Mrs. Prostakova (Trishke). Get out, cattle. (Eremeevna.) Come on, Eremeevna, let the child have breakfast. After all, I have tea, soon the teachers will come.
Eremeevna. He already, mother, deigned to eat five buns.
Ms Prostakova. So you're sorry for the sixth, you bastard? What zeal! Feel free to watch.
Eremeevna. Hello, mother. After all, I said this for Mitrofan Terentyevich. Protoskoval until morning.
Ms Prostakova. Ah, mother of God! What happened to you, Mitrofanushka?
Mitrofan. Yes, mother. Yesterday, after dinner, I had a seizure.
Skotinin. Yes, it is clear, brother, you had a hearty supper.
Mitrofan. And I, uncle, hardly ate supper at all.
Prostakov. I remember, my friend, you deigned to eat something.
Mitrofan. What! Three slices of corned beef, yes hearth, I don’t remember, five, I don’t remember, six.
Eremeevna. At night every now and then he asked for a drink. The whole jug deigned to eat kvass.
Mitrofan. And now I'm walking like crazy. All night long such rubbish climbed into the eyes.
Ms Prostakova. What kind of rubbish, Mitrofanushka?
Mitrofan. Yes, then you, mother, then father.
Ms Prostakova. How is it?
Mitrofan. As soon as I begin to fall asleep, then I see that you, mother, deign to beat the father.
Prostakov (aside). Well! my trouble! dream in hand!
Mitrofan (relaxing). So I felt sorry.
Mme. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating the father.
Ms Prostakova. Embrace me, my friend of the heart! Here, son, is one of my consolations.
Skotinin. Well, Mitrofanushka! You, I see, are a mother's son, not a father's.
Prostakov. At least I love him as a parent should, this is a clever child, this is a reasonable child, an amusing, entertainer; sometimes I am beside myself with him, with joy I myself truly do not believe that he is my son, Skotinin. Only now our amusing fellow is frowning at something.
Ms Prostakova. Why not send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, so maybe either ...
Ms Prostakova. So maybe the Lord is merciful. Come, frolic, Mitrofanushka.
Mitrofan and Yeremeevna depart.
IN 1. Indicate the genre to which D.I. Fonvizin's play "Undergrowth" belongs.
AT 2. Name the literary trend that developed in the literature of the 18th century, the principles of which were embodied in the play by D.I. Fonvizin.
AT 3. The above scene conveys a lively conversation between the characters. What is the name of this form of communication between the heroes of a work of art?
AT 4. In the course of the play, the author's explanations and remarks are given (“to the side”, “relaxed”, “with annoyance”). What is the term for them?
AT 5. The speech of the characters is replete with words and expressions that violate the literary norm (“so rubbish”, “grip me”, etc.). Specify this type of speech.
AT 6. The names and surnames of the characters in this episode carry a certain semantic load. What are these names and surnames called?
AT 7. The above scene contains information about the characters, the place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by these features.
C1. What can be said about the system of education in the Prostakov family?
C2. In what works of Russian writers are the morals of the nobles satirically displayed and what brings them closer to the play of D.I. Fonvizin?
IN 1. Comedy
AT 2. Classicism
AT 3. Dialogue
AT 4. remarks
AT 5. vernacular
AT 6. Talking
AT 7. exposition
Starodum and Pravdin
Pravdin. It was the package that the hostess here herself informed me about yesterday.
Starodum. So, do you now have a way to stop the inhumanity of the evil landowner?
Pravdin. I am instructed to take custody of the house and villages at the first rabies, from which people subject to her might suffer.
Starodum. Thanks be to God that humanity can find protection! Believe me, my friend, where the sovereign thinks, where he knows where his true glory lies, there his rights cannot but return to mankind. There everyone will soon feel that everyone should seek their happiness and benefits in the one thing that is legal ... and that it is illegal to oppress their own kind by slavery.
Pravdin. I agree with you on this; Yes, how tricky it is to exterminate rooted prejudices in which base souls find their advantage!
Starodum. Listen, my friend! A great sovereign is a wise sovereign. His job is to show people their direct benefit. The glory of his wisdom is to rule over people, because there is no wisdom to manage idols. The peasant, who is the worst in the village, usually chooses to tend the herd, because it takes a little intelligence to tend the cattle. A sovereign worthy of the throne seeks to elevate the souls of his subjects. We see it with our own eyes.
Pravdin. The pleasure that sovereigns enjoy in possessing free souls must be so great that I do not understand what motives could distract ...
