal - in Katerina’s soul.
3. The social conflict gave rise to all the previous ones: Ostrovsky begins his work with the marriage of an impoverished noblewoman and a merchant. This trend became widespread during the time of the author. The ruling aristocratic class began to lose power, becoming poorer and ruined due to idleness, wastefulness and commercial illiteracy. But the merchants gained momentum due to unscrupulousness, assertiveness, business acumen and nepotism. Then some decided to improve matters at the expense of others: the nobles married sophisticated and educated daughters to rude, ignorant, but rich sons from the merchant guild. Because of this discrepancy, the marriage of Katerina and Tikhon is initially doomed to failure.

The essence

Brought up in the best traditions of aristocracy, noblewoman Katerina, at the insistence of her parents, married the uncouth and soft-bodied drunkard Tikhon, who belonged to a wealthy merchant family. His mother oppresses her daughter-in-law, imposing on her the false and ridiculous rules of Domostroy: to cry openly before her husband leaves, to humiliate herself in front of us in public, etc. The young heroine finds sympathy from Kabanikha’s daughter, Varvara, who teaches her new relative to hide her thoughts and feelings, secretly acquiring the joys of life. During her husband's departure, Katerina falls in love and begins dating Diky's nephew, Boris. But their dates end in separation, because the woman does not want to hide, she wants to escape with her beloved to Siberia. But the hero cannot risk taking her with him. As a result, she still repents of her sins to her visiting husband and mother-in-law and receives severe punishment from Kabanikha. Realizing that her conscience and domestic oppression do not allow her to live further, she rushes into the Volga. After her death, the younger generation rebels: Tikhon reproaches his mother, Varvara runs away with Kudryash, etc.

Ostrovsky's play combines features and contradictions, all the pros and cons of feudal Russia of the 19th century. The town of Kalinov is a collective image, a simplified model of Russian society, described in detail. Looking at this model, we see “an essential need for active and energetic people.” The author shows that an outdated worldview only gets in the way. It first spoils family relationships, and later prevents cities and the entire country from developing.

The main characters and their characteristics

The work has a clear character system into which the images of the heroes fit.

1. First, they are the oppressors. Dikoy is a typical tyrant and a rich merchant. His insults send the relatives running to the corners. Dikoy is cruel to her servants. Everyone knows that it is impossible to please him. Kabanova is the embodiment of the patriarchal way of life, the outdated Domostroy. A wealthy merchant, a widow, she constantly insists on observing all the traditions of her ancestors and herself strictly follows them. We described them in more detail in this.
2. Secondly, adaptable. Tikhon is a weak man who loves his wife, but cannot find the strength to protect her from her mother’s oppression. He does not support the old orders and traditions, but sees no point in going against the system. Such is Boris, who tolerates the machinations of his rich uncle. This is dedicated to revealing their images. Varvara is the daughter of Kabanikha. She takes it by deceit, living a double life. During the day she formally obeys conventions, at night she walks with Curly. Deceit, resourcefulness and cunning do not spoil her cheerful, adventurous disposition: she is also kind and responsive to Katerina, gentle and caring towards her beloved. An entire story is dedicated to the characterization of this girl.
3. Katerina stands apart; the characterization of the heroine is different from everyone else. This is a young intelligent noblewoman, whom her parents surrounded with understanding, care and attention. Therefore, the girl got used to freedom of thought and speech. But in marriage she faced cruelty, rudeness and humiliation. At first she tried to come to terms with Tikhon and his family, but nothing worked: Katerina’s nature resisted this unnatural union. She then took on the role of a hypocritical mask who has a secret life. This didn’t suit her either, because the heroine is distinguished by her straightforwardness, conscience and honesty. As a result, out of despair, she decided to revolt, admitting her sin and then committing a more terrible one - suicide. We wrote more about Katerina’s image in a section dedicated to her.
4. Kuligin is also a special hero. He expresses the author’s position, introducing a bit of progressiveness into the archaic world. The hero is a self-taught mechanic, he is educated and smart, unlike the superstitious inhabitants of Kalinov. We also wrote a short story about his role in the play and character.

Themes

• The main theme of the work is the life and customs of Kalinov (we dedicated a separate section to it). The author describes a provincial province to show people that they do not need to cling to the remnants of the past, they need to understand the present and think about the future. And the inhabitants of the Volga town are frozen outside of time, their life is monotonous, false and empty. It is spoiled and hampered in its development by superstition, conservatism, as well as the reluctance of tyrants to change for the better. Such a Russia will continue to vegetate in poverty and ignorance.
• Also important themes here are love and family, as throughout the narrative, problems of upbringing and generational conflict are raised. The influence of family on certain characters is very important (Katerina is a reflection of her parents’ upbringing, and Tikhon grew up so spineless because of his mother’s tyranny).
• Theme of sin and repentance. The heroine stumbled, but realized her mistake in time, deciding to correct herself and repent of what she had done. From the point of view of Christian philosophy, this is a highly moral decision that elevates and justifies Katerina. If you are interested in this topic, read our about it.

Issues

Social conflict entails social and personal problems.

