The places they passed through could not be called picturesque. The fields, all the fields, stretched all the way to the sky, now slightly rising, now lowering again; in some places one could see small forests, and, dotted with sparse and low shrubs, ravines curled, reminding the eye of their own image on the ancient plans of Catherine's time. There were also rivers with open banks, and tiny ponds with thin dams, and villages with low huts under dark, often half-swept roofs, and crooked threshing sheds with walls woven from brushwood and yawning gates near the empty humens, and churches, sometimes brick with stucco that had fallen off in some places, then wooden ones with leaning crosses and devastated cemeteries. Arkady's heart sank little by little. As if on purpose, the peasants met all shabby, on bad nags; like beggars in tatters stood wayside willows with peeled bark and broken branches; emaciated, rough, as if gnawed, cows greedily plucked the grass in the ditches. It seemed that they had just escaped from someone's formidable, deadly claws - and, caused by the miserable sight of exhausted animals, in the midst of a red spring day, a white ghost of a bleak, endless winter arose with its snowstorms, frosts and snows ... "No," thought Arkady , - this region is not rich, it does not strike either contentment or hard work; it’s impossible, it’s impossible for him to stay like this, transformations are necessary ... but how to fulfill them, how to start? .. ”
So thought Arkady ... and while he was thinking, spring took its toll. Everything around was golden green; everywhere the larks burst forth in endless ringing streams; the lapwings either screamed, hovering over the low-lying meadows, or silently ran across the hummocks; beautifully blackening in the delicate green of still low spring loaves, rooks walked; they disappeared in the rye, already slightly whitened, only occasionally their heads showed up in its smoky waves. Arkady looked and looked, and, gradually weakening, his thoughts disappeared ... He threw off his overcoat and looked at his father so cheerfully, like such a young boy, that he again embraced him.
Now it’s not far, - Nikolai Petrovich noticed, - you just have to climb this hill, and you will be visible. We will live happily with you, Arkasha; You will help me with the housework, unless it bores you. We need to get close to each other now, get to know each other well, don't we?
Of course, - said Arkady, - but what a wonderful day today!
For your arrival, my soul. Yes, spring is in full bloom. But by the way, I agree with Pushkin - remember, in Eugene Onegin:
How sad is your appearance to me,
Spring, spring, time for love!
Nikolai Petrovich fell silent, and Arkady, who began to listen to him not without some amazement, but also not without sympathy, hastened to get a silver box of matches from his pocket and sent it to _________ with Pyotr.
Do you want a cigar? ___________ shouted again.
Come on, - answered Arkady.
Pyotr returned to the carriage and handed him, along with the box, a thick black cigar, which Arkady immediately lit up, spreading such a strong and sour smell of seasoned tobacco around him that Nikolai Petrovich, who never smoked, involuntarily, although imperceptibly, so as not to offend his son, turned his nose away. .
A quarter of an hour later, both carriages stopped in front of the porch of a new wooden house, painted gray and covered with a red iron roof. This was Maryino, Novaya Slobidka, also, or, according to the peasant name, Bobily Khutor.
IN 1. What city did Arkady return from?
AT 2. What is the name of the hero of the novel, which must be entered in the place of the passes.
AT 3. What is the description of nature in a literary work called?
AT 4. name artistic technique, underlying the correlation of the first and second paragraphs of the text.
AT 5. What is the name of the figurative definition of an object that gives it a vivid description (shabby peasants, yawning collars, emaciated, rough cows)?
AT 6. What is the name of the technique based on the use of verbatim excerpts from other people's works?
AT 7. What is the syntactic device that the author uses in the third sentence in order to create the feeling of driving and the accompanying change of objects that fall into the field of view of the characters.
C1. Why is Arcadia entrusted to see the nature surrounding the heroes, and what will this landscape tell about its observer?
C2. What is the meaning of the appeal to Pushkin in this fragment and in the novel "Fathers and" as a whole? In what works of Russian literature are there still appeals to the poet's work?
