An uncle recalls a quarrel with his little nephew that arose one day winter evening. Mentally addressing the boy, he tells him that he is a big naughty who, carried away by something, does not know how to restrain himself. On the other hand, there is nothing more touching than this same baby, when, having played up, in the evening, he will press against the shoulder of an adult and wrap his arms around his neck with such tenderness, which only childhood is capable of.
One morning the child woke up with a new thought that captured his whole soul. New unknown joys had just opened up for him - to have picture books, colored pencils, a pencil case and learn to draw, read and write numbers. And all this in one day, as soon as possible. Opening his eyes in the morning, he called his uncle into the nursery and immediately fell asleep with requests - to buy him children's magazine with pictures, books, pencils, paper and by all means take up the numbers.
Uncle lied that today was the royal day - everything was locked, because he did not want to go to the city. My uncle was supported by my grandmother. The boy agreed with a sigh. Well, the royal one is so royal, but can you show the numbers on the royal day?
Grandmother also came to the aid of her uncle, who said that he did not want to do this today, and they would deal with numbers tomorrow. The heart told an adult that he was depriving a child of joy, but, remembering that children should not be spoiled, he strictly cut off that the conversation was over.
All day the boy was naughty and indulged, reminding his uncle that tomorrow he promised to show him the numbers. Uncle agreed with this. But joy, mixed with impatience, excited the child more and more. He found a way out for her completely unexpected, and it happened at evening tea.
The boy came up with an excellent game - jumping up, kicking with all his might on the floor and at the same time screaming so loudly that the eardrums almost burst in adults.
Mom and grandmother asked him to stop doing this, but he did not listen to them. Uncle too, told him: "Stop it!" The boy in response shouted: “Stop it yourself!” and shouted even louder and kicked the floor with his feet.
Uncle only pretended not to pay attention to this, but in fact he went cold from sudden hatred for the child. Outwardly, he should still appear calm and reasonable.
But the boy screamed again, and made it such a life-filled cry that God himself would have smiled to hear it. The uncle, in a rage, jumped up from his chair and yelled at the child to stop. The child's face was momentarily contorted in a lightning bolt of horror, but he shouted again, confused and pitiful, only to show that he was not frightened.
The uncle, seized with anger, jumped up, pulled the child by the hand, slapped him hard and with pleasure and pushed him out of the room, slamming the door behind him. Here are the numbers for you!
From pain and a sharp sudden insult, the child, once outside the door, rolled in such a piercing viola, which no singer in the world was capable of. Then he took in air into his lungs and raised the viola to an incredible height.
The cries flowed incessantly, sobs were added to them, cries for help were added to the sobs. The consciousness of the child began to clear up, and he began to play the role of a dying man, calling out to his mother.
Uncle coldly said, they say, you’re lying, you won’t die, you’ll scream, and you’ll be silent.
But the child did not stop.
Grandmother's lips and eyebrows suddenly trembled, and she, turning to the window, began to quickly beat the table with a teaspoon. Mom tried to be impartial, said that the child was spoiled and terribly spoiled, and took out her knitting.
The boy called out to his last refuge - to his grandmother. But for the sake of her mother and uncle, she sat still and fastened.
The child realized that adults decided not to give up. Yes, there weren't enough tears. But it was impossible to stop immediately, if only because of pride alone. It was already clear that he did not want to scream, but the boy kept screaming.
The uncle was already ready to enter the nursery and, with one ardent word, put an end to the boy's suffering. But this was not consistent with the rules of reasonable education.
Finally the child is quiet...
The uncle still held his temper, looking into the nursery only half an hour later. The child, meanwhile, returned to ordinary life. He, still sobbing and sighing, sat on the floor and arranged the toys in one order known only to him.
Uncle's heart sank at the sight of this, but he, barely looking at the boy, pretended that their relationship was now interrupted. The boy suddenly raised his head, looked at him with angry eyes, and in a hoarse voice said that he would never love him again.
Then, in the same way, as if on business, mother and grandmother came into the nursery. They shook their heads and said that it is not good when children grow up disobedient, impudent and achieve that no one loves them. They advised the child to go and ask his uncle for forgiveness.
The child refused to do so. All the adults pretended to forget about him.
The winter evening stood behind the glass, and the room was gloomy and sad. The child was still sitting and rearranging the boxes. These boxes tormented my uncle's heart, and he decided to wander around the city. material from the site
There was a whisper of the grandmother, who reproached the child. She said that her uncle loves him, carries toys and gifts. Then she began to remind that the child was also promised books with pictures and a pencil case. Who will buy them now? And most importantly, who will now show him the numbers?
Children's pride was defeated, the child was broken.
The boy timidly left the nursery and asked his uncle for forgiveness. Uncle made a feignedly offended face. He said that he loves his boy, but he offends his uncle with his disobedience and does not love him. The child objected that this was not true, he loves his uncle, loves him very much!
Uncle told him to take pencils and paper and sit down at the table.
The child's eyes shone with joy, he was afraid to anger the adult, he caught every word of his uncle. Breathing deeply from excitement, he drew mysterious lines full of some divine meaning.
Now my uncle was also enjoying the joy of a child, tenderly feeling even the smell of children's hair.
The child deduced numbers, with difficulty driving a pencil stub across the paper. Uncle corrected him. The child looked embarrassedly at the adult, diligently displaying the number 3 as a large capital letter E.