1. Ostrovsky, firstly, denounces tyranny as a psychological phenomenon in the images of Dikoy and Kabanova. These people played with the destinies of their subordinates, trampling down manifestations of their individuality and freedom. And because of their ignorance and despotism, the younger generation becomes as vicious and useless as the one that has already outlived its usefulness.
2. Secondly, the author condemns weakness, obedience and selfishness using the images of Tikhon, Boris and Varvara. By their behavior they only condone the tyranny of the masters of life, although they could jointly turn the situation in their favor.
3. The problem of the contradictory Russian character, conveyed in the image of Katerina, can be called personal, although inspired by global upheavals. A deeply religious woman, in search and discovery of herself, commits adultery and then commits suicide, which contradicts all Christian canons.
4. Moral issues associated with love and devotion, education and tyranny, sin and repentance. The characters cannot distinguish one from the other; these concepts are intricately intertwined. Katerina, for example, is forced to choose between loyalty and love, and Kabanikha does not see the difference between the role of a mother and the power of a dogmatist; she is driven by good intentions, but she embodies them to the detriment of everyone.
5. Tragedy of conscience quite important. For example, Tikhon had to decide whether to protect his wife from his mother’s attacks or not. Katerina also made a deal with her conscience when she became close to Boris. You can find out more about this.
6. Ignorance. The residents of Kalinov are stupid and uneducated; they believe fortune-tellers and wanderers, and not scientists and professionals in their field. Their worldview is turned to the past, they do not strive for a better life, so there is nothing to be surprised at the savagery of morals and the ostentatious hypocrisy of the main people of the city.

Meaning

The author is convinced that the desire for freedom is natural, despite certain failures in life, and tyranny and hypocrisy are ruining the country and the talented people in it. Therefore, one must defend one’s independence, craving for knowledge, beauty and spirituality, otherwise the old orders will not go away, their falseness will simply embrace the new generation and force them to play by their own rules. This idea is reflected in the position of Kuligin, a unique voice of Ostrovsky.

The author's position in the play is clearly expressed. We understand that Kabanikha, although she preserves traditions, is wrong, just like the rebellious Katerina is wrong. However, Katerina had potential, she had intelligence, she had purity of thoughts, and the great people personified in her could still be reborn, throwing off the shackles of ignorance and tyranny. You can find out even more about the meaning of drama in this topic.

Criticism

"The Thunderstorm" became the subject of fierce debate among critics in both the 19th and 20th centuries. In the 19th century, Nikolai Dobrolyubov (article “A Ray of Light in the Dark Kingdom”), Dmitry Pisarev (article “Motives of Russian Drama”) and Apollon Grigoriev wrote about it from opposite positions.

I. A. Goncharov highly appreciated the play and expressed his opinion in a critical article of the same name:

In the same drama, a broad picture of national life and morals was laid out, with unparalleled artistic completeness and fidelity. Every person in drama is a typical character, snatched directly from the environment of folk life.

Testing on Ostrovsky's works

OPTION 1

1) Ostrovsky's name

a) Nikolai Alekseevich

b) Alexey Nikolaevich

c) Alexander Nikolaevich

d) Nikolai Alexandrovich

2) Ostrovsky was nicknamed

a) “Columbus of Zamoskvorechye”

b) “a person without a spleen”

c) “Comrade Konstantin”

3) Ostrovsky studied

a) at the Tsarskoye Selo Lyceum

b) in Nizhyn gymnasium

c) at Moscow University

d) at Simbirsk University

4) The work “Thunderstorm”

a) comedy

b) tragedy

a) "Snow Maiden"

b) “Wolves and Sheep”

c) "Oblomov"

d) “Our people - we will be numbered”

6) The drama “The Thunderstorm” was first published in

7) What invention did the self-taught mechanic Kuligin want to introduce into the life of his city?

a) telegraph

b) printing press

c) lightning rod

d) microscope

8) Determine the climax of the drama “The Thunderstorm”

a) farewell to Tikhon and Katerina before his trip

b) scene with a key

c) Katerina’s meeting with Boris at the gate

d) Katerina’s repentance to the residents of the city

a) realism

b) romanticism

c) classicism

d) sentimentalism

10) The action of the drama “The Thunderstorm” takes place

a) in Moscow

b) in Nizhny Novgorod

c) in Kalinov

d) in St. Petersburg

11) What was the name of Katerina’s husband?

c) Curly

d) Akakiy

12) Determine the main conflict of the drama “The Thunderstorm”

a) the love story of Katerina and Boris

b) a clash between tyrants and their victims

c) the love story of Tikhon and Katerina

d) description of the friendly relations between Kabanikha and Wild

13) Which of the heroes of the drama “The Thunderstorm” was “envious” of the deceased Katerina, considering his own life to be an impending torment?

b) Kuligin

a) footnote

b) remark

c) explanation

d) accompaniment

a) Kuligin

d) Curly

16) What type of literary heroes did Kabanikha belong to?

a) “extra person”

b) hero-reasoner

c) “little man”

d) "tyrant"

17) Who wrote the critical article “Motives of Russian Drama” about “The Thunderstorm”?

a) V. G. Belinsky

b) N. G. Chernyshevsky

c) N. A. Dobrolyubov

d) D. I. Pisarev

He has such an establishment. With us, no one dares say a word about salary, he’ll scold you for what it’s worth. “You,” he says,

Why do you know what's on my mind? How can you know my soul? Or maybe I will come to such a position,

that I will give you five thousand." So you talk to him! Only in his entire life he has never once

the location did not come.

c) Curly

19) Who said:

“Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and stark poverty. And we, sir, will never escape this crust.”

a) Curly

b) Kuligin

c) Boris Grigorievich

20) Who owns the words addressed to the main character of the play “Dowry”?