Starodum. A! How great a soul must be in a sovereign in order to take the path of truth and never deviate from it! How many nets have been set up to capture the soul of a person who has the fate of his own kind in his hands! And in the first place, a crowd of stingy flatterers...
Pravdin. Without spiritual contempt it is impossible to imagine what a flatterer is.
Starodum. A flatterer is a creature who, not only about others, but also about himself, has no good opinion. All his desire is to first blind the mind of a person, and then make of it what he needs. He is a night thief who first extinguishes the candle, and then begins to steal.
Pravdin. Human misfortunes, of course, are caused by their own corruption; but ways to make people kind...
Starodum. They are in the hands of the sovereign. How soon everyone sees that without good manners no one can emerge as a people; that neither vile service nor any amount of money can buy that which rewards merit; that people are chosen for places, and not places are stolen by people, then everyone finds his own advantage in being well-behaved and everyone becomes good.
Pravdin. Fair. The Great Sovereign gives...
Starodum. Mercy and friendship to those whom it pleases; bridges and ranks to those who are worthy.
Pravdin. So that there is no shortage in worthy people, special efforts are now being made to educate ...
Starodum. It should be the key to the well-being of the state. We see all the unfortunate consequences of bad education. Well, what can come out of Mitrofanushka for the fatherland, for whom ignorant parents also pay money to ignorant teachers? How many noble fathers who entrust the moral upbringing of their son to their serf slave! Fifteen years later, instead of one slave, two come out, an old uncle and a young master.
Pravdin. But persons of a higher state enlighten their children...
Starodum. So, my friend; yes, I would like that, with all the spiders, the main goal of all human knowledge, good manners, is not forgotten. Believe me that science in a depraved person is a fierce weapon to do evil. Enlightenment elevates one virtuous soul. I would like, for example, that when educating the son of a noble gentleman, his mentor every day unfolded History for him and showed him two places in it: in one, how great people contributed to the good of their fatherland; in another, like an unworthy nobleman, having used his power of attorney and power for evil, from the height of his magnificent nobility he fell into the abyss of contempt and reproach.
IN 1. Within the framework of what literary direction was D.I. Fonvizin's play "Undergrowth" created?
AT 2. The ideas of what era are promoted in this fragment of D.I. Fonvizin's play "Undergrowth"?
AT 3. Indicate the name of the genre of dramaturgy to which D.I. Fonvizin's play "Undergrowth" belongs?
AT 4. What term denotes the form of speech of characters, which is an exchange of remarks:
"Starodum. Mercy and friendship to those whom it pleases; bridges and ranks to those who are worthy.
Pravdin. So that there is no shortage in worthy people, special efforts are now being made to educate ... ”?
AT 5. What is the name of the sayings that express in a concise form complete and generalized thoughts: “A great sovereign is a wise sovereign”, “everyone should seek his happiness and benefits in the one thing that is lawful”, “science in a depraved person is a fierce weapon to do evil” and others?
AT 6. Indicate the name of the heroine of D.I. Fonvizin’s play “Undergrowth”, in which in this fragment of the play she is called an evil landowner.
C1. Why does D.I. Fonvizin devote so much space in this fragment to discussions about the “great sovereign”?
C1. What is the main theme of this fragment and how does it relate to the general problems of the play.
C2. What Russian writers tried to create the image of an ideal ruler on the pages of their works?
IN 1. Classicism
AT 2. Education
AT 3. Comedy
AT 4. Dialogue
AT 5. Aphorism
AT 6. Prostakov
Pravdin. Aren't you ashamed, Kuteikin?
Kuteikin (lowering his head). Shame on you, damned.
Starodum (to Tsyfirkin). Here's to you, my friend, for a good soul.
Tsyfirkin. Thank you, your highness. Thankful. You are free to give me. Himself, not deserving, I will not demand a century.
MILO (giving him money). Here's to you, my friend!
Tsyfirkin. And thanks again.
Pravdin also gives him money.
Tsyfirkin. What are you complaining about, your honor?
Pravdin. Because you don't look like Kuteikin.
Tsyfirkin. AND! Your honor. I'm a soldier.
Pravdin (to Tsyfirkin). Go, my friend, with God.
Tsyfirkin departs.
Pravdin. And you, Kuteikin, perhaps come here tomorrow and take the trouble to comb your mistress herself.
Kuteikin (running out). With myself! I retreat from everything.
Vralman (to Starodum). Do not leave the old man of hearing, fashe fysokrotie. Take me back to the sepe.