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“My dear, when you grow up, will you remember how one winter evening you went out of the nursery into the dining room - this was after one of our quarrels - and, lowering your eyes, made such a sad face? You are a big naughty, and when something captivates you, you do not know how to hold back. But I don’t know anyone more touching than you, when you quiet down, come up and cling to my shoulder! If this happens after a quarrel, and I say an affectionate word to you, how impetuously you kiss me, in an abundance of devotion and tenderness, which only childhood is capable of! But it was too big a quarrel ... "
That evening, you didn’t even dare to approach me: “Good night, uncle,” you said and, bowing, shuffled your foot (after a quarrel, you wanted to be a particularly well-bred boy). I answered as if there was nothing between us: "Good night." But could you be satisfied with that? Forgetting the offense, you again returned to cherished dream that captivated you all day: "Uncle, forgive me ... I won't do it anymore ... And please show me the numbers!" Was it possible to delay the answer after that? I hesitated, because I am a very smart uncle ...
That day you woke up with a new dream that captured your whole soul: to have your own picture books, pencil case, colored pencils and learn to read and write numbers! And all this at once, in one day! As soon as you woke up, you called me into the nursery and bombarded me with requests: to buy books and pencils and immediately take up the numbers. “Today is the royal day, everything is locked up,” I lied, I really did not want to go to the city. "No, not royal!" - you shouted, but I threatened, and you sighed: “Well, what about the numbers? Is it possible, after all?” “Tomorrow,” I snapped, realizing that by doing so I deprive you of happiness, but it’s not supposed to pamper children ...
“Well, well!” - you threatened and, as soon as you got dressed, muttered a prayer and drank a cup of milk, began to play pranks, and it was impossible to appease you all day. Joy, mixed with impatience, worried you more and more, and in the evening you found a way out for them. You started jumping up and down, kicking the floor with all your might and screaming loudly. And you ignored your mother’s remark, and your grandmother’s, and in response to me, you shouted especially piercingly and hit the floor even harder. And this is where the story begins...
I pretended not to notice you, but inside I went cold from sudden hatred. And you shouted again, completely surrendering to your joy so that the Lord himself would have smiled at this cry. But I jumped out of my chair in a rage. How horrified your face was! You shouted in confusion again, in order to show that you were not afraid. And I rushed to you, pulled your hand, slapped you hard and with pleasure, and, pushing you out of the room, slammed the door. Here are the numbers for you!
From pain and cruel resentment, you rolled up with a terrible and piercing cry. Once again, again... Then the screams flowed incessantly. Sobs were added to them, then cries for help: “Oh, it hurts! Oh, I'm dying!" "You probably won't die," I said coldly. “Scream and shut up.” But I was ashamed, I did not raise my eyes to my grandmother, whose lips suddenly trembled. "Oh, grandma!" you called to the last resort. And my grandmother, for the sake of me and my mother, fastened, but barely sat still.
You understood that we decided not to give up, that no one would come to comfort you. But it was impossible to stop screaming at once, if only because of pride. You were hoarse, but you kept screaming and screaming... And I wanted to get up, enter the nursery like a big elephant and stop your suffering. But is this consistent with the rules of upbringing and with the dignity of a just, but strict uncle? Finally you are quiet...
Only half an hour later I looked into the nursery, as if on extraneous business. You sat on the floor all in tears, sighed convulsively and amused yourself with your unpretentious toys - empty boxes of matches. How my heart sank! But I barely looked at you. “Now I will never love you again,” you said, looking at me with angry, contemptuous eyes. And I will never buy you anything! And even the Japanese penny, which I gave then, I will take away!”
Then my mother and grandmother came in, and also pretending that they had entered by accident. They started talking about bad and naughty children, and advised to ask for forgiveness. “Or else I’ll die,” my grandmother said sadly and cruelly. "And die" - you answered in a gloomy whisper. And we left you, and pretended to have completely forgotten about you.
Evening fell, you still sat on the floor and moved the boxes. It became painful for me, and I decided to go out and wander around the city. "Shameless! Grandma whispered then. - Uncle loves you! Who will buy you a pencil case, a book? And the numbers? And your pride was broken.
I know that the more my dream is dear to me, the less hope there is to achieve it. And then I'm cunning: I pretend to be indifferent. But what could you do? You woke up filled with a thirst for happiness. But life answered: “Be patient!” In response, you rampaged, unable to subdue this thirst. Then life struck with resentment, and you screamed about the pain. But even here life did not falter: “Humble yourself!” And you reconciled.
How timidly you left the nursery: “Forgive me, and give me at least a drop of happiness that torments me so sweetly.” And life took pity: "Well, let's get pencils and paper." What joy your eyes shone with! How afraid you were to anger me, how greedily you hung on my every word! With what diligence you drew dashes full of mysterious meaning! Now I have enjoyed your joy. "One ... Two ... Five ..." - you said, with difficulty leading over the paper. “No, not like that. One two three four". - Yes, three! I know, ”you answered joyfully and displayed three, like a big capital letter E.