“Your friends are good! What respect for you! They don’t look at you as a woman, as a person - a person controls his own destiny, they look at you as a thing.”

a) Knurov

b) Paratov

c) Vozhevatov

d) Karandyshev

Test on Ostrovsky's works. "Thunderstorm", "Dowry"

OPTION 2

1) Years of life of A. Ostrovsky:

2 Ostrovsky studied

a) at the Tsarskoye Selo Lyceum

b) in Nizhyn gymnasium

c) at Moscow University

d) at Simbirsk University

3) Ostrovsky was nicknamed

a) “Columbus of Zamoskvorechye”

b) “a person without a spleen”

c) “Comrade Konstantin”

d) “a ray of light in the dark kingdom”

4) The drama “The Thunderstorm” was first published in

5) Which work does not belong to Ostrovsky:

a) "Snow Maiden"

b) “Poverty is not a vice”

c) "Oblomov"

d) “Our people - we will be numbered”

6) The work “Thunderstorm”

a) comedy

b) tragedy

d) story

7) To what class did Kabanikha belong?

b) burghers

c) nobles

d) commoners

8) Who arranged the meeting between Katerina and Boris by stealing Kabanikha’s key?

a) Curly

b) Kuligin

c) Varvara

9) To which literary movement should the drama “The Thunderstorm” be classified?

a) realism

b) sentimentalism

c) classicism

d) romanticism

10) What was the name of Katerina’s lover

a) Kuligin

d) Curly

11) In what city does the play take place?

a) in Nizhny Novgorod

b) in Torzhok

c) in Moscow

d) in Kalinov

12) Who owns the phrase: “Do whatever you want, as long as it’s safe and covered”?

a) Curly

b) Katerina

c) Varvara

d) Kabanikha

13) What did the self-taught mechanic Kuligin invent?

a) telegraph

b) perpetuum mobile

c) sundial

a) footnote

b) remark

c) explanation

d) accompaniment

15) What phrase ends the drama “The Thunderstorm”?

a) Mama, you ruined her, you, you, you...

b) Do what you want with her! Her body is here, take it; but the soul is no longer yours: it is now before the judge,

who is more merciful than you!

c) Thank you, good people, for your service!

d) Good for you, Katya! Why did I stay in the world and suffer!

16) What type of literary heroes did Dikoy belong to?

a) “extra person”

b) "tyrant"

c) “little man”

d) hero-lover

17) Who wrote the critical article “A Ray of Light in a Dark Kingdom” about “The Thunderstorm”?

a) V. G. Belinsky

b) N. G. Chernyshevsky

c) N. A. Dobrolyubov

d) D. I. Pisarev

18) What character are we talking about?

He will first break over us, abuse us in every possible way, as his heart desires, and then end

after all, by the fact that it will not give anything or so, some little. Yes, it will still be

to tell that he gave it out of mercy, that this should not have happened.

c) Curly

19) Who said:

“Our parents in Moscow raised us well, they spared nothing for us. Me

sent to the Commercial Academy, and my sister to a boarding school, but both suddenly died of cholera,

My sister and I were left orphans. Then we hear that grandmother died here and

left a will so that my uncle would pay us the portion that should be paid when we arrive

at the age of majority, only with the condition...”

d) Curly

20) Who owns the words from A. Ostrovsky’s play “Dowry”?

“The thing... yes, the thing! They are right, I am a thing, not a person. I am now convinced that I

I tested myself... I am a thing! (With fervor.) Finally a word has been found for me, you

found him. Go away! Please, leave me!”

a) Larisa Dmitrievna Ogudalova

b) Agrofena Kondratyevna Bolshova

c) Anna Pavlovna Vyshnevskaya

d) Kharita Ignatievna Ogudalova

1 option

1-c, 2-a, 3-c, 4-c, 5-c, 6-b, 7-c, 8-d, 9-a, 10-c, 11-a, 12-b, 13- g, 14-b, 15-c, 16-g, 17-g, 18-a, 19-b, 20-g

Option 2

1-a, 2-c, 3-a, 4-b, 5-c, 6-c, 7-a, 8-c, 9-a, 10-c, 11-d, 12-c, 13- b, 14-b, 15-d, 16-b, 17-c, 18-a, 19-b, 20-a

Option No. 371064

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At the beginning of the above fragment, the characters communicate with each other, exchanging remarks. What is this type of speech called?

“Here we are at home,” said Nikolai Petrovich, taking off his cap and shaking his hair. - The main thing is now to have dinner and rest.

It’s really not bad to eat,” Bazarov noted, stretching, and sank onto the sofa.

Yes, yes, let's have dinner, have dinner quickly. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, Prokofich.

A man of about sixty entered, white-haired, thin and dark, wearing a brown tailcoat with copper buttons and a pink scarf around his neck. He grinned, walked up to Arkady’s handle and, bowing to the guest, retreated to the door and put his hands behind his back.

Here he is, Prokofich,” Nikolai Petrovich began, “he finally came to us... What? how do you find it?

“In the best possible way, sir,” said the old man and grinned again, but immediately frowned his thick eyebrows. - Would you like to set the table? - he said impressively.

Yes, yes, please. But won’t you go to your room first, Evgeny Vasilich?

No, thank you, there is no need. Just order my suitcase to be stolen there and these clothes,” he added, taking off his robe.

Very good. Prokofich, take their overcoat. (Prokofich, as if in bewilderment, took Bazarov’s “clothes” with both hands and, raising it high above his head, walked away on tiptoe.) And you, Arkady, will you go to your room for a minute?

“Yes, we need to clean ourselves,” Arkady answered and headed towards the door, but at that moment a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots, Pavel Petrovich Kirsanov, entered the living room. He looked about forty-five years old: his short-cropped gray hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if carved with a thin and light incisor, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance of Arkady's uncle, graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.

