The problem of the predominance of the material over the moral. The Problem of the Purpose of Poetry
However, the governor's house was so lit, even if only for a ball; a carriage with lanterns, two gendarmes in front of the entrance, postilions shouting in the distance - in a word, everything is as it should be. Entering the hall, Chichikov had to close his eyes for a minute, because the shine from the candles, lamps and ladies' dresses was terrible. Everything was flooded with light. Black tailcoats flashed and rushed separately and in heaps here and there, like flies rush on white shining refined sugar during the hot July summer, when the old housekeeper chops and divides it into sparkling fragments in front of the open window; the children are all looking, gathered around, curiously following the movements of her hard hands, raising the hammer, and aerial squadrons of flies, raised by the light air, fly in boldly, like complete masters, and, taking advantage of the old woman’s blindness and the sun disturbing her eyes, sprinkle tidbits where broken into, where in thick heaps Sated by the rich summer, already arranging tasty dishes at every step, they flew in not at all to eat, but just to show off, walk back and forth on the sugar heap, rub their back or front ones against each other legs, or scratch them under your wings, or, stretching out both front legs, rub them over your head, turn around and fly away again, and fly again with new annoying squadrons. Before Chichikov had time to look around, he was already grabbed by the arm by the governor, who immediately introduced him to the governor’s wife. The visiting guest did not let himself down here either: he said some kind of compliment, quite decent for a middle-aged man with a rank neither too high nor too low.
When the established pairs of dancers pressed everyone against the wall, he, with his hands behind him, looked at them very carefully for two minutes. Many of the ladies were well dressed and in fashion, others dressed in whatever God sent them to the provincial city. The men here, as everywhere else, were of two kinds: some thin, who kept hovering around the ladies; some of them were of such a type that it was difficult to distinguish them from those from St. Petersburg, they also had very deliberately and tastefully combed sideburns or simply beautiful, very smoothly shaven oval faces, they also sat casually next to the ladies, and they also spoke French and they made the ladies laugh just like in St. Petersburg. Another class of men were fat or the same as Chichikov, that is, not too fat, but not thin either. These, on the contrary, looked askance and backed away from the ladies and only looked around to see if the governor’s servant was setting up a green whist table somewhere. Their faces were full and round, some even had warts, some were pockmarked, they did not wear their hair on their heads in crests, curls, or in a “damn me” manner, as the French say - their hair They were either cut low or sleek, and their facial features were more rounded and strong. These were honorary officials in the city. Alas! fat people know how to manage their affairs in this world better than thin people.
The thin ones serve more on special assignments or are just registered and wander here and there; their existence is somehow too easy, airy and completely unreliable. Fat people never occupy indirect places, but all are straight, and if they sit somewhere, they will sit securely and firmly, so that the place will sooner crack and bend under them, and they will not fly off. They do not like external shine; the tailcoat on them is not as cleverly tailored as on the thin ones, but in the boxes there is the grace of God. At three years old, the thin one does not have a single soul left that is not pawned in a pawnshop; the fat man was calm, lo and behold, a house appeared somewhere at the end of the city, bought in his wife’s name, then at the other end another house, then a village near the city, then a village with all the land.
Finally, the fat man, having served God and the sovereign, having earned universal respect, leaves the service, moves over and becomes a landowner, a glorious Russian gentleman, a hospitable man, and lives and lives well.
(1) Entering the hall, Chichikov had to close his eyes for a minute, because the shine from the candles, lamps and ladies' dresses was terrible. (2) Everything was flooded with light... (3) Black tailcoats flashed and rushed separately and in heaps here and there, like flies scampering on white shining refined sugar during the hot July summer. (4) The men here, as everywhere else, were of two kinds: some thin, who all hung around the ladies; some of them were of such a kind that it was difficult to distinguish them from St. Petersburg, they also had very deliberately and tastefully combed sideburns or simply handsome, very clean-shaven oval faces, sat down just as casually next to the ladies, spoke French the same way and made the ladies laugh just as in St. Petersburg. (5) Another class of men were fat or the same as Chichikov, that is, not too fat, but not thin either. (6) These, on the contrary, looked askance and backed away from the ladies and looked around to see if the governor’s servant had placed a green whist table somewhere. (7) Their faces were full and round, ... they did not wear their hair on their heads either in crests, or curls, or in a “damn me” manner, as the French say - their hair was either cut low or slicked , and facial features are more rounded and strong. (8) These were respectable officials in the city. (9) Alas! fat people know how to manage their affairs better than thin ones. (Y) The thin ones serve more on special assignments or are just registered and wander here and there; their existence is somehow too easy, airy and unreliable. (N) Fat people never occupy indirect places, but all straight ones, and if they sit somewhere, they will sit firmly and securely, so that the place will sooner crack and bend under them, and they will not fly off.