“My dear, when you grow up, will you remember how one winter evening you went out of the nursery into the dining room - this was after one of our quarrels - and, lowering your eyes, made such a sad face? You are a big naughty, and when something captivates you, you do not know how to hold back. But I don’t know anyone more touching than you, when you quiet down, come up and cling to my shoulder! If this happens after a quarrel, and I say an affectionate word to you, how impetuously you kiss me, in an abundance of devotion and tenderness, which only childhood is capable of! But it was too big a quarrel ... "That evening you didn’t even dare to approach me:“ Good night, uncle, ”you said and, bowing, shuffled your foot (after the quarrel, you wanted to be a particularly well-bred boy). I answered as if there was nothing between us: "Good night." But could you be satisfied with that? Forgetting the offense, you again returned to the cherished dream that captivated you all day: “Uncle, forgive me ... I won’t do it anymore ... And please show me the numbers!” Was it possible to delay the answer after that? I hesitated, because I am a very smart uncle ... That day you woke up with a new dream that captured your whole soul: to have your own picture books, a pencil case, colored pencils and learn to read and write numbers! And all this at once, in one day! As soon as you woke up, you called me into the nursery and bombarded me with requests: to buy books and pencils and immediately take up the numbers. “Today is the royal day, everything is locked up,” I lied, I really did not want to go to the city. "No, not royal!" - you shouted, but I threatened, and you sighed: “Well, what about the numbers? Is it possible, after all?” “Tomorrow,” I snapped, realizing that I was depriving you of happiness, but it was not supposed to pamper children ... “Well, well!” - you threatened and, as soon as you got dressed, muttered a prayer and drank a cup of milk, began to play pranks, and it was impossible to appease you all day. Joy, mixed with impatience, worried you more and more, and in the evening you found a way out for them. You started jumping up and down, kicking the floor with all your might and screaming loudly. And you ignored your mother’s remark, and your grandmother’s, and in response to me, you shouted especially piercingly and hit the floor even harder. And this is where the story begins... I pretended not to notice you, but inside I went cold from sudden hatred. And you shouted again, completely surrendering to your joy so that the Lord himself would have smiled at this cry. But I jumped out of my chair in a rage. How horrified your face was! You shouted in confusion again, in order to show that you were not afraid. And I rushed to you, pulled your hand, slapped you hard and with pleasure, and, pushing you out of the room, slammed the door. Here are the numbers for you! From pain and cruel resentment, you rolled up with a terrible and piercing cry. Once again, again... Then the screams flowed incessantly. Sobs were added to them, then cries for help: “Oh, it hurts! Oh, I'm dying!" "You probably won't die," I said coldly. “Scream and shut up.” But I was ashamed, I did not raise my eyes to my grandmother, whose lips suddenly trembled. "Oh, grandma!" you called to the last resort. And my grandmother, for the sake of me and my mother, fastened, but barely sat still. You understood that we decided not to give up, that no one would come to comfort you. But it was impossible to stop screaming at once, if only because of pride. You were hoarse, but you kept screaming and screaming... And I wanted to get up, enter the nursery like a big elephant and stop your suffering. But is this consistent with the rules of upbringing and with the dignity of a just, but strict uncle? Finally you calmed down... Only half an hour later I looked into the nursery, as if on extraneous business. You sat on the floor all in tears, sighed convulsively and amused yourself with your unpretentious toys - empty boxes of matches. How my heart sank! But I barely looked at you. “Now I will never love you again,” you said, looking at me with angry, contemptuous eyes. And I will never buy you anything! And even the Japanese penny, which I gave then, I will take away!” Then my mother and grandmother came in, and also pretending that they had entered by accident. They started talking about bad and naughty children, and advised to ask for forgiveness. “Or else I’ll die,” my grandmother said sadly and cruelly. "And die" - you answered in a gloomy whisper. And we left you, and pretended to have completely forgotten about you. Evening fell, you still sat on the floor and moved the boxes. It became painful for me, and I decided to go out and wander around the city. "Shameless! Grandma whispered then. - Uncle loves you! Who will buy you a pencil case, a book? And the numbers? And your pride was broken. I know that the more my dream is dear to me, the less hope there is to achieve it. And then I'm cunning: I pretend to be indifferent. But what could you do? You woke up filled with a thirst for happiness. But life answered: “Be patient!” In response, you rampaged, unable to subdue this thirst. Then life struck with resentment, and you screamed about the pain. But even here life did not falter: “Humble yourself!” And you reconciled. How timidly you left the nursery: “Forgive me, and give me at least a drop of happiness that torments me so sweetly.” And life took pity: "Well, let's get pencils and paper." What joy your eyes shone with! How afraid you were to anger me, how greedily you hung on my every word! With what diligence you drew dashes full of mysterious meaning! Now I have enjoyed your joy. "One ... Two ... Five ..." - you said, with difficulty leading over the paper. “No, not like that. One two three four". - Yes, three! I know," you happily answered and printed three like a big capital letter E.
Pushkin A. S. Bronze Horseman, 1833 The method is realistic.
Genre - poem.
History of creation . The poem "The Bronze Horseman" was written in Boldin in the autumn of 1833. In this work, Pushkin describes one of the most terrible floods that occurred in 1824 and brought terrible destruction to the city.
In the work "The Bronze Horseman" there are two main characters: Peter I, who is present in the poem in the form of a reviving statue of the Bronze Horseman, and the petty official Eugene. The development of the conflict between them determines the main idea of the work.
Plot. The work opens with an "Introduction", in which Peter the Great and his "creation" - Petersburg are famous. In the first part, the reader gets acquainted with the main character - an official named Eugene. He lies down, but cannot fall asleep, entertained by thoughts of his situation, that bridges have been removed from the rising river and that this will separate him from his beloved Parasha, who lives on the other side, for two or three days. The thought of Parasha gives rise to dreams of marriage and a future happy and humble life in the family circle, together with a loving and beloved wife and children. Finally, lulled by sweet thoughts, Eugene falls asleep.
However, very soon the weather deteriorates and the whole of St. Petersburg is under water. At this time, on Petrovskaya Square, astride a marble statue of a lion, the motionless Eugene sits. He looks at the opposite bank of the Neva, where his beloved and her mother live in their poor house very close to the water. With his back to him, towering above the elements, "the idol on a bronze horse stands with outstretched hand."