Starodum. Yes, you, Vralman, I tea, lagged behind the horses?
Vralman. Hey no, my darling! Shiuchi with stench hospots, it concerned me that I am a fse with horses.
Mrs. Prostakova, Starodum, Milon, Sophia, Pravdin, Mitrofan, Eremeevna.
STARODUM (to Pravdin, holding the hands of Sophia and Milan). Well my friend! We go. Wish us...
Pravdin. All the happiness that honest hearts are entitled to.
Mrs. Prostakova (rushing to embrace her son). You alone remained with me, my hearty friend, Mitrofanushka!
Mitrofan. Yes, get off, mother, as imposed ...
Ms Prostakova. And you! And you leave me! A! ungrateful! (She fainted.)
SOPHIA (running up to her). My God! She has no memory.
Starodum (Sofya). Help her, help her.
Sophia and Eremeevna help.
Pravdin (to Mitrofan). Scoundrel! Should you be rude to your mother? It is her mad love for you that has brought her most of all to misfortune.
Mitrofan. Yes, she seems to be unknown ...
Pravdin. Rude!
Starodum (Eremeevna). What is she now? What?
Yeremeevna (looking intently at Madame Prostakova and clasping her hands). Wake up, my father, wake up.
Pravdin (to Mitrofan). With you, my friend, I know what to do. Went to serve...
Mitrofan (with a wave of his hand). For me, where they say.
Mrs. Prostakova (waking up in despair). I completely died! My power has been taken away! From shame, you can’t show your eyes anywhere! I don't have a son!
Starodum (pointing to Mrs. Prostakova) Here are the worthy fruits of evil-mindedness!
IN 1. What element in the development of the plot of the work is this fragment?
AT 2. Define the genre of the work of D.I. Fonvizin "Undergrowth"?
AT 3. Which of the characters at the end of the play expresses the author's assessment of events?
AT 4. The text of the fragment is an alternation of brief statements of different persons. What is the name of this type of verbal communication in a dramatic work?
AT 5. Find and write down the word from the last remark of Prostakova, which refers to vernacular.
AT 6. One of the characteristic techniques of classicism is the disclosure of the character of the hero through his last name. What are these surnames called?
C1. What does the author of "Undergrowth" invest in the concept of "malice"?
C2. In what works of Russian classics are “evil morality worthy fruits” revealed?
IN 1. denouement
AT 2. Comedy
AT 3. Starodum
AT 4. Dialogue
AT 5. nowhere
AT 6. Talking
It would be necessary to describe the office rooms through which our heroes passed, but the author has a strong timidity towards all public places. If he happened to pass them even in a brilliant and ennobled form, with varnished floors and tables, he tried to run as quickly as possible, humbly lowering and lowering his eyes to the ground, and therefore he does not know at all how everything prospers and flourishes there. Our heroes saw a lot of paper, both black and white, bent heads, wide necks, tailcoats, coats of provincial cut, and even just some kind of light gray jacket, which came off very abruptly, which, turning its head to one side and laying it almost on the very paper, briskly and boldly wrote out some kind of protocol on the withdrawal of land or a typo of an estate seized by some peaceful landowner, peacefully living out his life under the court, having made himself and children and grandchildren under his protection, but short expressions were heard in fits and starts, uttered in a hoarse voice: Lend me Fedosey Fedoseevich, little business No. 368!” - “You always drag a cork from a state-owned inkwell somewhere!” Sometimes a more majestic voice, no doubt one of the bosses, was heard imperatively: “Here, rewrite! otherwise they will take off their boots and you will sit with me for six days without eating. The noise from the feathers was great and looked like several wagons with brushwood were passing through a forest littered a quarter of an arshin with withered leaves.
Chichikov and Manilov went up to the first table, where two young officials were sitting, and asked:
May I know where the affairs of the fortresses are here?
What do you need? - said both officials, turning around.
And I need to apply.
And what did you buy?
I would like to know first where the fortress table is, here or somewhere else?
Yes, tell me first what you bought and at what price, then we will tell you where, otherwise you can’t know.
Chichikov immediately saw that the officials were simply curious, like all young officials, and wanted to give more weight and significance to themselves and their occupations.
Listen, my dears, - he said, - I know very well that all the affairs of the fortresses, no matter the price, are in one place, and therefore I ask you to show us the table, and if you do not know what is being done so we ask others.