Pavel Petrovich took his beautiful hand with long pink nails from the pocket of his trousers - a hand that seemed even more beautiful from the snowy whiteness of the sleeve, fastened with a single large opal, and gave it to his nephew. Having previously performed the European “shake hands,” he kissed him three times, in Russian, that is, touched his cheeks with his fragrant mustache three times, and said: “Welcome.”

Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly tilted his flexible figure and smiled slightly, but did not offer his hand and even put it back in his pocket.

“I already thought that you wouldn’t come today,” he spoke in a pleasant voice, swaying courteously, twitching his shoulders and showing his beautiful white teeth. - Did something happen on the road?

“Nothing happened,” answered Arkady, “so, we hesitated a little.”

I. S. Turgenev “Fathers and Sons”

Answer:

Name the literary movement whose principles were embodied in “Dead Souls”.

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

The nobleman, as usual, comes out: “Why are you here? Why do you? A! - he says, seeing Kopeikin, “after all, I have already announced to you that you should expect a decision.” - “For mercy, your Excellency, I don’t have, so to speak, a piece of bread...” - “What should I do? I can’t do anything for you: try to help yourself for now, look for the means yourself.” - “But, Your Excellency, you can, in a way, judge for yourself what means I can find without having an arm or a leg.” “But,” says the dignitary, “you must agree: I cannot support you, in some way, at my own expense: I have many wounded, they all have an equal right... Arm yourself with patience. When the sovereign arrives, I can give you my word of honor that his royal mercy will not leave you.” “But, Your Excellency, I can’t wait,” says Kopeikin, and he speaks, in some respects, rudely. The nobleman, you understand, was already annoyed. In fact: here from all sides the generals are waiting for decisions, orders: matters, so to speak, are important, state affairs, requiring speedy execution - a minute of omission can be important - and then there is an unobtrusive devil attached to the side. “Sorry,” he says, “I don’t have time... I have more important things to do than yours.” It reminds you in a somewhat subtle way that it’s time to finally get out. And my Kopeikin - hunger, you know, spurred him on: “As you wish, Your Excellency, he says, I will not leave my place until you give a resolution.” Well... you can imagine: to respond in this way to a nobleman, who only has to say a word - and so the tarashka flew up, so that the devil will not find you... Here, if an official of one less rank tells our brother, something like that, so much so and rudeness. Well, and there’s the size, what the size is: the general-in-chief and some captain Kopeikin! Ninety rubles and zero! The general, you understand, nothing more, as soon as he looked, and his gaze was like a firearm: the soul was gone - it had already gone to his heels. And my Kopeikin, you can imagine, doesn’t move, he stands rooted to the spot. “What are you doing?” - says the general and took him, as they say, to the shoulder. However, to tell the truth, he treated him quite mercifully: another would have scared him so much that for three days after that the street would have been spinning upside down, but he only said: “Okay, he says, if it’s expensive for you to live here and you can’t wait in peace in the capital decision of your fate, so I will send you to the government account. Call the courier! escort him to his place of residence!” And the courier, you see, is standing there: some kind of three-arshine man, his hands, you can imagine, are made for coachmen by nature - in a word, a kind of dentist. .. Here he was, the servant of God, captured, my sir, in a cart with a courier. “Well,” Kopeikin thinks, “at least you don’t have to pay fees, thanks for that.” Here he is, my sir, riding on a courier, yes, riding on a courier, in a way, so to speak, reasoning to himself: “When the general says that I should look for means to help myself, well, he says, I’ll find facilities!" Well, as soon as he was delivered to the place and where exactly they were taken, none of this is known. So, you see, the rumors about Captain Kopeikin sank into the river of oblivion, into some kind of oblivion, as the poets call it. But, excuse me, gentlemen, this is where, one might say, the thread, the plot of the novel begins. So, where Kopeikin went is unknown; but, you can imagine, less than two months passed before a gang of robbers appeared in the Ryazan forests, and the ataman of this gang, my sir, was none other...”

N.V. Gogol “Dead Souls”

Answer:

Indicate the term that denotes the depiction of the inner, spiritual life of the characters, including with the help of external “cues” (“exclaimed impatiently,” “interrupted again,” “looked from under his brows”).

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

That’s how you and I, Nikolai Petrovich said to his brother that same day after dinner, sitting in his office, “we’ve become retired people, our song is finished. Well? Maybe Bazarov is right; but, I admit, one thing hurts me: I was hoping right now to get along closely and friendly with Arkady, but it turns out that I stayed behind and he went forward, and we cannot understand each other.

Why did he go ahead? And how is he so different from us? - Pavel Petrovich exclaimed impatiently. - This gentleman, this nihilist, drove it all into his head. I hate this doctor; in my opinion, he is just a charlatan; I’m sure that with all his frogs he’s not far ahead in physics.

No, brother, don’t say that: Bazarov is smart and knowledgeable.

And what disgusting pride,” Pavel Petrovich interrupted again.

Yes,” Nikolai Petrovich noted, “he is proud.” But apparently it’s impossible without this; There’s just something I don’t understand. It seems that I am doing everything to keep up with the times: I organized peasants, started a farm, so that even in the whole province they call me red; I read, I study, in general I try to keep up with modern requirements, but they say that my song is finished. Why, brother, I myself am beginning to think that it is definitely sung.

Why?

Here's why. Today I’m sitting and reading Pushkin... I remember, “Gypsies” came across to me... Suddenly Arkady comes up to me and silently, with a kind of gentle regret on his face, quietly, like a child, he took the book from me and put another one in front of me, German... he smiled and left, and took Pushkin away.