When the water subsides, Evgeny discovers that Parasha and her mother have died and their house is destroyed, and loses his mind. Almost a year later, Eugene vividly recalls the flood. By chance, he ends up at the monument to Peter the Great. Yevgeny threatens the monument in anger, but suddenly it seems to him that the face of the formidable king is turning to him, and anger sparkles in his eyes, and Yevgeny rushes away, hearing the heavy clatter of copper hooves behind him. All night the unfortunate man rushes about the city, and it seems to him that the rider with a heavy stomp is galloping after him everywhere.
P problematics. A brutal clash of historical necessity with the doom of private personal life.
The problem of autocratic power and the disadvantaged people
“Where are you galloping, proud horse, and where will you lower your hooves?” - the question of the future of the Russian state.
Several thematic and emotional lines: the apotheosis of Peter and Petersburg, the dramatic narration of Eugene, the author's lyricism.
Intention: symbolic clash of two polar opposite forces - private little man and unlimited mighty power of the autocratic state
Eugene The image of a shining, lively, magnificent city is replaced in the first part of the poem by a picture of a terrible, destructive flood, expressive images raging elements over which man has no power. The element sweeps away everything in its path, carrying away fragments of buildings and destroyed bridges, “pale poverty’s belongings” and even coffins “from a washed-out cemetery” in streams of water. Among those whose lives were destroyed by the flood is Eugene, whose peaceful cares the author speaks at the beginning of the first part of the poem. Eugene is an “ordinary man” (“small” man): he has neither money nor ranks, he “serves somewhere” and dreams of making himself a “humble and simple shelter” in order to marry his beloved girl and go through life with her.
The poem does not indicate either the hero's surname or his age, nothing is said about Yevgeny's past, his appearance, character traits. By depriving Yevgeny of individual features, the author turns him into an ordinary, faceless person from the crowd. However, in the extreme critical situation Eugene seems to wake up from a dream, and throws off the guise of "insignificance" and opposes the "copper idol".
Peter I Since the second half of the 1820s, Pushkin has been looking for an answer to the question: can autocratic power be reformist and merciful? In this regard, he artistically explores the personality and state activities"Tsar-reformer" Peter I.
The theme of Peter was painful and painful for Pushkin. Throughout his life, he repeatedly changed his attitude towards this epoch-making image for Russian history. For example, in the poem "Poltava" he glorifies the victorious king. At the same time, in Pushkin's notes for the work "The History of Peter I", Peter appears not only as a great statesman and the king-worker, but also as an autocratic despot, tyrant.
The artistic study of the image of Pyotr Pushkin continues in The Bronze Horseman. The poem "The Bronze Horseman" completes the theme of Peter I in the work of A. S. Pushkin. The majestic appearance of the Tsar-Transformer is drawn in the very first, odically solemn, lines of the poem:
On the shore desert waves
He stood, full of great thoughts,
And looked into the distance.
The author contrasts the monumental figure of the king with the image of harsh and wild nature. The picture, against which the figure of the king appears before us, is bleak. In front of Peter's eyes is a wide-spread, rushing into the distance river; around the forest, "unknown to the rays in the fog of the hidden sun." But the gaze of the ruler is fixed on the future. Russia must establish itself on the shores of the Baltic - this is necessary for the country's prosperity. Confirmation of his historical correctness is the execution of "great thoughts". A hundred years later, at the time when the plot events begin, the "city of Petrov" became the "midnight" (northern) "diva". “Victory banners” wind at the parades, “huge masses are crowded along the banks”, ships “crowd from all over the earth” come to the “rich marinas”.
The picture of St. Petersburg not only contains an answer to Peter's plan, it glorifies the mighty power of Russia. This solemn anthem her glory, beauty, royal power. The impression is created with the help of elevating epithets (“city” - young, magnificent, proud, slender, rich, strict, radiant, unshakable), reinforced by the antithesis with “desert” nature hostile to man and with “poor”, miserable” her “stepson” - little man. If the huts of the Chukhonians “turned black ... here and there”, the forest was “unknown” to the sun’s rays, and the sun itself was hidden “in the fog”, then main characteristic Petersburg becomes light. (shine, flame, radiance, golden skies, dawn).
Nature itself strives to drive away the night, "spring days" have come for Russia; The odic meaning of the depicted picture is also confirmed by the fivefold repetition in the author's speech of the admiring "I love."
The author's attitude to Peter the Great is ambiguous . On the one hand, at the beginning of the work, Pushkin utters an enthusiastic hymn to the creation of Peter, confesses his love for the “young city”, before the splendor of which “old Moscow faded”. Peter in the poem appears as "Idol on a bronze horse", as "a powerful master of fate".
On the other hand, Peter the autocrat is presented in the poem not in any specific deeds, but in symbolically The Bronze Horseman as the personification of inhuman statehood. Even in those lines where he admires Peter and Petersburg, an intonation of anxiety is already audible:
O mighty lord of destiny!
Are you not so above the abyss,
At a height, an iron bridle
Raised Russia on its hind legs?
The tsar also appears before Eugene as a “proud idol”. And this idol is opposed by a living person, whose “brow” burns with wild excitement, “embarrassment”, “flame” is felt in the heart, the soul “boils”.
Conflict . The conflict of the "Bronze Horseman" consists in the collision of the individual with the inevitable course of history, in the opposition of the collective, public will (in the person of Peter the Great) and the personal will (in the person of Eugene). How does Pushkin resolve this conflict?
Opinions of critics about which side Pushkin is on differed. Some believed that the poet justified the right of the state to dispose of a person's life and takes the side of Peter, as he understands the need and benefit of his transformations. Others consider Yevgeny's sacrifice unjustified and believe that the author's sympathies are entirely on the side of "poor" Yevgeny.