Answers and comments
How to download a free essay? . And a link to this essay; Analysis of an excerpt from epic work already in your bookmarks.Additional writings on this topic
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Analysis of an excerpt from an epic work
The places they passed through could not be called picturesque. The fields, all the fields, stretched all the way to the sky, now slightly rising, now lowering again; in some places one could see small forests, and, dotted with sparse and low shrubs, ravines curled, reminding the eye of their own image on the ancient plans of Catherine's time. There were also rivers with open banks, and tiny ponds with thin dams, and villages with low huts under dark, often half-swept roofs, and crooked threshing sheds with walls woven from brushwood and yawning gates near the empty humens, and churches, sometimes brick with stucco that had fallen off in some places, then wooden ones with leaning crosses and devastated cemeteries. Arkady's heart sank little by little. As if on purpose, the peasants met all shabby, on bad nags; like beggars in tatters stood wayside willows with peeled bark and broken branches; emaciated, rough, as if gnawed, cows greedily plucked the grass in the ditches. It seemed that they had just escaped from someone's formidable, deadly claws - and, caused by the miserable sight of exhausted animals, in the midst of a red spring day, a white ghost of a bleak, endless winter arose with its blizzards, frosts and snows ... "No," thought Arkady - this region is not rich, it does not impress either with contentment or hard work; it is impossible, it is impossible for it to remain like this, transformations are necessary ... but how to fulfill them, how to proceed? .. "
So thought Arkady ... and while he was thinking, spring took its toll. Everything around was golden green; everywhere the larks burst forth in endless ringing streams; lapwings now screamed, hovering over low-lying meadows, then silently ran across the hummocks; beautifully blackening in the delicate green of still low spring loaves, rooks walked; they disappeared in the rye, already slightly whitened, only occasionally their heads showed up in its smoky waves. Arkady looked and looked, and, gradually weakening, his thoughts disappeared ... He threw off his overcoat and looked at his father so cheerfully, like such a young boy, that he again embraced him.
Now it’s not far, - Nikolai Petrovich noticed, - you just have to climb this hill, and the house will be visible. We will live happily with you, Arkasha; You will help me with the housework, unless it bores you. We need to get close to each other now, get to know each other well, don't we?
Of course, - said Arkady, - but what a wonderful day today!
For your arrival, my soul. Yes, spring is in full bloom. But by the way, I agree with Pushkin - remember, in Eugene Onegin:
How sad is your appearance to me,
Spring, spring, time for love!
Which...
Arkady! - came the voice of _______ from the tarantass, - send me a match, there is nothing to light a pipe with.
Nikolai Petrovich fell silent, and Arkady, who began to listen to him not without some amazement, but also not without sympathy, hastened to get a silver box of matches from his pocket and sent it to _________ with Pyotr.
Do you want a cigar? ___________ shouted again.
Come on, - answered Arkady.
Pyotr returned to the carriage and handed him, along with the box, a thick black cigar, which Arkady immediately lit up, spreading such a strong and sour smell of seasoned tobacco around him that Nikolai Petrovich, who never smoked, involuntarily, although imperceptibly, so as not to offend his son, turned his nose away. .
A quarter of an hour later, both carriages stopped in front of the porch of a new wooden house, painted gray and covered with a red iron roof. This was Maryino, Novaya Slobidka, also, or, according to the peasant name, Bobily Khutor.
I.S. Turgenev. "Fathers and Sons"
IN 1. What city did Arkady Kirsanov return from?
AT 2. What is the name of the hero of the novel, which must be entered in the place of the passes.
AT 3. What is the description of nature in a literary work called?
AT 4. What is the artistic technique underlying the correlation of the first and second paragraphs of the text.
AT 5. What is the name of the figurative definition of an object that gives it a vivid description ( shabby peasants, yawning collars, emaciated, rough cows)?
AT 6. What is the name of the technique based on the use of verbatim excerpts from other people's works?
AT 7. What is the syntactic device that the author uses in the third sentence in order to create the feeling of driving and the accompanying change of objects that fall into the field of view of the characters.
C1. Why is Arcadia entrusted to see the nature surrounding the heroes, and what will this landscape tell about its observer?
C2. What is the meaning of the appeal to Pushkin in this fragment and in the novel "Fathers and Sons" as a whole? In what works of Russian literature are there still appeals to the poet's work?
Answers and comments
Task C1 assumes that students will consider the landscape not only “in itself”, but also as a means of characterizing its observer. mood in the soul of the hero. You can also ask yourself why Bazarov, who is not a life changer, is entrusted to see poverty. native land, and remember the epilogue, from which we learn that it was Arkady who became the real master on this earth.