That's how! What book did he give you?

This one.

And Nikolai Petrovich took out the notorious Buchner pamphlet, ninth edition, from the back pocket of his coat. Pavel Petrovich turned it over in his hands.

Hm! - he mumbled. - Arkady Nikolaevich takes care of your upbringing. Well, have you tried reading?

I tried it.

So what?

Either I'm stupid or this is all nonsense. I must be stupid.

Have you forgotten your German? - asked Pavel Petrovich.

I understand German.

Pavel Petrovich again turned the book over in his hands and looked at his brother from under his brows. Both were silent.

I. S. Turgenev “Fathers and Sons”

Answer:

The relationship between the Wild One and the people around him is often in the nature of a clash, an irreconcilable confrontation. Indicate the term by which it is designated.

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

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

Feklusha leaves.

Let's go to our chambers!

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

Kabanova. What made you angry?

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

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

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

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

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

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

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

Wild. How on purpose?

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

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

Glasha enters.

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

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

Wild. Perhaps.

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

A.N. Ostrovsky "Thunderstorm"

Answer:

At the end of the fragment there is a question that does not require a specific answer: “And what passions and enterprises could excite them?” What is this question called?

The poet and dreamer would not have been satisfied even with the general appearance of this modest and unpretentious area. They would not be able to see some evening there in the Swiss or Scottish style, when all nature - the forest, the water, the walls of the huts, and the sandy hills - everything burns as if with a crimson glow; when, against this crimson background, a cavalcade of men riding along a sandy winding road is sharply shaded, accompanying some lady on walks to a gloomy ruin and hastening to a strong castle, where an episode about the war of the two roses awaits them, told by the grandfather, a wild goat for dinner and sung by the young miss ballad to the sound of a lute - pictures,

with which the pen of Walter Scott so richly populated our imagination.

No, there was nothing like this in our region.

How quiet everything is, everything is sleepy in the three or four villages that make up this corner! They lay not far from each other and were as if accidentally thrown by a giant hand and scattered in different directions, and have remained that way ever since.

Just as one hut ended up on the cliff of a ravine, it has been hanging there since time immemorial, standing with one half in the air and supported by three poles. Three or four generations lived quietly and happily in it.

It seems that a chicken would be afraid to enter it, but Onisim Suslov lives there with his wife, a respectable man who does not stare at his full height in his home. Not everyone will be able to enter the hut to Onesimus; unless the visitor asks her to stand with her back to the forest and her front to him.

The porch hung over a ravine, and in order to get onto the porch with your foot, you had to grab the grass with one hand, the roof of the hut with the other, and then step straight onto the porch.

Another hut clung to the hillock like a swallow's nest; there three of them happened to be nearby, and two are standing at the very bottom of the ravine.

Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul in sight; Only flies fly in clouds and buzz in the stuffy atmosphere. Entering the hut, you will begin to call loudly in vain: dead silence will be the answer; in a rare hut, an old woman living out her life on the stove will respond with a painful groan or a muffled cough, or a barefoot, long-haired three-year-old child, in only a shirt, will appear from behind the partition, silently, look intently at the newcomer and timidly hide again.

The same deep silence and peace lie in the fields; only here and there, like an ant, a plowman, scorched by the heat, crawls on a black field, leaning on his plow and sweating.

Silence and undisturbed calm reign in the morals of the people in that region. No robberies, no murders, no terrible accidents happened there; neither strong passions nor daring undertakings excited them.

And what passions and enterprises could excite them? Everyone knew himself there. The inhabitants of this region lived far from other people. The nearest villages and the district town were twenty-five and thirty miles away.

At a certain time, the peasants transported grain to the nearest pier to the Volga, which was their Colchis and the Pillars of Hercules, and once a year some went to the fair, and had no further relations with anyone.

Their interests were focused on themselves, and did not intersect or come into contact with anyone else.

(I.A. Goncharov. "Oblomov")

Answer:

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

Answer:

What is the name of the stanza used by the author in this work?

Read the text fragment below and complete tasks B1-B7; C1-C2.

A. S. Pushkin “Eugene Onegin”

Answer:

In the above fragment there are the author's explanations of the text of the play and the statements of the characters, in parentheses. What term denotes them?

Read the text fragment below and complete tasks B1-B7; C1-C2.

Wild. Look, everything is soaked. (Kuligin.) Leave me alone! Leave me alone! (With heart.) Foolish man!

Kuligin. Savel Prokofich, after all, this, your lordship, will benefit all ordinary people in general.

Wild. Go away! What a benefit! Who needs this benefit?

Kuligin. Yes, at least for you, your lordship, Savel Prokofich. If only I could put it on the boulevard, in a clean place, sir. What's the cost? Empty consumption: stone column (shows the size of each item with gestures), a copper plate, so round, and a hairpin, here’s a straight hairpin (shows with a gesture), the simplest one. I’ll put it all together and cut out the numbers myself. Now you, your lordship, when you deign to take a walk, or others who are walking, will now come up and see<...>And this place is beautiful, and the view, and everything, but it’s as if it’s empty. We, too, your lordship, have travelers who go there to see our views, after all, it’s a decoration - it’s more pleasing to the eye.

Wild. Why are you bothering me with all this nonsense! Maybe I don’t even want to talk to you. You should have first found out whether I am in the mood to listen to you, a fool, or not. What am I to you - equal, or what? Look, what an important matter you found! So he starts talking straight to the snout.