The third version seems to be the most convincing: Pushkin, for the first time in Russian literature, showed all the tragedy and insolubility of the conflict between the state and state interests and the interests of the private individual.
Pushkin portrays tragic conflict two forces (personality and power, man and state), each of which has its own truth, but both of these truths are limited, incomplete. Peter is right as a sovereign, history is behind him and on his side. Eugene is right ordinary person behind him and on his side - humanity and Christian compassion
The plot of the poem is completed, the hero died, but remained and was handed over to readers central conflict, not resolved even in reality itself, remained the antagonism of the "tops" and "bottoms", the autocratic power and the destitute people.
The symbolic victory of the Bronze Horseman over Eugene is a victory of strength, but not of justice. The question remains” “Where are you galloping, proud horse, and where will you lower your hooves?” It's metaphorically expressed main question for the author, the question of the future of the Russian state.
(Search for an answer) The problem of the people and power, the theme of mercy - in « Captain's daughter» . Even in troubled times it is necessary to preserve honor and mercy.
“... The best and most lasting changes are those that come from the improvement of morals, without any violent upheavals”
Human relationships should be built on respect and mercy
Good is life-giving
The image of the natural element in the poem by A. S. Pushkin "The Bronze Horseman"
The Bronze Horseman is the first urban poem in Russian literature. The theme of the poem is complex and multifaceted. The poem is a kind of reflection of the poet about the fate of Russia, about its path: European, associated with the reforms of Peter, and original Russian. The attitude towards the deeds of Peter and the city that he founded has always been ambiguous. The history of the city was presented in various myths, legends and prophecies. In some myths, Peter was presented as the “father of the Fatherland”, a deity who founded a certain intelligent cosmos, a “glorious city”, a “beloved country”, a stronghold of state and military power. These myths originated in poetry and were officially encouraged. In other myths, Peter was the offspring of Satan, the living Antichrist, and St. Petersburg, founded by him, was a “non-Russian” city, satanic chaos, doomed to inevitable disappearance.
Pushkin created synthetic images of Peter and Petersburg. Both concepts complement each other. The poetic myth about the founding of the city is developed in the introduction, focused on literary tradition, and the myth of its destruction, flooding - in the first and second parts of the poem.
Two parts of the story depict two rebellions against autocracy: the rebellion of the elements and the rebellion of man. In the finale, both of these rebellions will be defeated: poor Eugene, who until recently desperately threatened the Bronze Horseman, will reconcile himself, the enraged Neva will return to its course.
It is interesting in the poem that the riot of the elements itself is depicted. The Neva, once enslaved, "taken prisoner" by Peter, has not forgotten its "old enmity" and with "vain malice" rises up against the enslaver. The "defeated element" is trying to crush its granite fetters and is attacking " slender bulks palaces and towers", which arose at the behest of the autocratic Peter. The city turns into a fortress besieged by the Neva.
The Neva River, on which the city lies, outraged and violent:
In the morning over her shores
Crowded crowds of people
Admiring the splashes, the mountains
AND foam of furious waters.
But by the force of the wind from the bay
Blocked Neva
Went back , angry, vehement,
And flooded the islands.
… From the disturbed depth
the waves rose and got angry,
There the storm howled
There were debris...
The story of the flood acquires a folklore-mythological coloring. The enraged Neva is compared now with a frenzied "beast", then with "thieves" climbing through the windows, then with a "villain" who burst into the village "with his ferocious gang." In the poem there is also a mention of a river deity, the violence of the elements is compared with it:
… water suddenly
Flowed into underground cellars,
Channels poured to the gratings,
And Petropolis surfaced like a triton,
Immersed in water up to my waist.
For a moment it seems that the "defeated element" triumphs, that Fate itself is for it: “The people \ Sees God's wrath and awaits execution. \ Alas! everything is dying…”
The rebellion of the elements depicted by Pushkin helps to reveal the ideological and artistic originality of the work. On the one hand, the Neva, the water element is part of the urban landscape. On the other hand, the anger of the elements, its mythological coloring, reminds the reader of the idea of St. Petersburg as a satanic city, non-Russian, doomed to destruction. Another function of the landscape is associated with the image of Eugene, the "little man". The flood destroys Eugene's humble dreams. It turned out to be disastrous not for the city center and its inhabitants, but for the poor who settled on the outskirts. For Eugene, Peter is not "ruler of the half world" but only the culprit of the disasters that befell him, the one “…whose fateful will \ Under the sea the city was founded…”, who did not take into account the fate of small people not protected from disaster.
The surrounding reality turned out to be hostile for the hero, he is defenseless, but Eugene turns out to be worthy not only of sympathy and condolences, but at a certain moment is admired. When Eugene threatens the "proud idol", his image acquires the features of a genuine heroism. At these moments, the miserable, humble inhabitant of Kolomna, who has lost his home, a beggar vagabond, dressed in decayed rags, is completely reborn, for the first time flare up in him strong passions, hatred, desperate determination, the will to revenge.
However, the Bronze Horseman achieves his goal: Eugene resigns himself. The second rebellion is defeated, like the first. As after the riot of the Neva, "everything went back to the old order." Eugene again became the most insignificant of the insignificant, and in the spring his corpse, like a corpse
vagabonds, fishermen buried on a deserted island, "for God's sake."
USE Pushkin "The Bronze Horseman"
Read the given fragment of the text and do tasks B1-B7; C1-C2.
Complete tasks B1-B7. Write down your answer in the form of a word, a combination of words, or a sequence of numbers.