Task C2 assumes that students will remember numerous Pushkin quotes and reminiscences scattered throughout the text of Turgenev’s novel (Nikolai Petrovich quotes Pushkin, he also reads “Gypsy”, Bazarov will be ironic over Pushkin, but he himself will speak at the moment of declaring his love in Pushkin’s words; with Pushkin’s quote we see you in the final sentence of the novel). Pushkin is one of the most significant poets for Turgenev, they are trusted with the attitude of heroes to life. Pushkin is an image of eternity in art, he is akin to a "wide wave of life" that is spilled in nature and that many heroes of the novel feel. Heroes of many works of Russian literature turn to Pushkin: Khlestakov, Poet in Nekrasov's poem "Poet and Citizen", Nikitin ( “Teacher of Literature” by Chekhov), the heroes of Bulgakov’s “White Guard”, the lyrical hero of the poem “Jubilee” by V. Mayakovsky, etc.
Sergey Volkov
Preview:
Analysis of a lyrical work
* * *
I left my home
Blue left Rus'.
Three-star birch forest over the pond
The mother's old sadness warms.
golden frog moon
Spread out on still water.
Like apple blossom, gray hair
My father spilled in his beard.
I won't be back soon!
For a long time to sing and ring the blizzard.
Guards blue Rus'
Old maple on one leg.
And I know there's joy in it
To those who kiss the leaves of the rain,
Because that old maple
Head looks like me.
Sergei Yesenin, 1918
AT 8. What colors are directly or indirectly named in the poem?
AT 9. What is the name of the artistic technique used twice in the second stanza, based on an explicit, open likening of objects and phenomena?
AT 10 O'CLOCK. What is the name of the technique of internal, hidden comparison of objects and phenomena, which makes the picture figurative, multidimensional (leaves rain, gray hair spilled in the beard)?
AT 11. What is the name of the transfer of features of a living being used in the poem to inanimate objects (guards blue Rus' // old maple on one leg)?
AT 12. Name the intonational-syntactic means used in the first line of the third stanza and which allows making the expression emotional.
C3. What role do images of trees play in Yesenin's poem?
C4. In what works of Russian literature is the theme of farewell to one's home raised, and how do they echo Yesenin's poem?
Answers and comments
Tasks B8–B12 aimed at identifying the features of Yesenin's poem, important for characterizing his poetic world at all. Here and a special color scheme, and an abundance of comparisons, metaphors, personifications, and emotional syntax.
Tasks C1 and C2 will allow you to analyze the poem in more depth. Much has been said about Yesenin's love for the images of trees (in particular, see M. Epstein's articles in the LitMotiv section in Nos. 22 and 23 of Literature for this year). The world of trees and the world of man are close, penetrate each other ( birch forest capable of being sad, like the mother of a lyrical hero). Yesenin's favorite technique is the use of natural details when describing a person's appearance: gray hair in a beard is compared with apple blossom. Maple in Yesenin's world becomes the author's alter ego.
Farewell to one's home is one of the most common motifs in literature and art in general. Schoolchildren can remember Tatyana Larina leaving for Moscow, Stolz leaving for St. Petersburg, the Rostovs leaving their native nest before the French invasion, heroes " cherry orchard". Among lyrical works, except for the poems of Yesenin himself, in which this motif is often found, students can refer, for example, to Nekrasov's "Motherland" or Akhmatova's "Lot's Wife".
Sergey Volkov
Preview:
Analysis of an excerpt from a dramatic work
The same, Dikoi and Kuligin
Wild. Look, you've soaked everything. (Kuligin.) Get away from me! Leave me alone! (With heart.) Stupid man!
Kuligin. Savel Prokofich, after all, this, your degree, is of benefit to all the townsfolk in general.
Wild. Go away! What a use! Who needs this benefit?
Kuligin . Yes, at least for you, your degree, Savel Prokofich. That would be, sir, on the boulevard, on clean place, and put. And what is the expense? Empty consumption: stone column (shows with gestures the size of each thing), a copper plate, so round, and a hairpin, here is a straight hairpin (gesturing), the simplest one. I'll fit it all in, and I'll cut out the numbers myself. Now you, your degree, when you deign to walk, or others who are walking, now come up and see<...>And that kind of place is beautiful, and the view, and everything, but it seems to be empty. With us, too, your degree, and there are passers-by, they go there to look at our views, after all, an ornament - it is more pleasant for the eyes.