The officials did not answer this, one of them only pointed his finger at the corner of the room, where an old man was sitting at the table, rewriting some papers. Chichikov and Manilov walked between the tables straight to him. The old man was very attentive. "Let me know," said Chichikov with a bow, "is there business on the fortresses?"
The old man raised his eyes and said in a slow voice:
- There are no cases on fortresses.
- Where is it?
- It's in the fortress expedition.
- And where is the fortress expedition?
- This is Ivan Antonovich's.
- And where is Ivan Antonovich?
The old man pointed to another corner of the room. Chichikov and Manilov went to Ivan Antonovich. Ivan Antonovich had already turned one eye back and looked sideways at them, but at the same moment he plunged even more attentively into writing.
"Let me know," said Chichikov with a bow, "is there a fortress table here?"
Ivan Antonovich did not seem to have heard, and was completely absorbed in the papers without answering anything. It was suddenly evident that he was already a man of prudent years, not like a young chatterer and a helicopter dancer. Ivan Antonovich seemed to be well over forty years old; his hair was black and thick; the whole middle of his face protruded forward and went into his nose - in a word, it was that face that is called in the hostel a jug snout.
- May I ask, is there a fortress expedition here? Chichikov said.
"Here," said Ivan Antonovich, turning his jug-shaped snout and taking a puff to write again.
- And my business is this: I bought peasants from various owners of the local county for the conclusion: there is a bill of sale, it remains to be done.
Are there any sellers?
- Some here, and from others power of attorney.
- Have you received a request?
- I brought a request. I'd like to... I need to hurry up... so can't, for example, finish the job today!
- Yes today! today it is impossible, - said Ivan Antonovich. - It is necessary to make more inquiries, whether there are still prohibitions.
- However, as far as speeding things up, Ivan Grigoryevich, the chairman, is a great friend of mine ...
- Why, Ivan Grigorievich is not alone; there are others, - said Ivan Antonovich sternly.
Chichikov understood the hitch that Ivan Antonovich wrapped up and said:
- Others will not be offended either, I myself served, I know the matter ...
- Go to Ivan Grigoryevich, - said Ivan Antonovich in a somewhat more gentle voice, - let him give an order to who should, but the matter will not stand up for us.
Chichikov, taking a piece of paper out of his pocket, placed it in front of Ivan Antonovich, which he did not notice at all and immediately covered it with a book. Chichikov was about to point it out to him, but Ivan Antonovich indicated with a movement of his head that it was not necessary to show it.
- Here he will lead you into the presence! - said Ivan Antonovich, nodding his head, and one of the clergymen, who were right there, made sacrifices to Themis with such zeal that both sleeves burst at the elbows and the lining climbed out for a long time, for which he received a collegiate registrar in his time, served our friends, how once Virgil served Dante, and led them into the presence room, where there were only wide armchairs and in them in front of the table, behind a mirror and two thick books, the chairman sat alone, like the sun. At this point, the new Virgil felt such reverence that he did not dare to put his foot there and turned back, showing his back, worn out like a matting, with a chicken feather stuck somewhere. Entering the hall of presence, they saw that the chairman was not alone; Sobakevich was sitting next to him, completely eclipsed by the mirror. The arrival of the guests made an exclamation, government chairs were pushed back noisily. Sobakevich also got up from his chair and became visible from all sides with his long sleeves. The chairman took Chichikov into his arms, and the room of presence resounded with kisses; asked each other about health; it turned out that both had lower back pain, which was immediately attributed to a sedentary life.
N.V. Gogol, Dead Souls.
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USE TEST - 2014 IN LITERATURE
OPTION 7
Training test to prepare for the exam - 2014 in literature. The tasks included in this test fully correspond to the tasks of future real versions of the examination paper in terms of quantity, form, level of complexity and other parameters.
USE tests - 2014 in literature consist of three parts.
Part 1 includes 7 tasks with a short answer (B1 - B7), requiring the writing of a word, or a combination of words, or a sequence of numbers, and 2 tasks with a detailed answer (C1 - C2) in the amount of 5 - 10 sentences.
Part 2 includes 5 tasks with a short answer (B8 - B12) and 2 tasks with a detailed answer in the amount of 5 - 10 sentences (C3 - C4).
Part 3
includes 3 tasks, from which you need to choose only one and give a detailed reasoned answer to it in the genre of an essay on a literary topic with a volume of at least 200 words.
PART 1
Read the fragment of the work below and complete tasks B1 - B7; C1, C2.