Then, on Petrova Square,
Where a new house has risen in the corner,
Where above the elevated porch
With a raised paw, as if alive,
There are two guard lions
On a marble beast,
Without a hat, hands clenched in a cross,
Sitting motionless, terribly pale
Eugene. He was afraid, poor
Not for myself. He didn't hear
As the greedy wave rose,
Washing his soles,
How the rain hit his face
Like the wind, howling violently,
He suddenly ripped off his hat.
His desperate eyes
Pointed at the edge of one
They were motionless. Like mountains
From the disturbed depth
The waves got up there and got angry,
There the storm howled, there they rushed
The wreckage… God, God! there -
Alas! close to the waves
Near the bay
The fence is unpainted, yes willow
And a dilapidated house: there they are,
Widow and daughter, his Parasha,
His dream... Or in a dream
Does he see it? or all of our
And life is nothing, like an empty dream,
Heaven's mockery of the earth?
And he, as if bewitched,
As if chained to marble
Can't get off! around him
Water and nothing else!
And turned his back on him
In the unshakable height
Over the perturbed Neva
Standing with outstretched hand
Idol on a bronze horse.
IN 1. Specify the genre of the work
AT 2. In which city do the events described in this story take place?
Answer: __________________________________
VZ. In The Bronze Horseman, Pushkin created a generalized artistic image Eugene as a "little man". What term is used to call such images?
Answer: __________________________________
AT 4. In the above fragment, A.S. Pushkin uses a technique based on the repetition of homogeneous consonant sounds. Name it.
… Like mountains
From the disturbed depth
The waves got up there and got angry,
There the storm was angry, there they rushed
Wreckage…
Answer: __________________________________
AT 5. A.S. Pushkin calls Peter I "an idol on a bronze horse." Indicate the trope, which is the replacement of a proper name with a descriptive phrase "
Answer: __________________________________
AT 6. Name the figurative and expressive means of the language, based on the comparison of objects or phenomena.
… or all of our
And life is nothing like an empty dream,
Heaven's mockery of the earth?
Answer: __________________________________
AT 7. The poet in The Bronze Horseman perceives the flood not only as a natural phenomenon, but also as an analogue of life's storms and hardships. What is the name of such a symbolic image, the meaning of which goes beyond the limits of the objective meaning?
Answer: __________________________________
To complete tasks C1 and C2, give a coherent answer to the question in the amount of 5-10 sentences. Rely on the author's position, if necessary, state your point of view. Justify your answer based on the text. Performing task C2, select two works for comparison different authors(in one of the examples, it is permissible to refer to the work of the author who owns the source text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in the given direction of analysis.
Write down your answers clearly and legibly, following the rules of speech.
C1. What role in this fragment plays a description of various natural phenomena?
(C1. How did the fate of Yevgeny change under the influence of the devastating flood?)
C2. In what works of Russian literature are natural forces involved in the fate of the characters, as in The Bronze Horseman, and in what ways are their roles similar?
As in the poem by A.S. Pushkin's "The Bronze Horseman" is the power of the state opposed to the tragedy of the "little man" Yevgeny?
Use quotes and terms!!!
1. In the introduction, it is necessary to say about the time of writing the work, about the subject or problems of the poem, name the conflict of the work, which is indicated in the topic.
2. In the main part of the essay, we reveal the main conflict of the work.
- The majestic image of Peter in the introduction to the poem. Glorification of the sovereign power of Russia. The historical necessity of the founding of the city.
- The tragedy of the "little man" Eugene.
- A symbolic clash of two polar opposite forces - an ordinary little man and the unlimited powerful force of an autocratic state in the images of the Bronze Horseman and Eugene.
Conflict resolution. The victory of force, but not of justice.
3. In conclusion:
- a specific answer to the question stated in the topic. (How ...? - Symbolically in the images of the flood as an analogue of life's storms and hardships. Symbolically in the images of the Bronze Horseman and the driven, resigned Eugene.
The poem "The Bronze Horseman" was written by Pushkin in 1833. It combines two themes: the individual and the people, and the theme of the "little man".
The poem has a subtitle - "Petersburg Tale". He points to the same two themes: historical and majestic, as well as the theme common man.
The preface follows: “The incident described in this story is based on truth. The details of the flood are borrowed from contemporary magazines. The curious can deal with the news compiled by V. N. Berkh.
In the introduction to the poem, a majestic image of Peter I is created, who glorified his name with many glorious deeds. “Out of the darkness of the forests” and “swamp the blat”, he creates a beautiful city. Petersburg was the personification of the power and glory of Russia. "To the evil of an arrogant neighbor" Peter I strengthened Russian state on the shores of the Baltic Sea, etc. Even after a hundred years, St. Petersburg is beautiful and majestic. He, according to the poet, best city on the ground. The introduction ends with a hymn to Peter and Petersburg:
Show off, city of Petrov, and stop
Invincible, like Russia.
The main part of the poem tells about life, contemporary Pushkin. Petersburg is still as beautiful as it was under Peter. But the poet also sees another image of the capital. This city marks a sharp boundary between " the mighty of the world this" and ordinary residents. Petersburg is a city of contrasts, where “little people” live and suffer.
One of these people is Eugene - the hero of the work. It is told about in the first part of the poem. This is an "ordinary person". He is a descendant of a glorious and ancient family, but now an ordinary Russian inhabitant. Eugene is an ordinary petty employee. He receives a tiny salary, dreams of rising to the "town". In addition, the hero also has personal plans: to find quiet family happiness with the same poor girl Parasha as the hero himself. She lives with her mother in a "dilapidated house" on the outskirts of St. Petersburg. But a terrible flood begins, which destroys everything in its path. It destroys houses, deprives people of shelter, warmth and even life:
Trays under a wet veil,
Fragments of huts, logs, roofs,
thrifty commodity,
Relics of pale poverty,
Storm-blown bridges
A coffin from a blurry cemetery
Float through the streets!