Wild. What are you doing to me with all sorts of nonsense! Maybe I don't want to talk to you. You should have known first whether I was in the mood to listen to you, fool, or not. What am I to you - even, or what? Look, what an important case you have found! So right with the snout something and climbs to talk.
Kuligin. If I had climbed with my business, well, then it would be my fault. And then I am for the common good, your degree. Well, what does ten rubles mean for society! More, sir, is not needed.
Wild. Or maybe you want to steal; who knows you.
Kuligin. If I want to give away my labors for nothing, what can I steal, your degree? Yes, everyone here knows me; no one will say bad things about me.
Wild. Well, let them know, but I don't want to know you.
Kuligin. Why, sir, Savel Prokofich, do you want to offend an honest man?
Wild. Report, or something, I'll give you! I don’t report to anyone more important than you. I want to think about you that way, and I think so. For others you fair man and I think you're a robber, that's all. Would you like to hear it from me? So listen! I say that the robber, and the end! What are you going to sue, or what, will you be with me? So you know that you are a worm. If I want - I'll have mercy, if I want - I'll crush.
Kuligin. God be with you, Savel Prokofich! I, sir, small man, offend me for a short time. And I’ll tell you this, your degree: “Virtue is honored in rags!”
Wild. Don't you dare be rude to me! Do you hear!
Kuligin. I'm not doing you any rudeness, sir, but I'm telling you because, perhaps, you will take it into your head to do something for the city sometime. You have a lot of strength, your degree; there would only be a will for a good deed. At least now let's take it: we have frequent thunderstorms, and we will not start lightning rods.
Wild (proudly). Everything is vanity!
Kuligin. Yes, what a fuss when the experiments were.
Wild. What kind of lightning rods do you have there?
Kuligin. Steel.
Wild (with anger). Well, what else?
Kuligin. Steel poles.
Wild ( getting more and more angry). I heard that the poles, you sort of asp; yes, what else? Adjusted: poles! Well, what else?
Kuligin. Nothing more.
Wild. Yes, a thunderstorm, what do you think, huh? Well, speak!
Kuligin. Electricity.
Wild (stomping foot ). What else there elestrichestvo! Well, how are you not a robber! A thunderstorm is sent to us as a punishment so that we feel, and you want to defend yourself with poles and some kind of goads, God forgive me. What are you, a Tatar, or what? Are you Tatar? A? speak! Tatar?
Kuligin. Savel Prokofich, your degree, Derzhavin said:
I'm rotting in the ashes,
I command thunder with my mind.
Wild. And for these words, send you to the mayor, so he will ask you! Hey honorable ones! listen to what he says!
Kuligin. Nothing to do, you have to submit! But when I have a million, then I'll talk. (With a wave of his hand, he leaves.)
A.N. Ostrovsky. "Storm"
IN 1. To which of three genera Literature refers to the play "Thunderstorm"? (Write your answer in the nominative case.)
AT 2. What device does the self-taught mechanic Kuligin propose to install on the boulevard in the first part of the fragment?
AT 3. The thunderstorm in the play is an allegorical image that has many meanings and has a special semantic capacity. What is the name of such an image in literary criticism?
AT 4. What is the name of the sharp clash of characters and circumstances underlying stage action? (We observe such a clash between Diky and Kuligin in the above fragment.)
AT 5. What is the name of the verbal communication of two or more persons, built on the alternation of their statements in a conversation?
AT 6. What is the name of a short statement of a character, a phrase that he utters in response to the words of another character?
AT 7. In the above fragment, there are author's explanations to the text of the play and the statements of the characters, which are in brackets. What is the term for them?
C1. How does this fragment help to reveal the general conflict of the play "The Thunderstorm"?
C2. What heroes of Russian literature can, together with Wild, be called ignorant, tyrannical? Justify your answer.