(12) They don’t like external shine; Their tailcoat is not as cleverly tailored as the thin ones, but the grace of God is in their boxes. (13) At three years old, the thin one will not have a single soul left that is not pawned in a pawnshop; the fat man was calm, lo and behold, a house appeared somewhere at the end of the city, bought in his wife’s name, then at the other end another house, then a village near the city, then a village with all the land. (14) Finally, the fat man, having served God and the sovereign, having earned universal respect, leaves the service, moves over and becomes a landowner, a glorious Russian gentleman, a hospitable man, and lives and lives well. (15) And after him, again, the thin heirs, according to Russian custom, send all their father’s goods by courier. (16) It cannot be concealed that almost this kind of thinking occupied Chichikov at the time when he was considering society, and the consequence of this was that he finally joined the fat ones.
(N.V. Gogol)
Composition
The problem of the impoverishment of the soul for the sake of money-grubbing and embezzlement is, alas, a byword for our society. Also N.V. Gogol, depicting “thin and fat” officials at the governor’s ball, noticed that there were no decent people among either of them. And if the “thin” ones are all running around and fussing, then “the fat ones... never occupy indirect places, ... and if they sit somewhere, they will sit firmly and securely, so that the place will most likely crack and bend under them, and they will They won’t fly off.” Using their official position, the “fat” acquire carriages, houses and villages, without particularly caring about the aspirations of the people. That’s why Chichikov joined the “fat people” because the goal of his life was also to make a fortune at any cost. Everything that was best in his nature: intelligence, intelligence, enterprise, perseverance in achieving goals - died in a scam with dead souls. But we don’t feel sorry for Chichikov, but for our long-suffering
a people who have endured and still endure bureaucratic permissiveness and impunity.
The author's position is clear to everyone. And I am outraged by the injustice on the part of those in power, when some are allowed everything, while others only suffer from it. It’s not for nothing that a proverb appeared among the people: “The law is that whatever the drawbar is, where it turns, it ends up there.” We are trying to build a fair rule-of-law state, but so far it has not been very successful.
Our literature has been alarmingly sounding the alarm bell on this issue for almost a century. The Gogol baton was picked up by A.P. Chekhov, who not only lived at a turning point in our economy, but also, using the example of his own family (his grandfather was a peasant, and his father considered himself a merchant), could observe how “a penny saves the ruble,” but kills sympathy, goodwill, and decency. Everyone knows the fact that Antosha’s father severely beat him for his boots that were torn at the skating rink. In the pursuit of profit, tenderness, affection, love, and compassion are lost.
In the story by A.P. Chekhov's "Ionych" we see how Dmitry Ionovich Startsev from a zemstvo doctor, not devoid of romance and subtly feeling not only human pain, but also falsehood, turns into a plump, red, obese gentleman with a triple, “not a man, but a pagan god,” how the author sneers at his hero. And it all started with a seemingly harmless dream - to have your own crew. The vulnerable and shy Startsev becomes the unceremonious Ionych, and this metamorphosis happened to the hero due to the fact that the material began to dominate over the spiritual.
In the play by A.P. Chekhov's “The Cherry Orchard” represents the type of “new masters of life” by Ermolai Alekseevich Lopakhin. At the auction, he buys back the mortgaged estate of the Ranevskys, where his father was a serf, so that, having divided it into plots, he could sell the land for dachas and enrich himself. He experiences warm feelings for Ranevskaya, love for Varya, but, driven by the idea of money-grubbing, he refuses these feelings. Unhappy
not only the Ranevskys, Firs is unhappy, who was forgotten in a boarded-up house, Russia is unhappy, which was given into the hands of such entrepreneurs as Lopakhin. And to this day, such Lopakhins continue to “tear apart” the cherry orchards, not caring either about preserving historical memory, or about family values, or about the happiness of the disadvantaged and homeless.
It’s sad to see similar pictures in our time, but, alas, paradoxically, we are still ruled by officials, under whom “the place will soon crack and become oppressed.”<...>, and they won’t fly off.”