Mrs. Prostakova (Trishke). Get out, cattle. (Eremeevna). Come on, Eremeevna, let the child have breakfast. Vit, I have tea, soon the teachers will come.
Eremeevna. He already, mother, deigned to eat five buns.
Ms Prostakova. So you're sorry for the sixth, you bastard? What zeal! Feel free to watch.
Eremeevna. Hello, mother. I said this for Mitrofan Terentyevich. Protoskoval until morning.
Ms Prostakova. Ah, mother of God! What happened to you, Mitrofanushka?
Mitrofan. Yes, mother. Yesterday, after dinner, I had a seizure.
Skotinin. Yes, it can be seen, brother, you dined tightly.
Mitrofan. And I, uncle, hardly ate supper at all.
Prostakov. I remember, my friend, you deigned to eat something.
Mitrofan. What! Three slices of corned beef, yes hearth, I don’t remember, five, I don’t remember, six.
Eremeevna. At night every now and then he asked for a drink. The whole jug deigned to eat kvass.
Mitrofan. And now I'm walking like crazy. All night long such rubbish climbed into the eyes.
Ms Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, then you, mother, then father.
Ms Prostakova. How is it?
Mitrofan. As soon as I begin to fall asleep, then I see that you, mother, deign to beat the father.
Prostakov (aside). Well, my trouble! Dream in hand!
Mitrofan (relaxing). So I felt sorry.
Mme. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating the father.
Ms Prostakova. Embrace me, my friend of the heart! Here, son, is one of my consolations.
Skotinin. Well, Mitrofanushka, I see you are a mother's son, not a father!
Prostakov. At least I love him as a parent should, this is a clever child, this is a reasonable child, an amusing, entertainer; sometimes I am beside myself with him and with joy I myself truly do not believe that he is my son.
Skotinin. Only now our amusing fellow is frowning at something.
Ms Prostakova. Why not send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, so maybe ...
Ms Prostakova. So maybe the Lord is merciful. Come, frolic, Mitrofanushka.
Mitrofan and Eremeevna leave.
(D.I. Fonvizin "Undergrowth")
IN
1. Indicate the genre to which D.I. Fonvizin "Undergrowth".
AT 2. Name the literary trend that developed in the literature of the 18th century, the principles of which were embodied in the play by D.I. Fonvizin.
AT 3. The above scene conveys a lively conversation between the characters. What is the name of this form of communication between the heroes of a work of art?
AT 4. Establish a correspondence between the characters of the "Undergrowth" and their statements.
For each position in the first column, select the corresponding position from the second column.
Write your answer in numbers in the table and transfer it to the answer sheet No. 1.
AT 5. The speech of the characters is replete with words and expressions that violate the literary norm ("such rubbish", "catch me", etc.). Specify this type of speech.
AT 6. The names and surnames of the characters in this episode carry a certain semantic load. What are these names and surnames called?
AT 7. The above scene contains information about the characters, the place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by these features.
To complete tasks C1 and C2, use the answer sheet No. 2.
Performing task C2, select for comparison two works of 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.
C1. What can be said about the system of education in the Prostakov family?
C2. In what works of Russian writers are the morals of the nobles satirically displayed and what brings them closer to the play of D.I. Fonvizin?
PART 2
Read the work below and complete tasks B8 - B12; C3, C4.
There are names, and there are such dates, -
They are full of incorruptible essence.
We are to blame for them on weekdays, -
Do not pray for guilt on holidays.
And praise with loud music
Do not drown out their memory of the saint.
And they will live in our descendants,
That maybe we'll be left behind.
(A.T. Tvardovsky, 1966)
AT 8. Indicate the thematic variety of lyrics to which the given poem belongs.
AT 9. " There are names and there are such dates..." What technique is used in the first line of the poem?
AT 10 O'CLOCK. In the phrase "glorifying with loud music" a means of artistic expression is used, which is based on the transfer of the properties of some objects and phenomena to others. What is it called?
AT 11. From the list below, select three names of artistic means and techniques used by the poet in the poem.
1) impersonation
2) grotesque
3) inversion
4) antithesis
5) anaphora
Enter the corresponding numbers in the table and transfer them to the answer sheet No. 1.
AT 12. What size is the poem written by A.T. Tvardovsky "... There are names and there are such dates ..."?
To complete tasks C3 and C4, use the answer sheet No. 2.
Write down the task number first, and then give a direct coherent answer to the question (approximate length - 5-10 sentences).
Performing task C4, select two works of different authors for comparison (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.
C3. What does the lyrical hero of the poem see as the fault of his generation?