Answers and comments
Tasks C1 and C2. Analyzing the above excerpt from the 4th act of the drama "Thunderstorm", the students will note that Diky's dialogue with Kuligin immediately precedes the climax of the play - the recognition of Katerina under the arches of the gallery. What the characters are talking about is formally in no way connected with Katerina and her drama (Kuligin does not meet with Katerina on stage at all, except for the moment when he takes out her corpse), but in a broader sense, one can see a direct connection: after all, before us on stage, a clash of an ignorant tyrant and a good, smart, but weak man. This collision perfectly characterizes the atmosphere surrounding main character: all living things are suppressed and destroyed in it. The rudeness of the Wild, who feels like a full-fledged master in the city, correlates with the omnipotence of the Boar in his house. Shy attempts to resist (Kuligin’s persistence), as well as efforts to change this atmosphere without conflict, are doomed to failure (“There is nothing to do, you have to submit”). Against this background, Katerina’s act looks more like a vivid protest (although, as you know, in criticism there are and other points of view).The ignorance and rudeness of Dikoy evoke in the memory of the characters of Fonvizin (Prostakova, Skotinina) and - tangentially - famous society with his hatred of enlightenment. The scene of a conversation between the strong and the weak can be seen, for example, in Gogol's "Overcoat".
Sergey Volkov
The places they passed through could not be called picturesque. Fields, all fields stretched up to the very sky, now slightly rising, now lowering: in some places small forests could be seen, ravines curled ... There were also rivers With steep banks, and tiny ponds With thin dams, and villages With low huts under dark, often up to half-spread roofs, and crooked sheds With walls woven from brushwood, and churches, then With plaster that has fallen off in some places, then wooden With leaning crosses and devastated cemeteries.
Arkady's heart was shrinking a little ... (I. S. Turgenev)
Before us is a text that is a description with narrative elements; refers to the style of fiction; genre - novel (one of the initial fragments of the novel by I. Turgenev "Fathers and Sons"). The task of the author is to show the reader signs of the degeneration of noble estates.
In the text, the word c is a preposition, as it serves to express the relationship between two objects - rivers And shores, ponds And dams, villages And huts, forms prepositional-case combinations of nouns with banks, with dams, with huts.
This preposition is used six times in the text. He actively participates in structuring that part of the information in the text that directly paints an unsightly picture of the surroundings of the Kirsanov estate: tiny ponds With skinny dams, villages With low huts... twisted sheds With braided brushwood walls, churches With fallen off shtuka, With bent over crosses and ruined cemeteries. The structural and compositional role of the preposition lies in the fact that it serves to link words that name the objects of description.
In terms of meaning, the preposition belongs to the category of definitive,
since it participates in the expression of defining relations: villages(which?) with huts.
It does not change, because it does not have morphological categories.
Used since instrumental nouns: ( with what?) – with dams, with huts, with walls…
The structure of the preposition is simple, primitive, non-derivative.
Refers to a noun huts , forms with it the prepositional case form creation. case with huts ; in a sentence it serves to connect a noun with a noun, forming a phrase villages with huts , whose components act as the subject (what? - villages) And inconsistent definition:villages(which?) - with huts.
SCHEME AND SAMPLE OF MORPHOLOGICAL ANALYSIS OF THE UNION
Scheme
1. general characteristics text: functional-semantic type of speech, genre, communicative task of the author.
2. Word in text:
2.2. Informative and structural-compositional role in the text (correlation with the theme-rhematic structure of the text, role in structuring the coherence of the text).
3. Grammar characteristic:
3.1. The category of the union according to the syntactic function (composing / subordinating).
3.2. Sub-category by value (connective, adversative, comparative, separating, connecting, defining, causal, temporal, etc.).