The Problem of the Purpose of Poetry
(1) The concepts of “bad” and “good” poetry belong to the most personal, subjective and, therefore, the most controversial categories. (2) It is no coincidence that the theorists of the 18th century introduced the concept of “taste” - a complex combination of knowledge, skill and intuition, innate talent.
(3) First of all, it is necessary to emphasize the historical limitations of these definitions: what seems “good” from one historical perspective may seem “bad” in another era from another point of view. (4) Young Turgenev, a man with a finely developed poetic feeling, admired Benediktov, Chernyshevsky considered Fet, one of L.N.’s favorite poets. Tolstoy is a model of nonsense, believing that in terms of the degree of absurdity only the geometry of Lobachevsky can be compared with him. (5) Cases when poetry seems “good” from one point of view, and “bad” from another point of view,
(6) What is the reason for this? (7) In order to understand this, it is necessary to keep in mind the following: we consider poetry as a kind of secondary language. (8) However, there is a significant difference between artistic languages and the primary, natural language: speaking Russian well means speaking it correctly, that is, speaking in accordance with certain rules. (9) Speaking Russian, we can learn an infinite amount of new information, but the Russian language is assumed to be already known to us so much that we stop noticing it. (Y) There should be no linguistic surprises in the normal act of speaking. (11) In poetry, the situation is different - its very structure is informative and should always be felt as non-automatic.
(12) Good poems, poems that carry poetic information, are poems in which all elements are expected and unexpected at the same time. (13) Violation of the first principle will make the text meaningless, the second - trivial. (14) Only texts that are highly informative for it can perform the function of “good poetry” in a particular cultural system. (15) And this implies a conflict with the reader’s expectations, tension, struggle, and ultimately the imposition on the reader of some more significant artistic system than the usual. (16) But, defeating the reader, the writer undertakes to move on. (17) The winning innovation turns into a template and loses its information content. (18) Innovation is not always about inventing something new. (19) Innovation is a significant attitude towards tradition, at the same time restoring the memory of it and discrepancy with it.
(20) The goal of poetry, of course, is not “techniques,” but knowledge of the world and communication between people, self-knowledge, self-construction of the human personality in the process of cognition... (21) A poetic text is powerful and deeply dialectical
a mechanism for searching for truth, interpreting the world around us and orienting ourselves in it. (22) Ultimately, the goal of poetry coincides with the goal of culture as a whole. (23) But poetry realizes this goal specifically, and understanding this specificity is impossible if you ignore its mechanism, its
internal structure.
(Yu. Lotman)
Composition
There are people who understand simple, informative texts better, without pretentiousness or a confusing plot. But people with a rich imagination and developed imagination are not content with primitive art; they need high poetry, in which they themselves will find a place for co-creation. The views on art of these two categories are absolutely opposite, but it is from subjective opinion that public opinion is formed.
This is exactly what the famous literary critic Y. Lotman talks about in this text. The author raises the problem of true poetry, which should not be too simple and too pretentious. Y. Lotman believes that ideal poetry is one that maintains a balance between the “expected” and the “unexpected”.
The author’s position is clear and close to me, I share the opinion of the famous literary critic. Indeed, in the pursuit of simplicity and clarity of verse, sometimes the magic, the magic of the poetic word is lost. And vice versa, if the poet is attracted by the form and not the content, it is difficult to call such poems “good” poetry.
Y. Lotman's text mentions the name A.A. Feta. Together with F.I. Tyutchev, A.N. Maykov, Ya.P. Polonsky, A.K. Tolstoy ranked him among the ideologically conservative movement, which was called “pure art” by Russian criticism in the 1950s. It was perceived negatively by revolutionary-minded society, and this
contributed to the opinion of N.A. Nekrasov and V.G. Belinsky. But the poets of this group were confident that poetry should be above temporary ideas, it should talk about eternal values - about love, about nature, about man, his soul, about God. And they turned out to be right. Revolutions, wars, social and natural disasters passed, and the poetry of F.I. Tyutcheva, A.A. Feta has not lost its relevance. Let’s take, for example, Tyutchev’s famous:
Not what you think, nature... Not a cast, not a soulless face - It has a soul, it has freedom, It has love, it has language...
By the way, Alexei Tolstoy, who was laughed at because he ignored the ideas of the Social Democrats, was part of a group of writers who called themselves Kozma Prutkov. And every reading citizen of Russia knows how the satirical pen of officials and embezzlers touched him!