C4. What are close to the poem by A.T. Tvardovsky works of Russian poets who addressed the theme of historical memory?
PART 3
To complete the task of part 3, select only ONE of the proposed essay topics (C5.1, C5.2, C5.3).
In the answer form No. 2, indicate the number of the topic you have chosen, and then write an essay on this topic in the amount of at least 200 words (if the amount of the essay is less than 150 words, then it is rated 0 points).
Argument your theses based on literary works (in an essay on lyrics, you must analyze at least three poems).
Use literary-theoretical concepts to analyze the work.
Consider the composition of the essay.
Write your essay clearly and legibly, following the rules of speech.
C5.1. What gave rise to the contemporaries of A.S. Pushkin to call him a "singer of friendship"?
C5.2. Why is the world of those in power so ugly and caricatured in the satire of M.E. Saltykov-Shchedrin?
C5.3. How does the theme of maternal suffering develop in A.A. Akhmatova "Requiem"
(module Responsive Adsense block at the end of the article)
Option 4 2012: 02/25/2012: 21.42
Option 2 2012: 02/25/2012: 21.42 Essays and Unified State Examination in Literature Unified State Examination online Standard version No. 7 Unified State Exam 2012 in literature online Unified State Examination
Work instructions
The examination paper in literature consists of 3 parts. It takes 4 hours (240 minutes) to complete it. We recommend to allocate the time to complete the work as follows: for parts 1, 2 - no more than 2 hours, for part 3-2 hours. Parts 1 and 2 include an analysis of a literary text (a fragment of an epic (or dramatic) work and a lyrical work). 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. The analysis of the text of an epic (or dramatic) work has the following structure: 7 tasks with a short answer (B), requiring the writing of a word or a combination of words, and 2 tasks with a detailed answer (C1-C2), requiring writing an answer in the amount of 5-10 sentences. The analysis of a lyrical work includes 5 tasks with a short answer (B) and 2 tasks with a detailed answer (С3-С4) in the amount of 5-10 sentences. When completing tasks C1-C4, try to formulate a direct answer to the question posed, avoiding lengthy introductions and characteristics. To save time on short answer assignments, skip the ones that are difficult for you: you can return to them after completing the work, if there is time. When starting to complete the tasks of part 3, choose one of the three proposed problematic questions and give a written detailed reasoned answer to it in the essay genre (in the amount of at least 200 words). For each correct answer, depending on the level of difficulty, you can get one or more points. The points you get for completed tasks are summed up. Try to complete as many tasks as possible and score the most points.
We wish you success!
Read the text below and do tasks B1-B7; C1-C2.
Mrs. Prostakova (Trishke). Get out, cattle. (Eremeevna.) Come on, Eremeevna, let the child have breakfast. Vit, I have tea, soon the teachers will come.
Eremeevna. He already, mother, deigned to eat five buns.
Ms Prostakova. So you're sorry for the sixth, you bastard? What zeal! Feel free to watch.
Eremeevna. Hello, mother. I said this for Mitrofan Terentyevich. Protoskoval until morning.
Ms Prostakova. Ah, mother of God! What happened to you, Mitrofanushka?
Mitrofan. Yes, mother. Yesterday, after dinner, I had a seizure. Skotinin. Yes, it can be seen, brother, you dined tightly.
Mitrofan. And I, uncle, hardly ate supper at all. Prostakov. I remember, my friend, you deigned to eat something.
Mitrofan. What! Three slices of corned beef, yes hearth, I don’t remember, five, I don’t remember, six.
Eremeevna. At night every now and then he asked for a drink. The whole jug deigned to eat kvass.
Mitrofan. And now I'm walking like crazy. All night long such rubbish climbed into the eyes.
Ms Prostakova. What kind of rubbish, Mitrofanushka?
Mitrofan. Yes, then you, mother, then father.
Ms Prostakova. How is it?
Mitrofan. As soon as I begin to fall asleep, then I see that you, mother, deign to beat the father.
Prostakov (aside). Well, my trouble! Dream in hand!
Mitrofan (exasperated). So I felt sorry.
Mme. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating the father.
Ms Prostakova. Embrace me, my friend of the heart! Here, son, is one of my consolations.
Skotinin. Well, Mitrofanushka, I see you are a mother's son, not a father!
Prostakov. At least I love him as a parent should, this is a clever child, this is a reasonable child, an amusing, entertainer; sometimes I am beside myself with him and with joy I myself truly do not believe that he is my son.