3.3. Morphological properties.
“APPROVED” “AGREED” Head of the Federal Chairman of the Scientific Service for Supervision in the Field of the FIPI Methodological Council for Education and Science Literature Unified State Examination in LITERATURE Demo version KIM 2006 was prepared by the Federal State Scientific Institution "FEDERAL INSTITUTE OF PEDAGOGICAL MEASUREMENTS" FIPI Director A.G. Ershov Demonstration version of the exam 2006 LITERATURE, grade 11. (p. 2) Unified State Examination in LITERATURE Demonstration version 2006 Instructions for performing work Examination paper Literature consists of 4 parts. It takes 4 hours (240 minutes) to complete it. We recommend that you distribute the time when doing the work: parts 1, 2 and 3 - no more than 2 hours, part 4 - 2 hours. Parts 1, 2 and 3 include an analysis of a literary text (a fragment of an epic work, the text of a poem and a fragment of one of the school course plays). Carefully read each of the proposed texts and consistently complete a series of tasks aimed at identifying the features of the content and form of the works under consideration, as well as their connections with the works of other authors. Analysis of the text of epic, lyrical and dramatic works has overall structure: 5 tasks with a choice of answers (type "A"), 4 tasks with a short answer (type "B") and 1 task with a detailed answer (type "C"). For each of the tasks A with a choice of answers, 4 possible answers are given, one of which is correct. Read each question carefully and indicate the number of the correct answer. The next 4 tasks B require a short answer (a word or a combination of words). Tasks C1, C2 and C3 require a detailed answer of a limited volume. When completing these tasks, try to formulate a direct answer to the question posed (no more than 4 - 6 sentences), avoiding lengthy introductions and characteristics. To save time on the multiple choice and short answer items in Parts 1, 2, and 3, skip the ones that are difficult for you: you can return to them after completing the work, if there is time. Part 4 consists of three tasks (C4.1, C4.2, C4.3) in the form of problematic questions on literary theme. You choose one of the three questions offered to you and give a detailed, reasoned answer to it in writing in the genre of a literary-critical article or review. One or more points are given for completing tasks of varying complexity. The points you get for completed tasks are summed up. Try to complete as many tasks as possible and score the largest number points. We wish you success! © federal Service for Supervision in Education and Science Russian Federation Demonstration version of the Unified State Examination 2006. LITERATURE, Grade 11. (p. 3) Part 1 Read the passage below and complete tasks A1 – A5; B1-B4; C1. The places they passed through could not be called picturesque. The fields, all the fields, stretched all the way to the sky, now slightly rising, now lowering again; in some places one could see small forests, and, dotted with sparse and low shrubs, ravines curled, reminding the eye of their own image on the ancient plans of Catherine's time. There were also rivers with open banks, and tiny ponds with thin dams, and villages with low huts under dark, often half-swept roofs, and crooked threshing sheds with walls woven from brushwood and yawning gates near the empty humens, and churches, sometimes brick with stucco that had fallen off in some places, then wooden ones with leaning crosses and devastated cemeteries. Arkady's heart sank little by little. As if on purpose, the peasants met all shabby, on bad nags; like beggars in tatters stood wayside willows with peeled bark and broken branches; emaciated, rough, as if gnawed, cows greedily plucked the grass in the ditches. It seemed that they had just escaped from someone's formidable, deadly claws - and, caused by the pitiful sight of exhausted animals, in the midst of a red spring day, a white ghost of a bleak, endless winter arose with its snowstorms, frosts and snows ... "No," thought Arkady , - this region is not rich, it does not strike either contentment or hard work; it’s impossible, it’s impossible for him to stay like this, transformations are necessary ... but how to carry them out, how to proceed? .. ”Arkady thought so ... and while he was thinking, spring took its toll. Everything around was golden green; everywhere the larks burst forth in endless, ringing streams; lapwings now screamed, hovering over low-lying meadows, then silently ran across the hummocks; beautifully blackening in the delicate green of still low spring loaves, rooks walked; they disappeared in the rye, already slightly whitened, only occasionally their heads showed up in its smoky waves. Arkady looked and looked, and, gradually weakening, his thoughts disappeared ... He threw off his overcoat and looked at his father so cheerfully, like such a young boy, that he again hugged him. “Now it’s not far,” Nikolai Petrovich remarked, “it’s only worth climbing this hill, and the house will be visible. We will live