Kuligin. If I had minded my own business, well, then it would have been my fault. Otherwise, I am for the common good, your lordship. Well, what does ten rubles mean to society? You won't need more, sir.

Wild. Or maybe you want to steal; who knows you.

Kuligin. If I want to put my labors away for nothing, what can I steal, your lordship? Yes, everyone here knows me; No one will say anything bad about me.

Wild. Well, let them know, but I don’t want to know you.

Kuligin. Why, sir, Savel Prokofich, would you like to offend an honest man?

Wild. I'll give you a report or something! I don’t give an account to anyone more important than you. I want to think about you this way, and I think so. For others, you are an honest person, but I think that you are a robber, that’s all. Did you want to hear this from me? So listen! I say I’m a robber, and that’s the end of it! So, are you going to sue me or something? So you know that you are a worm. If I want, I will have mercy, if I want, I will crush.

Kuligin. God be with you, Savel Prokofich! I, sir, am a small person; it won’t take long to offend me. And I’ll tell you this, your lordship: “And virtue is honored in rags!”

Wild. Don't you dare be rude to me! Can you hear me!

Kuligin. I’m not doing anything rude to you, sir, but I’m telling you because maybe you’ll decide to do something for the city someday. You have strength, your dignity, something else; If only there was the will to do a good deed. Let’s just take it now: we have frequent thunderstorms, but we won’t install thunder diverters.

Wild (proudly). Everything is vanity!

Kuligin. But what a fuss there was when there were experiments.

Wild. What kind of lightning taps do you have there?

Kuligin. Steel.

Wild (with anger). Well, what else?

Kuligin. Steel poles.

Wild (getting more and more angry). I heard that poles, you kind of asp; and what else? Set up: poles! Well, what else?

Kuligin. Nothing more.

Wild. What do you think a thunderstorm is, huh? Well, speak up!

Kuligin. Electricity.

Wild (stomping his foot). What other beauty there is! Why aren't you a robber? A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods. What are you, a Tatar, or what? Are you Tatar? A? speak! Tatar?

Kuligin. Savel Prokofich, your lordship, Derzhavin said:

My body is crumbling into dust,

I command thunder with my mind.

Wild. And for these words, send you to the mayor, so he will give you a hard time! Hey, venerables! listen to what he says!

Kuligin. There is nothing to do, we must submit! But when I have a million, then I’ll talk. (Waving his hand, he leaves.)

A. N. Ostrovsky “Thunderstorm”

Answer:

What term refers to an expressive detail in a work of art (for example, a pink ribbon tied around a list of peasants)?

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

Before he had time to go out into the street, thinking about all this and at the same time dragging on his shoulders a bear covered with brown cloth, when at the very turn into the alley he ran into a gentleman, also wearing bears, covered with brown cloth, and in a warm cap with ears. The gentleman screamed, it was Manilov. They immediately embraced each other and remained on the street in this position for about five minutes. The kisses on both sides were so strong that both of their front teeth almost hurt all day. Manilov's joy left only his nose and lips on his face, his eyes completely disappeared. For a quarter of an hour he held Chichikov’s hand with both hands and heated it terribly. In the most subtle and pleasant turns of phrase, he told how he flew to hug Pavel Ivanovich; the speech was concluded with such a compliment as is only appropriate for a girl with whom they are going to dance. Chichikov opened his mouth, not yet knowing how to thank him, when suddenly Manilov took out from under his fur coat a piece of paper, rolled into a tube and tied with a pink ribbon, and held it out very deftly with two fingers.

What's this?

Guys.

A! - He immediately unfolded it, ran his eyes and marveled at the purity and beauty of the handwriting. “It’s beautifully written,” he said, “there’s no need to rewrite it.” There’s also a border around it! who made the border so skillfully?

Well, don’t ask,” said Manilov.

Oh my god! I’m really ashamed that I caused so much trouble.

For Pavel Ivanovich there are no difficulties.

Chichikov bowed gratefully. Having learned that he was going to the chamber to complete the deed of sale, Manilov expressed his readiness to accompany him. The friends joined hands and walked together. At every slight elevation, or hill, or step, Manilov supported Chichikov and almost lifted him with his hand, adding with a pleasant smile that he would not allow Pavel Ivanovich to hurt his legs. Chichikov was ashamed, not knowing how to thank him, for he felt that he was a little heavy. In similar mutual favors, they finally reached the square where the government offices were located; a large three-story stone house, all white as chalk, probably to depict the purity of the souls of the positions housed in it; the other buildings on the square did not match the enormity of the stone house. These were: a guardhouse, in front of which stood a soldier with a gun, two or three cab drivers' exchanges, and finally long fences with the famous fence inscriptions and drawings scratched with charcoal and chalk; there was nothing else on this secluded, or, as we say, beautiful square. The incorruptible heads of the priests of Themis sometimes stuck out from the windows of the second and third floors and at that very moment hid again: probably at that time the chief entered the room. The friends did not climb up, but ran up the stairs, because Chichikov, trying to avoid being supported by the arms from Manilov, accelerated his pace, and Manilov, for his part, also flew forward, trying not to let Chichikov get tired, and therefore both were very out of breath when entered a dark corridor. Neither in the corridors nor in the rooms was their gaze struck by the cleanliness. They didn’t care about her then; and what was dirty remained dirty, not taking on an attractive appearance. Themis simply received guests as she was, in a negligee and robe. It would be worth describing the office rooms through which our heroes passed, but the author has a strong shyness towards all official places. If he happened to pass through them, even in a brilliant and ennobled state, with varnished floors and tables, he tried to run through them as quickly as possible, humbly lowering his eyes to the ground, and therefore does not know at all how everything is prospering and thriving there. Our heroes saw a lot of paper, both rough and white, bowed heads, wide napes, tailcoats, coats of provincial cut, and even just some kind of light gray jacket, separated very sharply, which, turning its head to the side and placing it almost on the very paper, wrote in a smart and sweeping manner, some kind of protocol about the acquisition of land or the inventory of an estate seized by some peaceful landowner, quietly living out his life under court, having amassed children and grandchildren under his protection, and short expressions could be heard in fits and starts, uttered in a hoarse voice: “Lend , Fedosei Fedoseevich, business for N 368! “You always drag the stopper from the government inkwell somewhere!” Sometimes a more majestic voice, no doubt from one of the bosses, rang out imperatively: “Here, rewrite it!” Otherwise they’ll take off your boots and you’ll sit with me for six days without eating.” The noise from the feathers was great and sounded as if several carts with brushwood were passing through a forest littered with a quarter of an arshin of withered leaves.