Skotinin. Only now our amusing fellow is frowning at something.
Ms Prostakova. Why not send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, so maybe ...
Ms Prostakova. So maybe the Lord is merciful. Come, frolic, Mitrofanushka.
Mitrofan and Eremeevna leave.
(B2 OT B4 B5 B6 B7 Part 2
Read the poem below and complete tasks B8-B12; C3-C4.
There are names and there are such dates - They are full of imperishable essence. We are to blame for them on weekdays, - Do not pray for guilt on holidays. And praises with loud music Do not drown out their memory of the saint. And they will live in our descendants, What, maybe, they will leave us behind the line.
A. T. Tvardovsky, 1966
When completing tasks B8-B12, 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 a combination of words. Write each letter in a separate cell legibly. Write words without spaces, punctuation marks and quotation marks. B9 There are names and there are such dates..."What technique is used in the first line of the poem? Answer:
B10 B11 B12 USE online
The above scene conveys a lively conversation between the characters. What is the name of this form of communication between the heroes of a work of art?
Read the text fragment below and complete tasks B1-B7; C1-C2.
Ms. Prostakova (Trishka). Get out, cattle. (Eremeevna.) Come on, Eremeevna, let the child have breakfast. Vit, I have tea, soon the teachers will come.
Eremeevna. He already, mother, deigned to eat five buns.
Ms Prostakova. So you're sorry for the sixth, you bastard? What zeal! Feel free to watch.
Eremeevna. Hello, mother. I said this for Mitrofan.
Terentevich. Protoskoval until morning.
Ms Prostakova. Ah, mother of God! What happened to you, Mitrofanushka?
Mitrofan. Yes, mother. Yesterday, after dinner, I had a seizure.
Skotinin. Yes, it can be seen, brother, you dined tightly.
Mitrofan. And I, uncle, hardly ate supper at all.
Prostakov. I remember, my friend, you deigned to eat something.
Mitrofan. What! Three slices of corned beef, yes hearth, I don’t remember, five, I don’t remember, six.
Eremeevna. At night every now and then he asked for a drink. The whole jug deigned to eat kvass.
Mitrofan. And now I'm walking like crazy. All night long such rubbish climbed into the eyes.
Ms. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, then you, mother, then father.
Ms. Prostakova. How is it?
Mitrofan. As soon as I begin to fall asleep, then I see that you, mother, are harassing to beat the father.
Prostakov (to the side). Well, my trouble! Dream in hand!
Mitrofan (spread out). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating the father.
Ms Prostakova. Embrace me, my friend of the heart! Here, son, is one of my consolations.
Skotinin. Well, Mitrofanushka, I see you are a mother's son, not a father!
Prostakov. At least I love him as a parent should, this is a clever child, this is a reasonable child, an amusing, entertainer; sometimes I am beside myself with him and with joy I myself truly do not believe that he is my son.
Skotinin. Only now our amusing fellow is frowning at something.
Ms Prostakova. Why not send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, so maybe ...
Ms Prostakova. So maybe the Lord is merciful. Come, frolic, Mitrofanushka. Mitrofan and Eremeevna leave.
D. I. Fonvizin "Undergrowth"
Indicate the genre to which D. I. Fonvizin's play "Undergrowth" belongs.
Explanation.
The play by D. I. Fonvizin “Undergrowth” belongs to the comedy genre.
Comedy is a genre of fiction characterized by a humorous or satirical approach, as well as a type of drama in which a moment of effective conflict or struggle of antagonistic characters is specifically resolved.
Answer: comedy.
Answer: comedy
Name the literary trend that developed in the literature of the 18th century, the principles of which were embodied in the play of D. I. Fonvizin.
Explanation.
This literary trend is called classicism. Let's give a definition.
Classicism is an artistic trend in European literature of the 17th - early 19th centuries. The most important feature of classicism is the high citizenship of the subject, the appeal to the samples and forms of ancient literature as an aesthetic standard.
Answer: classicism.
Answer: classicism
Sofia Dobrynina (Primorsko-Akhtarsk) 30.01.2016 11:14
The play by Fonvizin (Undergrowth) in the literary direction is attributed to enlightenment realism. Although the play contains features of both classicism and realism. The author uses the techniques of classicism (the unity of time, place ..), but does it in a new way, i.e. shows the life, life of heroes. Therefore, "Undergrowth" refers to the early Russian realism of the Enlightenment.