happily with you, Arkasha; You will help me with the housework, unless it bores you. We need to get close to each other now, get to know each other well, don't we? © Federal Service for Supervision of Education and Science of the Russian Federation Demonstration version of the Unified State Exam 2006 LITERATURE, Grade 11. (p. 4) - Of course, - said Arkady, - but what a wonderful day today! - For your arrival, my soul. Yes, spring is in full bloom. And by the way, I agree with Pushkin - remember, in Eugene Onegin: How sad is your appearance to me, Spring, spring, it's time for love! What ... - Arkady! - Bazarov's voice came from the tarantass, - send me a match, there is nothing to light a pipe with. Nikolai Petrovich fell silent, and Arkady, who began to listen to him not without some amazement, but also not without sympathy, hastened to get a silver box of matches from his pocket and sent it to Bazarov and Pyotr. (I.S. Turgenev “Fathers and Sons”) When completing tasks A1 - A5 in the answer sheet No. 1, under the number of the task you are performing, put the “×” sign in the box, the number of which corresponds to the number of the answer you have chosen. A1 What genre variety of the novel does the work of I.S. Turgenev "Fathers and Sons" 1) autobiographical novel 2) educational novel 3) socio-psychological novel 4) adventure novel A2 What place does this episode take in the work? 1) is an insertion episode 2) ends the story 3) opens the novel 4) is one of the episodes of the beginning of the novel A3 The main thing for this fragment is 1) the theme of friendship 2) the theme of art 3) social theme 4) love theme© Federal Service for Supervision of Education and Science of the Russian Federation Demonstration version of the Unified State Exam 2006 LITERATURE, Grade 11. (p. 5) A4 The need for father and son to “get to know each other well” was the result of 1) many years of disagreement between father and son 2) long study of Arkady in St. Petersburg 3) long stay of the father abroad 4) forced non-participation of the father in the upbringing of his son A5 Author's attitude to what is happening is expressed in 1) a description of nature 2) direct author's assessments 3) replicas of Arkady 4) Bazarov's behavior When completing tasks B1 - B4, write down your answer in the answer sheet No. 1 to the right of the number of the corresponding task, starting from the first cell. The answer must be given in the form of a word or phrase. Write each letter in a separate cell legibly. Write words without spaces, punctuation marks and quotation marks. B1 Give the name of the plot-compositional element of the work of art, which is a description of nature (“Places through which they passed ...”). Answer: ________________. B2 What is the technique used by the author in the following sentence: "The roadside willows stood like beggars in rags." Answer: ________________. B3 Name the means of artistic depiction actively used in the given fragment (“spring red day”, “dreary, endless winter”, etc.). Answer: ________________. © Federal Service for Supervision of Education and Science of the Russian Federation Demonstration version of the Unified State Exam 2006 LITERATURE, Grade 11. (page 6) B4 Specify literary direction, in line with which the work of I.S. Turgenev. Answer: ________________. To complete task C1, use answer form No. 2. First write down the task number, and then give a coherent answer to the question in a volume not exceeding 4 - 6 sentences. C1 What are the main reasons for the confrontation between "fathers" and "children" in Turgenev's novel, and in what works of Russian prose is this theme present? Part 2 Read the poem below and complete tasks A6 – A10; B5-B8; C2. *** The feather grass is sleeping. Expensive plain, And leaden freshness of wormwood. No other homeland will pour warmth into my chest. To know that we all have such a fate, And, perhaps, ask everyone - Rejoicing, raging and tormented, It is good to live in Rus'. The light of the moon, mysterious and long, The willows are crying, the poplars are whispering. But no one under the cry of a crane will fall out of love with his father's fields. And now, when here with a new light And touched mine fate life, All the same, I remained a poet of the Golden Log Cabin. © Federal Service for Supervision of Education and Science of the Russian Federation Demonstration version of the Unified State Exam 2006 LITERATURE, Grade 11. (p. 7) At night, clinging to the headboard, I see, like a strong enemy, How someone else's youth splashes with newness On my glades and meadows. But still, oppressed by the new, I can sing with feeling: Give me beloved homeland Loving everything, die in peace! (S.A. Yesenin, 1925) When completing tasks A6 - A10 in the answer sheet No. 1, under the number of the task you are performing, put the sign “×” in the box, the number of which corresponds to the number of the answer you have chosen. A6 What traditional genre classical poetry is close to the poem by S.A. Yesenin “The feather grass is sleeping. The plain is dear…”? 