I do not understand what you say.

Katerina. I say: why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That's how she would run up, raise her hands and fly. Something to try now? Wants to run.

Varvara. What are you making up?

Katerina. (sighing). How playful I was! I've completely withered away from you.

Varvara. Do you think I don't see?

Katerina. Was that what I was like? I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work; I used to do whatever I want. Do you know how I lived with girls? I'll tell you now. I used to get up early; If it’s summer, I’ll go to the spring, wash myself, bring some water with me, and that’s it, I’ll water all the flowers in the house. I had many, many flowers. Then we’ll go to church with Mama, everyone and pilgrims - our house was full of pilgrims and praying mantises. And we’ll come from church, sit down to do some kind of work, more like gold velvet, and the wanderers will begin to tell us: where they were, what they saw, different lives, or sing poetry. So time will pass until lunch. Here the old women go to sleep, and I walk around the garden. Then to Vespers, and in the evening again stories and singing. It was so good!

Varvara. Yes, it’s the same with us.

Katerina. Yes, everything here seems to be out of captivity. And to death I loved going to church! Exactly, it happened that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over. Exactly how it all happened in one second. Mama said that everyone used to look at me, what was happening to me! Do you know: on a sunny day such a light pillar comes down from the dome, and smoke moves in this pillar, like clouds, and I see, it used to be as if angels were flying and singing in this pillar. And sometimes, girl, I would get up at night - we also had lamps burning everywhere - and somewhere in a corner I would pray until the morning. Or I’ll go into the garden early in the morning, the sun is just rising, I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying for and what I’m crying about; that's how they'll find me. And what I prayed for then, what I asked for, I don’t know; I didn’t need anything, I had enough of everything. And what dreams I had, Varenka, what dreams! Either the temples are golden, or the gardens are some kind of extraordinary, and invisible voices are singing, and there is a smell of cypress, and the mountains and trees seem not to be the same as usual, but as if depicted in images. And it’s like I’m flying, and I’m flying through the air. And now I sometimes dream, but rarely, and not even that.

A. N. Ostrovsky “Thunderstorm”

Answer:

Complete testing, check answers, see solutions.

Indicate the literary direction, the principles of which were embodied in A. N. Ostrovsky’s play “The Thunderstorm”.

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

Katerina and Varvara.

Katerina.<...>Do you know what came to my mind?

Varvara. What?

Katerina. Why don't people fly!

Varvara. I do not understand what you say.

Katerina. I say: why don’t people fly like birds? You know, sometimes I feel like I'm a bird. When you stand on a mountain, you feel the urge to fly. That's how she would run up, raise her hands and fly. Something to try now? Wants to run.

Varvara. What are you making up?

Katerina. (sighing). How playful I was! I've completely withered away from you.

Varvara. Do you think I don't see?

Katerina. Was that what I was like? I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me, dressed me up like a doll, and didn’t force me to work; I used to do whatever I want. Do you know how I lived with girls? I'll tell you now. I used to get up early; If it’s summer, I’ll go to the spring, wash myself, bring some water with me, and that’s it, I’ll water all the flowers in the house. I had many, many flowers. Then we’ll go to church with Mama, everyone and pilgrims - our house was full of pilgrims and praying mantises. And we’ll come from church, sit down to do some kind of work, more like gold velvet, and the wanderers will begin to tell us: where they were, what they saw, different lives, or sing poetry. So time will pass until lunch. Here the old women go to sleep, and I walk around the garden. Then to Vespers, and in the evening again stories and singing. It was so good!

Varvara. Yes, it’s the same with us.

Katerina. Yes, everything here seems to be out of captivity. And to death I loved going to church! Exactly, it happened that I would enter heaven, and I didn’t see anyone, and I didn’t remember the time, and I didn’t hear when the service was over. Exactly how it all happened in one second. Mama said that everyone used to look at me, what was happening to me! Do you know: on a sunny day such a light pillar comes down from the dome, and smoke moves in this pillar, like clouds, and I see, it used to be as if angels were flying and singing in this pillar. And sometimes, girl, I would get up at night - we also had lamps burning everywhere - and somewhere in a corner I would pray until the morning. Or I’ll go into the garden early in the morning, the sun is just rising, I’ll fall on my knees, pray and cry, and I myself don’t know what I’m praying for and what I’m crying about; that's how they'll find me. And what I prayed for then, what I asked for, I don’t know; I didn’t need anything, I had enough of everything. And what dreams I had, Varenka, what dreams! Either the temples are golden, or the gardens are some kind of extraordinary, and invisible voices are singing, and there is a smell of cypress, and the mountains and trees seem not to be the same as usual, but as if depicted in images. And it’s like I’m flying, and I’m flying through the air. And now I sometimes dream, but rarely, and not even that.

