The finale of “The History of a City” by Saltykov-Shchedrin in modern research interpretations. What is the meaning of the title of the story "Fire"

Now let one of us
Among the young people, there will be an enemy of quest...
They immediately: robberies! fire!
And he will be known to them as a dreamer! dangerous!!
A. S. Griboyedov

Title in work of art is very important: it, the epigraph, the first and last phrase are semantically important, since they play a primary role in expressing the idea of ​​the work. From here special attention any author to the title of the work: from possible options he usually chooses a title with multiple meanings, because it forces the reader to look for deep meaning in the work. The title of Rasputin's story "Fire" can be interpreted in at least three ways.

Firstly, a fire is a disaster that is dangerous to human life and property. The only event that is described in the story is a fire in the warehouses of a store in the taiga village of Sosnovka. The fire continues throughout the night, and the author describes in detail how residents try to save food and goods from warehouses and what they ultimately succeeded in doing. It must be admitted that little success was achieved: a disorderly heap of salvaged goods was dumped in the middle of the warehouse yard; Two people died in the fire (Uncle Misha Hampo and Arkharov resident Sonya). True, the fire did not spread to residential buildings, and therefore Sosnovka survived.

The author describes Sosnovka - a village “uncomfortable and unkempt, and neither urban nor rural, but a bivouac type” (3): gloomy residents, waves of petrified dirt on the streets, bare front gardens in front of the houses. The fire was, as it were, programmed in a stupid, hastily built village, where no one thinks about the future, since this village and its inhabitants have no future: soon all the forest in the area will be cut down and it will be necessary to move to a new place.

Secondly, Rasputin expands the meaning of the title and uses the word “fire” in figuratively, like a “terrible ruin” in the soul of the main character - the driver of the timber industry enterprise, Ivan Petrovich Egorov. It is not for nothing that the writer uses unexpected metaphors - “burnt thought” (7), “burnt voice” (10) - and expressively conveys state of mind hero: “Everything was mixed up before my eyes - a fire from within and a real fire, both lights floated and floated at the same time” (15). Outwardly, Ivan Petrovich is a completely prosperous person: during the Great Patriotic War he was a tank driver and survived, raised three children, there is complete prosperity in the house, everything was earned by honest labor, he has rare love and understanding with his wife Alena. But personal well-being is not enough for Ivan Petrovich; he is truly worried about the unrest in the surrounding life - in the village, in the timber industry, in human souls. The writer compares his hero to a spring: the more you squeeze it, the more it tends to unwind. Ivan Petrovich is indignant and speaks at various meetings about the outrageous outrages in Sosnovka, and the rest of the residents prefer to stay on the sidelines and not spoil their lives and nerves. They probably don’t believe that anything can be changed around them, and Ivan Petrovich believes that people themselves should arrange their lives and not rely on high authorities: how long should they blame someone else for the mess, and not themselves?

The fire in the warehouses convinced the protagonist that he life position correct: you cannot resign yourself, despair and remain silent. This is evidenced by the conversation between Ivan Petrovich and his friend Afoni Bronnikov the morning after the fire: “It’s a hard thing to live in the world, but still... you still have to live” (18). So a fire - a great misfortune - strengthens the soul of the main character and in this sense turns out to be a blessing for him.

Finally, thirdly, Rasputin portrays a dangerous state modern society, which manifests itself in the indifference and lack of spirituality of citizens. The word “fire” can be used as an interjection with the meaning “guard!”, “dangerous!”, “be careful and attentive!” In his realistic story, the author creates paintings that acquire the meaning of symbols. The fire highlighted the disorder in the souls of Sosnovtsy and was a natural retribution for them. Shocked by what they saw at the fire (confusion, theft, the murder of the crippled uncle Hampo), the next morning people “left all their work, it was quiet in the garage and on the streets, and not a sound came from the lower warehouse. We waited” (18). Maybe now the residents of a small taiga village will understand that they need to restore order in their home (country), otherwise they will not survive: “They stood against someone else’s enemy and survived, their enemy, like their thief, is more terrible” (13).

So, Ivan Petrovich lived on the banks of a man-made reservoir for twenty years after the flooding native village Yegorovka. The fire outlined the results and questions of living in a new place: what happened to the hero himself and his fellow countrymen, how was life in the village of Sosnovki, collected from residents of six flooded villages, why did the timber industry enterprise cut down the entire forest around? It seems that the author hopes that the sad results are only intermediate, that the fire showed the residents of Sosnovka the dangerous state of affairs and they will find the strength to change the order in the village (!). No wonder the story ends with a description spring nature, which is just waking up and coming to life after winter sleep.

Rasputin chose an alarming title for his work: the fire became a “sign of trouble” and at the same time could become a sign of the end of general trouble if people heed this warning.

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In what historical period was the story “The Gentleman from San Francisco” written by I. A. Bunin?

during the first Russian revolution

At the height of the First World War

during the period of the socialist revolution

during the period of abolition of serfdom

What epigraph from the Bible, reinforcing the main mood of the narrative, was originally preceded by I. A. Bunin’s story “The Gentleman from San Francisco”?