Tatiana Statsenko
We read the question: "Name the literary trend that developed in the literature of the 18th century ..." One can hardly speak of realism in Russian literature of the 18th century.
In the course of the play, the author's explanations and remarks are given (“to the side”, “relaxed”, “with annoyance”). What term do they refer to?
Explanation.
This term is called remark. Let's give a definition.
Remarque is the explanation with which the playwright precedes or accompanies the course of action in the play. remarks can explain the age, appearance, clothes of the characters, as well as their state of mind, behavior, movements, gestures, intonations. In the remarks presupposed to the act, scene, episode, a designation is given, sometimes a description of the place of action, the situation.
Answer: remark.
Answer: Remark | remarks
The speech of the characters is replete with words and expressions that violate the literary norm (“such rubbish”, “grip me”, etc.). Specify this type of speech.
Explanation.
This type of speech is called vernacular. Let's give a definition.
Vernacular is words, expressions, grammatical forms and constructions common in non-literary colloquial speech, characteristic of poorly educated native speakers and clearly deviating from existing literary language norms. The carrier of vernacular is the uneducated and semi-educated urban population, sometimes words from colloquial speech are used by high-ranking officials in order to find a common language with the target audience.
Answer: vernacular.
Answer: vernacular | colloquial speech | vernacular
Polina Bashkirova 31.01.2017 16:27
Why isn't the spoken word option suitable?
Tatiana Statsenko
The names and surnames of the characters in this episode carry a certain semantic load. What are these names and surnames called?
Explanation.
They are called "talkers". Let's give a definition.
"Talking" surnames are surnames that are part of the characteristics of the character of a work of art, emphasizing the most striking feature of the character's character.
Answer: speakers.
Answer: speaking | speaking surnames | speaking surname
The above scene contains information about the characters, the place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by these features.
Explanation.
This stage is called exposure. Let's give a definition.
The exposition is an image of the situation of the action and the position of the characters before the start of the action itself - this is the beginning and development of the conflict.
Answer: exposure.
Answer: exposure
What can be said about the system of education in the Prostakov family?
Explanation.
The comedy by D.I. Fonvizin "Undergrowth". Matriarchy reigns in this family. Mrs. Prostakova, not distinguished by a special mind and education, keeps her entire family in submission. Mrs. Prostakova, loving her son with all her heart, does not bother him with studies and spoils him in every possible way. She is not able to instill in Mitrofan any positive qualities or concepts of morality, since she herself is deprived of them. The results of such upbringing are deplorable: Mitrofanushka is not only ignorant, but also malicious, cunning. In this scene, we see that he knows how to flatter his mother, skillfully playing on her feelings. The hero appears in this scene as the favorite of his entire family. For his father, he is a "funny" and "entertainer", the uncle characterizes Mitrofanushka as "mother's son." In fact, this is a loafer and a lazybones, a spoiled undergrowth, accustomed to idleness, who quickly learned the rules adopted in the family.
In what works of Russian writers are the morals of the nobles satirically displayed and what brings them closer to the play of D. I. Fonvizin?
Explanation.
Ignorance, parasitism and idleness reign in the Prostakova family. The Prostakovs-Skotinins think only about filling their own wallet and their own stomach, they are not able to manage or be useful. Fonvizin makes fun of such nobles, but his laughter sounds through tears, because the state is in danger from such unfortunate rulers.
The nobility is also satirically depicted in Griboyedov's comedy Woe from Wit. In the Famusov family, everything is planned in advance: it is necessary to marry a daughter to a rich man, no matter what his inner content is, if only the capitalist was larger. Famusov himself preaches servility, ignorance, is far from moral and moral guidelines. Condemning his daughter for her relationship with Molchalin, who did not come out due to his rank, he himself is not averse to whipping up the maid Lisa.
Spiritual emptiness also characterizes the metropolitan society, which gathered at the evening of Anna Pavlovna Sherer. In the novel "War and Peace" L.N. Tolstoy compares the society of the nobility with a well-functioning mechanism, which, however, works in vain. The nobles do not produce anything, do not create anything, they have lost their human nature from idleness.
Thus, Fonvizin, Griboyedov and Tolstoy are characterized by a common attitude towards the ruling class - such people cannot be the elite of society, in their hands Russia is in danger.
Explanation.
This form of communication is called dialogue. Let's give a definition.
Dialogue is a literary or theatrical form of oral or written exchange of statements (remarks) in a conversation between two or more people. Traditionally opposed to a monologue.
Answer: dialogue.
Answer: dialogue | polylogue