A. N. Ostrovsky “Thunderstorm”

What is the author’s definition of the genre of the play “The Thunderstorm”?

Explanation.

In the play “The Thunderstorm,” Ostrovsky not only denounces the “dark kingdom,” but also shows that in the depths of this “dark kingdom” a protest arises against its foundations. The tragedy of the play lies in the conflict between Katerina’s emerging living feelings and the dead way of life. Katerina's suicide in the drama "The Thunderstorm" is not a stage device that enhances the impression of the play, but a dramatic finale prepared by the entire course of events of the play.

Answer: drama.

Maria Akhmetzyanova 20.12.2016 21:12

Isn't the genre of the play tragedy? because the main character dies at the end

Tatiana Statsenko

Read the explanations.

Indicate the surname that Varvara and Katerina bear.

Explanation.

Varvara is the daughter of Kabanova (Kabanikha) and the sister of Tikhon Kabanova. Katerina is the wife of Tikhon Kabanov.

Answer: Kabanovs.

Answer: Kabanovs|Kabanova

Alexandra Paley 19.01.2017 17:26

Perhaps I don’t understand something, but why, among the questions about the work “Woe from Wit,” does the question about “The Thunderstorm” arise?

Tatiana Statsenko

Explain: in what sense? The text "Thunderstorms" in the task, a question based on the text. Maybe there was some kind of glitch?..

Katerina and Varvara talk to each other, exchanging remarks. What is this form of character communication called?

Explanation.

Dialogue is a conversation between two or more people. In a literary work, especially in drama, dialogue is one of the main forms of speech characteristics of characters.

Answer: dialogue.

Answer: dialogue

Establish a correspondence between the three characters of “The Thunderstorm”, who played a certain role in the fate of the main character, and their position in the system of images of the play.

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

Explanation.

Boris is Dikiy's nephew, Tikhon is Katerina's husband, Kuligin is a self-taught watchmaker.

Answer: 241.

Answer: 241

Tatiana Statsenko

Absolutely right, husband))

The heroines' remarks are accompanied by the author's comments and explanations (she wants to run, sighing). What are their names?

Explanation.

A remark is an author's explanation in a dramatic work, with the help of which the location of action, the external or spiritual appearance of the characters, and the various psychological states experienced by them are specified.

Answer: remarks.

Answer: remarks|remarks

Katerina and Varvara represent different personality types. What is the technique of opposition called in a work of art?

Explanation.

Antithesis is a opposition, a turn in which sharply opposing concepts and ideas are combined. The contrast is a stark contrast.

Answer: antithesis or contrast.

Answer: antithesis|contrast

Anastasia Bedareva 17.12.2016 15:50

An antipode is a person who is opposite to someone in terms of beliefs, properties, and tastes. Why antithesis?

Tatiana Statsenko

The antipode is precisely a person, and not a method of opposition.

What features of Katerina’s inner world are reflected in her stories about herself?

Explanation.

Katerina is a poetic and dreamy person. Recalling her childhood, she herself talks about how the world of her feelings and moods was formed. From these stories it is clear that it was in childhood that she developed a subtle sense of beauty. Katerina speaks in a language that only a poetically minded and gifted woman can speak. At the same time, her dreams of flying indicate that Katerina is a woman with a strong character: she is capable, like a bird, of flying away from a world that has disgusted her.

Assessment of the completion of tasks S1 and S3, which require writing a detailed answer in the amount of 5-10 sentences

If, when checking the tasks of the specified group, the expert gives 0 points or 1 point according to the first criterion, then the task is not assessed according to the second criterion (0 points are given in the answer checking protocol).

In what works of Russian literature do the authors resort to contrasting female images, and in what ways can these heroines be correlated with Katerina and Varvara from “The Thunderstorm”?

Explanation.

Using the technique of contrast to reveal female images, L. N. Tolstoy paints portraits of two heroines: Helen and Natasha. A. S. Pushkin also resorts to opposition in the novel “Eugene Onegin”, comparing Tatyana and Olga. Just as in Ostrovsky’s play, the poetic, dreamy Katerina is contrasted with the calculating, unprincipled Varvara; in War and Peace, the cold and immoral Helen Tolstoy contrasted his beloved heroine Natasha with Rostov. “Tatyana’s sweet ideal” is created by Pushkin in contrast to Olga Larina, soulless, stupid, “empty.” It is noteworthy that the authors considered female images to be the most successful in their works.

Assessment of the completion of tasks C2 and C4, which require writing a detailed answer in the amount of 5-10 sentences

The indication of volume is conditional; the assessment of the answer depends on its content (if the examinee has deep knowledge, he can answer in a larger volume; with the ability to accurately formulate his thoughts, the examinee can answer quite fully in a smaller volume).

When completing the task, the examinee independently selects two works by different authors for contextual comparison (in one example, it is acceptable to refer to the work of the author who owns the source text). When indicating the author, initials are necessary only to distinguish namesakes and relatives, if this is essential for adequate perception of the content of the answer (for example, L. N. and A. K. Tolstoy; V. L. and A. S. Pushkins).

Explanation.

Realism - from the Latin realis - real. The main feature of realism is considered to be a truthful depiction of reality. The definition given by F. Engels: “... realism presupposes, in addition to the truthfulness of details, the truthful reproduction of typical characters in typical circumstances.”

Answer: realism.

Answer: realism