At the beginning of the 20th century, the “Budet people” threw Pushkin and Dostoevsky “from the ship of modernity” and began to write poetry in a new way. In the pursuit of form, not only the magic of poetry was lost, but also all content in general. Everyone remembers the poems of the experimenter in the field of word creation and “brain” V. Khlebnikov:
Oh, laugh, you laughers! Oh, laugh, you laughers! That they laugh with laughter, That they laugh with laughter, Oh, laugh with laughter!
I don’t want to say that these are “bad” poems, but there is nothing for the soul in them. This is probably why very soon they became just a sign of a historical era, and Pushkin and Dostoevsky returned to the reader. D. Kharms, ironically, wrote the following dedication to V. Khlebnikov:
Velimir sits with his legs crossed. He's alive. All.
It seems to me that this is the most vivid assessment of futurist poetry. But V.V. Mayakovsky remains with us without exaggeration, because in his lyrics he managed to find a balance between an unusual form dictated by new times and truths as old as the world.
To be a real poet means to have, as M. Voloshin said, God's spark and a special talent to feel, experience, see the same way as all other people, but a little more than them. Then the poetry will be “good.”
The problem of the impoverishment of the human soul due to embezzlement and money-grubbing in Russia has been relevant at all times. N.V. Gogol at one time, portraying “thick and thin” officials at the governor’s ball, aptly noted that among the government employees there are no decent people.
Gogol wrote that the “thin” ones run and fuss, and “the fat ones... if they sit somewhere, they will sit firmly and securely.” According to the writer, the place under them will most likely bend, but they will stay on it.
Thanks to their official position, the “fat” people own carriages, good-quality houses and entire villages, practically not caring about the people’s aspirations.
Chichikov from “Dead Souls” therefore joined the “fat people” in order to make a fortune for himself. In pursuit of money through a scam, he used his best natural qualities - intelligence, enterprise and perseverance in the pursuit of achieving his goals, not for a good cause, and ended up with nothing. However, it is not Chichikov who evokes compassion, but the poor people who have to endure the permissiveness and impunity of those in power.
For almost a century, Russian literature has been alarmingly ringing the alarm bell on this issue. Following Gogol, the topic of impoverishment of souls was raised by A.P. Chekhov, who happened to live at a turning point for the economy. The writer, whose grandfather was a peasant, and whose father already considered himself a merchant, saw from the example of his family that “a penny saves the ruble,” while at the same time depriving its owner of mercy, decency and goodwill.
In the story “Ionych,” Chekhov showed how the cheerful, romantic doctor Dmitry Ionovich Startsev, not devoid of virtue, gradually turns into an obese moneybag - “not a man, but a pagan god,” as the author sarcastically says about him. But it all started with a dream of his own crew... As a result, the once shy Startsev becomes the unceremonious tradesman Ionych. This metamorphosis occurred with the hero due to the fact that thoughts about material wealth prevailed over spiritual ones.
Unfortunately, similar pictures can be observed in our time. In spite of everything, we are still controlled by figures, under which “the place will soon crack and bend... but they will not fly off.”
Updated: 2017-03-08
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Useful material on the topic
The main character of our language is the extreme ease with which everything is expressed in it - abstract thoughts, internal lyrical feelings, “the life of a mouse.”
running around", a cry of indignation, sparkling prank and amazing passion.
A.I. Herzen
Nikolai Vasilyevich Gogol is an amazing writer. Since childhood, I have literally been obsessed with his works. In my opinion, few stories by writers have such vividness and figurative language. For his simple language, always interesting composition, abundance of artistic means, I probably identified Nikolai Vasilyevich Gogol as my favorite writer.
I read many famous and wonderful works before studying this author in a literature course. But I was finally captivated by Gogol’s “Dead Souls.” This is simply a masterpiece!
When I first read this poem, I was simply delighted. How accurately the writer was able to reveal the main idea of the work. After all, everything there is subject to one general meaning.
And the disclosure of the topic about Russian officials begins right from the first pages of “Dead Souls”, when we, together with Pavel Ivanovich Chichikov, end up at the governor’s ball.
Before going on a visit to the governor, he washed himself thoroughly and dressed “in a lingonberry-colored tailcoat with a sparkle.” And in his own carriage he “rode” to the ball.