1) ode 2) elegy 3) ballad 4) sonnet A7 The leading theme in the poem is 1) love and friendship 2) motherland and nature 3) cities and villages 4) people and power A8 What is the name of the technique used by Yesenin, based on a sharp opposition of objects and phenomena (the world of patriarchal Rus' and the world contemporary poet reality)? 1) antithesis 2) parallelism 3) repetition 4) comparison (p. 8) A9 In which stanza of the poem does the contradictory range of moods of the lyrical hero appear as a generalized characteristic of the Russian soul? 1) in the first 2) in the second 3) in the fourth 4) in the fifth A10 Lyrical hero poems 1) ironically over the eternal laws of life 2) philosophically comprehends the contradictions of reality 3) fiercely resists the new trends of the times 4) renounces old beliefs and beliefs When completing tasks B5 - B8, write down your answer in the answer sheet No. from the first cell. The answer must be given in the form of a word or phrase. Write each letter legibly in a separate box. Write words without spaces, punctuation marks and quotation marks. B5 In the line “Willows are crying, poplars are whispering”, a technique is used that suggests the animation and humanization of natural phenomena. Name this move. Answer: ____________________. B6 Write down the word whose repetition in the 5th and 6th stanzas explains the origins emotional drama lyrical hero. Answer: ____________________. © Federal Service for Supervision of Education and Science of the Russian Federation Demonstration version of the Unified State Exam 2006 LITERATURE, Grade 11. (page 9) B7 Write the name of the figurative language the poet used to create lyrical landscape in the 1st stanza of the poem: "wormwood of lead freshness." Answer: ____________________. B8 Determine the meter in which the poem is written. Answer: ____________________. To complete task C2, use answer form No. 2. First write down the task number, and then give a coherent answer to the question in a volume not exceeding 4 - 6 sentences. C2 What distinguishes the image of "Yesenin's Rus'" and which of the Russian poets of the twentieth century is close to Yesenin in the embodiment of the theme of the Motherland? Part 3 Read the text below and complete tasks A11 – A15; B9-B12; C3. Ammos Fyodorovich (spreads his hands in bewilderment). How is it, gentlemen? How is it, in fact, we have so blundered? Mayor (strikes himself on the forehead). How am I - no, how am I, you old fool? He survived, stupid ram, out of his mind! .. I have been living in the service for thirty years; no merchant or contractor could hold; he deceived scammers over scammers, swindlers and rogues such that they are ready to rob the whole world, hooked on a hook. He deceived three governors!.. What governors! (waved his hand) There is nothing to say about the governors ... Anna Andreevna. But it can't be, Antosha: he got engaged to Masha... The Mayor (in his heart). Got engaged! Cookie with butter - here you are engaged! Gets into my eyes with a betrothal! .. (In a frenzy.) Look, look, the whole world, all Christianity, everyone, look how foolish the mayor is! Fool him, fool, old scoundrel! (He threatens himself with his fist.) Oh, you thick-nosed one! Icicle, rag mistook for important person! There he is now flooding the whole road with a bell! Spread history around the world. Not only will you become a laughingstock - © Federal Service for Supervision of Education and Science of the Russian Federation Demonstration version of the Unified State Examination 2006 LITERATURE, grade 11. (p. 10) there is a clicker, a paper maraca, they will insert you into a comedy. That's what's embarrassing! China, the title will not spare, and they will all bare their teeth and clap their hands! What are you laughing at? - You're laughing at yourself!.. Oh, you! Oh, clickers, damned liberals! damn seed! I would tie you all in a knot, I would wipe you all into flour and damn it in the lining! in his hat there! .. (He sticks his fist and hits the floor with his heel. After some silence.) I still can’t come to my senses. Here, truly, if God wants to punish, then he will first take away the mind. Well, what was in this heliport that looked like an auditor? There was nothing! It’s just that there was nothing like half a little finger - and suddenly everything: the auditor! auditor! Well, who was the first to let out that he was an auditor? Answer! Artemy Filippovich (spreading his hands). How it happened, for the life of me, I can't explain. It was as if some kind of fog had stunned, the devil beguiled. (N.V. Gogol "Inspector") When completing tasks A11 - A15 in the answer sheet No. 1, under the number of the task you are performing, put the sign "×" in the box, the number of which corresponds to the number of the answer you have chosen. A11 The author defines the genre of the play "The Government Inspector" as 1) vaudeville 2) tragicomedy 3) comedy 4) farce A12 This fragment in the play it is 1) the beginning of the action 2) the exposition 3) the denouement of the action 4) the culmination