Eugene is worried about his Parasha. Their dilapidated house waves of the Neva must be washed away first. At the end of the first part, it seems to the hero that he sees this disaster. And above everything, calmly and majestically, stands the monument to Peter.
The second part of the poem depicts the aftermath of the flood. For Eugene they are scary. The hero loses everything: his beloved girl, shelter, hopes for happiness. The crazed Eugene considers the Bronze Horseman, the twin of Peter himself, to be the culprit of his tragedy. In his frustrated imagination, the Bronze Horseman is a “proud idol”, “by whose will the city was founded here”, who is “a bridle iron Russia reared up”, “he is terrible”.
Memories of the tragedy on the flooded Petrovsky Square turn Yevgeny, filled with hatred and indignation, into a rebel:
And, clenching his teeth, clenching his fingers,
As if possessed by black power,
“Good, miraculous builder! -
He whispered, trembling angrily,
Already you!.. "
But Eugene's rebellion is just a flash, completely meaningless. The struggle with the Bronze Horseman is insane and hopeless: until the morning he pursues the unfortunate Yevgeny through the streets and squares of St. Petersburg.
As a result, Eugene dies next to Parasha's destroyed house:
At the threshold
Found my madman
And then his cold corpse
Buried for God's sake.
The plot and composition of the poem "The Bronze Horseman" by A.S. Pushkin (2 option)
It was a terrible time.
Her memory is fresh.
About her, my friends, for you
I'll start my story.
My story is sad...
With these words ends the famous introduction to The Bronze Horseman. To the story " Petersburg story”, as Pushkin himself designated the genre of the work, the introduction cannot be attributed. This is not an exposition, but a powerful prelude, sharply contrasting with the system of images, intonation, and mood with the story of the “terrible time”. However, the introduction is extremely important for understanding the composition and the whole meaning of Pushkin's poem.
As for the plot, it is quite traditional. In the exposition, the author presents us with Yevgeny, a modest official, a “little man”, whose signs of life are reduced to a minimum: “he shook off his overcoat, undressed, lay down.” Eugene from the impoverished nobles, which Pushkin briefly mentions, saying that the hero's ancestors were listed in the History of Karamzin. Today's life of Yevgeny is modest and unpretentious: he "lives in Kolomna, serves somewhere", loves Parasha and dreams of marrying his beloved girl. He acutely feels and worries about his poverty, "is shy of the nobles" and painfully reflects on his not too happy fate.
What was he thinking about?
About the fact that he was poor, that by labor
He had to deliver
And independence, and honor,
What could God add to him
Mind and money, what is there
Such idle happy ones
The mind of the narrow-minded Leninists,
For whom life is easy!
He also thought that the river
Everything arrived, which is hardly
Bridges have not yet been removed from the Neva
And what will he do with Parasha
Separated for two, three days.
Meanwhile, the river did not just arrive: “The Neva tossed about like a sick man in his restless bed, and Eugene, together with the whole city, was waiting for a new day. And here it is, the plot of the sad story: "Terrible day!" A devastating flood flooded the city, the water flooded the basements and lower floors of houses, approached Winter Palace. swift, dramatic action the first part of the poem is the growing horror of man in front of the raging elements. People are saved as best they can, and poor Yevgeny finds himself sitting on a lion near the Senate building, right behind the monument to Peter. Chained to marble, bewitched by the rising water, he cannot move.
And turned his back to him,
In the unshakable height
Over the perturbed Neva
Standing with outstretched hand
Idol on a bronze horse.
So in the very first part, these heroes are brought together for the first time: the bronze Peter (not yet the Bronze Horseman) and poor Eugene.
The action of the second part takes place immediately after the end of the flood. Eugene hires a boatman and hurries to Parasha, but finds only traces of destruction in the place of his bride's house. Unable to withstand the shocks, Eugene goes crazy, does not return to his poor corner, wanders aimlessly around the city, sleeps somewhere on the pier: “And so he dragged out his unhappy age, neither beast, nor man, neither her nor the inhabitant of the world nor a dead ghost..."
The culmination of the poem is the second meeting of Eugene with the monument. He suddenly recognizes the place where he escaped during the flood, “and the lions, and the square, and the one who stood motionless in the darkness with a copper head, the one by whose will the city was founded under the sea.” The words addressed by Eugene to the idol are barely audible. “Good, miraculous builder! he whispered, trembling angrily. - Already you! And then, as a terrible continuation of the hero’s insane delirium, a fantastic chase begins: “And all night long, the poor madman, no matter where he turned his moans, a bronze horseman with a heavy stomp galloped behind him.” But the moments of madness (or maybe enlightenment?) pass, Eugene no longer dares even to raise his eyes, passing by the monument, and quietly dies. Sad and quite traditional denouement.
Who are the main characters in the plot of the poem? Not Yevgeny and Parasha, as the reader might have guessed at the very beginning of the story, but Yevgeny and the Bronze Horseman, a fantastic character who becomes part of the hero’s delirium and at the same time a symbol of the cruel power of the state, ruthless to man. But the plot is a system of events in the work, and in The Bronze Horseman, the plot, the events, the elements are dominated by the great philosophical thought Pushkin, which can be at least to a small extent understood only by analyzing the unique composition of the poem. This is the time to return to the famous introduction to the poem, which, not being an element of the plot, is an indispensable part of the perfect story. architectural structure, which, no doubt, became the "Bronze Horseman". First of all, it is important to pay attention to the vastness of the introduction in comparison with the rest of the volume of the work. Pushkin, who put “a sense of proportionality and conformity” above all, of course, understood that the volume of the introduction is disproportionately large, but, on the other hand, he wanted to clearly convey to the reader that the introduction does not perform an official function, but carries a huge content load.