The entire governor's house was so illuminated that Pavel Ivanovich, entering the hall, "had to close his eyes for a minute, because the shine from the candles, lamps and ladies' dresses was terrible." This picture amazed Chichikov with its splendor and colorfulness. The governor, seeing the new guest, grabbed Chichikov by the arm and “introduced him immediately to the governor’s wife.” Then the dancing began. Standing on the sidelines, Pavel Ivanovich watched the circling couples. The ladies were dressed differently: some according to fashion, and some “in whatever God sent them to the provincial city.” And Chichikov still stood and looked at the guests. He divided men into two kinds: “one thin, who all hovered around the ladies...”; another kind of men were fat..." Chichikov was neither fat nor thin; he was of average build. But, having taken a closer look at the officials, he decided to join the fat ones. They are luckier, and they occupy tall places in the city, not to mention thin ones: they run , they are running around, but there is no sense in it. And Pavel Ivanovich Chichikov, having made such a decision to join the fat ones, began to inquire about some officials from the chairman and the postmaster.
He himself spoke little about himself, “if he spoke, then in some general places with noticeable modesty, and his conversation, in such cases, took somewhat bookish turns...” Pavel Ivanovich asked about Manilov and Sobakevich in more detail: about how long they have a soul, what wealth, position in society. Having learned such information about the landowners, Chichikov decided, without delaying the matter, to go to visit Manilov, and then Sobakevich.
Soon the ball ended.
Nikolai Vasilyevich Gogol described in this episode not only the “habits” of Chichikov, but also examined the problem of “thin” and “thick”. As it was in the minds of officials of that time, thin people were losers, while fat people, on the contrary, were the luckiest and quickly moved up the career ladder. And Chichikov, succumbing to public opinion, took the side of the “fat” people.
The main artistic device in the episode about the governor’s ball, Nikolai Vasilyevich used an antithesis: the opposition of “fat” and “thin”. But besides this, he, like a true master of words, wove very lively, figurative comparisons into the description of the entire ball, which only add brightness.
As the famous critic A.I. wrote. Herzen: “The main character of our language is its extreme lightness...” And this statement is true for Gogol’s work.
From the first pages of the poem “Dead Souls”, having arrived with Chichikov at the governor’s ball, we are revealed some of Chichikov’s character traits, which are revealed more visibly in the subsequent narrative. And we become witnesses to Pavel Ivanovich’s reasoning about different “kinds” of people - public opinion about the luck of each “kind”. And Chichikov’s association with the “fat people” will be traced throughout the entire poem. The hero, having taken a closer look at the Pomeiks, will do business only with the “fat” ones, believing that they are richer than the “thin” ones.
Such conclusions can be drawn after reading the first chapter of Dead Souls. And indeed, you understand that Nikolai Vasilyevich Gogol is a true master of words, who was able to vividly paint the image of Chichikov and public opinions about officials from the first pages.
Part 1
Read the fragment of text below and complete tasks B1-B7;C1-C2.
The visitor seemed to avoid talking much about himself; if he spoke, then in some general places, with noticeable modesty, and his conversation in such cases took somewhat bookish turns: that he was an insignificant worm of this world and was not worthy of being cared for much, that he had experienced a lot in his life, endured in the service of truth, he had many enemies who even attempted his life, and that now, wanting to calm down, he was finally looking to choose a place to live, and that, having arrived in this city, he considered it an indispensable duty to pay his respects to its first dignitaries. That's all that the city learned about this new face, who very soon did not fail to show himself at the governor's party. Preparations for this party took more than two hours, and here the visitor showed such attentiveness to the toilet, which is not even seen everywhere. After a short afternoon nap, he ordered to be washed and rubbed both cheeks with soap for an extremely long time, propping them up from the inside with his tongue; then, taking a towel from the inn servant’s shoulder, he wiped his plump face from all sides with it, starting from behind his ears and first snorting twice or twice into the inn servant’s very face. Then he put on his shirtfront in front of the mirror, plucked out two hairs that had come out of his nose, and immediately after that he found himself in a lingonberry-colored tailcoat with a sparkle. Thus dressed, he rode in his own carriage along the endlessly wide streets, illuminated by the meager lighting from the flickering windows here and there. However, the governor's house was so lit, even if only for a ball; a carriage with lanterns, two gendarmes in front of the entrance, postilions shouting in the distance - in a word, everything is as it should be. Entering the hall, Chichikov had to close his eyes for a minute, because the shine from the candles, lamps and ladies' dresses was terrible. Everything was flooded with light. Black tailcoats flashed and rushed separately and in heaps here and there, like flies scamper on white shining refined sugar during the hot July summer, when the old housekeeper chops and divides it into sparkling fragments in front of the open window; the children are all looking, gathered around, curiously following the movements of her hard hands, raising the hammer, and aerial squadrons of flies, raised by the light air, fly in boldly, like complete masters, and, taking advantage of the old woman’s blindness and the sun disturbing her eyes, sprinkle tidbits where scattered, where in thick heaps.