From the very first lines of the introduction, the poem includes the image of Peter the Great, the reformer of Russia, full of "great thoughts", which the genius of Pushkin minted into cast formulas of history:
From here we will threaten the Swede,
Here the city will be founded
To spite an arrogant neighbor.
Nature here is destined for us
Cut a window to Europe
Stand with a firm foot by the sea.
Here on their new waves
All the flags in the toast will be to us,
And let's hang out in the open!
"One hundred years have passed" and beautiful dream Petra came true: the city, truly European, grew up "on the shores of desert waves", became the capital Russian Empire. The poetic picture of the “young city”, which ascended “magnificently, proudly”, is the best hymn to Petersburg in all Russian literature. The melody of the introduction to The Bronze Horseman smoothly embraces both marvelous city landscapes (“The Neva’s sovereign current, its coastal granite ... cast-iron fences”, the transparency of white nights), and the joy of the people living in the city (“girlish faces are brighter than roses, and shine, and the noise and the talk of the balls, and at the hour of the idle revelry, the hiss of foamy glasses and punch, the blue flame"), and military power young capital in front of which "faded old Moscow". "I love you, Peter's creation!" Pushkin exclaims, in order to sharply break this jubilant intonation at the end of the introduction with the words: “It was a terrible time ...”
Undoubtedly, the main thing for the author is the sharp contrast between the introduction and the main, plot, narrative part of the poem. Why is this contrast necessary? What is it semantic load? This question was surprisingly accurately answered by D. Granin in the essay “Two Faces”. Through all the poems, through all its figurative structure, there is a doubling of faces, pictures, meanings: two Peters (Peter is alive, thinking, "a powerful ruler of fate" - and his transformation, the Bronze Horseman, a frozen statue), two Eugenes (petty official, poor, downtrodden , humiliated by the authorities, and a madman who raised his hand against the "miraculous builder"), two Neva (decoration of the city, "sovereign current" - and the main threat to the city and people's lives), two St. Petersburg ("Peter's creation", "young city" - and the city of corners and basements of the poor, the city-murderer). In this doubling, the image of the new building contains not only the main compositional, but also the main philosophical thought of Pushkin - the thought of a person, his self-worth, whether it be Peter I or Eugene. The Bronze Horseman opposes both the living Peter as his tragic transformation, and Eugene as a symbol of soulless statehood. As Granin writes, "Pushkin with Peter against the Bronze Horseman and with Eugene against the Bronze Horseman." To strengthen this thought, the poet needed a brilliant introduction to the poem.
There is nothing surprising in the fact that during Pushkin's lifetime The Bronze Horseman was not published. In the quiet revolt of the insane Yevgeny, the authorities unmistakably guessed the threat to their dull, brassy soullessness. Even the brilliant hymn to Petersburg could not interfere with a clear understanding of this threat.
The plot and composition of the poem "The Bronze Horseman" by A.S. Pushkin (3rd option)
The poem The Bronze Horseman, authored by A. S. Pushkin, is written in poetic form.
In the poem, in essence, there are two main characters: the young man Eugene and the monument - the Bronze Horseman.
The poem begins with an introduction, which speaks of the monument as a living being that is able to think and think:
On the shore of desert waves
He stood, full of great thoughts ...
The monument in the poem symbolizes Peter I, who built St. Petersburg in order to cut a window into Europe.
The first part of the poem tells about the autumn Petrograd, in which the young man Eugene, poor, but hardworking. In one of autumn days he hurries home, distressed by his fate by the labor of delivering both independence and honor. At the same time, he thinks about his beloved Parasha, whom he has not seen for several days. When he gets home, he goes to bed. At night, a terrible flood begins, there is panic and confusion in the city, everything that is possible floats through the streets - goods of a merchant, bridges, coffins from a washed-out cemetery. Eugene manages to escape, and he climbs a marble lion and sits there motionless. His thoughts are occupied by one thing - the fate of his beloved, who lives almost at the very bay.
The second part of the poem tells us about what happened after the end of the flood. A young man hurries to the house of his beloved, and what does he see?
... Can't find out. The view is terrible!
Everything in front of him is littered;
What's thrown away, what's taken down...
Eugene runs up to Parasha's house and a terrible picture opens up to his eyes:
Here is the place where their house stands;
Here is the willow. There were gates
They took them down, you see. Where is the house?
As soon as the young man realizes that neither at home nor his beloved is anymore, he loses his mind and begins to laugh wildly. The next day, the people, leaving the flood, live their lives: someone goes to work, merchants open cellars and calculate losses, hoping to compensate them for future buyers. Only one Eugene does not recover from the shock. He leaves the apartment, lives on the pier, eats what is served to him. So time passes until autumn. On one of the rainy days, Eugene sleeps by the pier, and waking up, he suddenly vividly recalls what once plunged him into madness. Not understanding, where is going, he moves to the Bronze Horseman, to the one by whose will the city was founded fatal over the sea. Evgeny can't find a place for himself, looking at the monument, and suddenly it begins to seem to him that the Bronze Horseman, having taken off, is rushing after him. Yevgeny runs, but the clatter of hooves follows him everywhere. Since then, Eugene, passing through the square, over which the Bronze Horseman towers, took off his hat, lowered his eyes and quickly walked sideways.
Not recovering from the flood, and not having lived for a long time, Eugene dies soon.
Found my madman
And then his cold corpse
Buried for God's sake.
Thus ends the poem by A. S. Pushkin The Bronze Horseman.