N.V. Gogol, “Dead Souls”
When completing tasks B1-B7, the answer must be given in the form of a word or combination of words.
B1. Name the genre of the work from which the given fragment is taken.
B2. Indicate the direction in literature to which Gogol’s work belongs, characterized by a reflection of the laws of life, the relationship between man and the environment, the hero and the time in which he lives.
Answer: ___________________________________________________
B3. What are the names of significant details that characterize the inner essence of the hero: “Then he put on his shirtfront in front of the mirror, plucked out two hairs that had come out of his nose, and immediately after that he found himself in a lingonberry-colored tailcoat with a sparkle”?
Answer: ___________________________________________________
Q4. Indicate the name of the artistic device used by Gogol: “Black tailcoats flashed and rushed separately and in heaps here and there, like flies rushing on white shining refined sugar during the hot July summer...”
Answer: ___________________________________________________
B5. Indicate the name of the trope used by Gogol in the same phrase: “Black tailcoats flashed and rushed separately and in heaps here and there, like flies scampering on white shining refined sugar during the hot July summer...”
Answer: ___________________________________________________
B6. What is the name of the figurative definition that serves as a means of artistic expression: “Thus dressed, he rode in his own carriage along the endlessly wide streets, illuminated by the meager lighting from flickering windows here and there”?
Answer: ___________________________________________________
Q7. What means of allegorical expressiveness was used by Gogol: “air squadrons of flies”?
Answer: ___________________________________________________
To complete tasks C1-C2, give a coherent answer to the question in 5-10 sentences.
C1. What comic techniques and for what purpose are used by Gogol in the given fragment?
C2. Which works of Russian classics depict the life and customs of a district town, and what makes these works similar to Gogol’s “Dead Souls”?
Part 2
Read the poem below and complete tasks B8-B12; C3-C4.
Troika
Why are you looking greedily at the road?
Away from your cheerful friends?
You know, my heart sounded alarmed -
Your whole face suddenly flushed.
And why are you running hastily?
Following the rushing troika?..
At you, beautifully akimbo,
A passing cornet looked up.
It's no wonder to look at you,
Anyone wouldn't mind loving you:
The scarlet ribbon curls playfully
In your hair black as night;
Light fluff breaks through,
From under your semicircular eyebrow
The sly little eye looks smartly.
One glance of a black-browed savage,
Full of spells that set the blood on fire,
The old man will be ruined for gifts,
Love will rush into the young man's heart.
You will live and celebrate to your heart's content,
Life will be full and easy...
But that’s not what befell you:
You'll marry a man for a slob.
Having tied an apron under the arms,
You will tighten your ugly breasts,
Your picky husband will beat you
And my mother-in-law will die to death.
From work both menial and difficult
You will fade before you have time to bloom,
You will fall into a deep sleep,
You will babysit, work and eat.
And in your face, full of movement,
Full of life - will suddenly appear
An expression of dull patience
And senseless, eternal fear.
And they will bury you in a damp grave,
How will you go through your difficult path,
Uselessly extinguished strength
And an unwarmed chest.
Don't look longingly at the road
And don’t rush after the troika,
And sad anxiety in my heart
Hurry up and shut it down forever!
You won't be able to catch up with the crazy three:
The horses are strong, and well-fed, and spirited, -
And the coachman was drunk, and to the other
A young cornet rushes like a whirlwind...
N. A. Nekrasov, 1846
When completing tasks B8-B12, the answer must be given in the form of a word or combination of words.
B8. What is the name of the question that does not require an answer, used by Nekrasov as a stylistic figure at the beginning of the first and second stanzas?
Answer: ___________________________________________________
Q9. Indicate the name of one of the means of psychological characterization of the hero, based on the image of his appearance:
Through the blush of your dark cheek
Light fluff breaks through,