"No one is a prophet in his own country"

"Bring great joy to the earth"

"He who doesn't work doesn't eat"

"Do not make yourself an idol"

+"Woe to you, Babylon, a strong city"

In the story “Mr. from San Francisco” it is said about the Americans: “ New man with an old heart." What meaning does I. A. Bunin put into this characteristic?

speaks about the hero’s progressive views

Asserts immutability human nature, that the advantages and disadvantages of a person do not depend on space and time

emphasizes the age of the gentleman from San Francisco (58 years old), who behaves like a young man

Why is the ship on which the gentleman from San Francisco travels called “Atlantis” (I. A. Bunin, story “The gentleman from San Francisco”)?

I. A. Bunin emphasizes the connection with Greek myth about Atlas - the mighty titan who held on his shoulders firmament, and thus asserts the power of a ship that overcomes “darkness, ocean, blizzard,” a ship as huge as the Devil

this is a common name for a ship of that time

I. A. Bunin evokes associations with the legendary island that sank to the bottom of the ocean, and predicts a catastrophic development of events in the modern world

In the story “The Gentleman from San Francisco,” I. A. Bunin describes in detail the plans of the hero, who was traveling to the Old World for fun. What part of the plan was the gentleman from San Francisco able to implement, where he and his family managed to visit?

Southern Italy

Nice

Rome

Paris

Venice

Florence

Where did the gentleman from San Francisco die? (I. A. Bunin, story “Mr. from San Francisco)

Japan

Naples

Egypt

Palestine

Capri

How should we perceive the death of the Gentleman from San Francisco (story by I.A. Bunin “The Gentleman from San Francisco”)?

Like retribution for spiritual emptiness, for substitution true values false

as a punishment for an unrighteous life (“He worked tirelessly. The Chinese whom he hired to work with him... knew well what this meant!”)

like an unfortunate, ridiculous accident

How amazingly bright artistic detail, the symbol of the heroine’s undying love ends with A. I. Kuprin’s story “Olesya”?

bouquet of wild flowers

letter to lover

String of red beads

Olesya's scarf

Find out the character of A. I. Kuprin’s work from the portrait description:

“...The original beauty of her face... could not be forgotten... The charm of it [the face] lay in those large, shiny, dark eyes, to which thin eyebrows, broken in the middle, gave a shade of slyness, power and naivety...”

Vera Nikolaevna

Shurochka Nikolaeva

Olesya

Did A.I. Kuprin return from emigration to his homeland?

Yes

back for a while

No

In which work by A. I. Kuprin does the action take place in the lap of nature, in remote places of Polesie?

+"Olesya"

"Duel"

« Garnet bracelet»

Which of the soldiers - the heroes of A. I. Kuprin's story "The Duel" - had a face "in a fist", on which an absurdly upturned dirty nose stuck out, with eyes in which "stupid, submissive horror froze"?

Khlebnikov

Bondarenko

Arkhipov

Which hero of A. I. Kuprin’s story “The Duel” expresses the author’s ideals?

Nazansky

Captain Plum

Romashov

Osadchiy

Shurochka Nikolaeva

Which heroine in one of his stories does A. I. Kuprin show against the backdrop of clear, sunny, warm days, in silence and solitude?

Olesya, "Olesya"

Vera Nikolaevna Sheina, “Garnet Bracelet”

Shurochka Nikolaev, “Duel”

What is the main idea of ​​I. A. Kuprin’s story “The Garnet Bracelet”?

Love is stronger than death

representatives of the nobility are incapable of sublime feelings

image of a "little man"

What is the meaning of the title of A. M. Gorky’s play “At the Depths”?

A. M. Gorky emphasizes that his heroes are at the “bottom” of life

The playwright reveals not only the “bottom” of life, but also the “bottom” of the soul of his characters

Which of the heroes of A. M. Gorky’s play “At the Bottom” often uses the aphoristic expression in conversations: “Man - that sounds proud!”

Baron

Ash

Mite

Kostylev

Satin

Luke

To which of the heroes of A. M. Gorky’s play “At the Depths” does the following statement belong? : “There is no work... no strength... I need to breathe out...”?

Kostylev

Ash

Mite

Baron

Satin

Luke

Vasilisa and Luka (the heroes of A. M. Gorky’s play “At the Lower Depths”) outwardly talk about the same thing: “Dirt is everywhere!” - “... there is no order in life... and there is no purity...” Can the characters understand each other?

yes, because they mean that the shelter is still not cleaned

some characters understand each other, and some don't

No, because Vasilisa is talking about trash in the shelter, and Luka is talking about base feelings in a person’s soul

What role does the song played by the night shelters sing in A.M. Gorky’s play “At the Lower Depths”:

The sun rises and sets

And it’s dark in my prison.

Hourly days and nights

They're guarding my window...

A. M. Gorky draws a parallel between life in prison and in freedom, in a shelter from which a living person cannot escape

this song was popular - it doesn’t have any special meaning

prison song hints at the characters' prison past

Nastya is trying to explain her hopeless present not by the will of fate, not by the social structure of society, but by her own noble deed

Nastya wants to forget reality for a while

Nastya is trying to recreate the past so that she too has something to remember

Who is Bubnov talking about:

“She’s used to touching up her face... so she wants to touch up her soul... it puts a blush on her soul...”(A. M. Gorky, “At the Bottom”)

about Anna

about Vasilisa

about Kvashnya

About Nastya

about Natasha

The play does not answer this question.

better - compassion

better - true

The captain of the Atlantis is called a "pagan idol" in the story. What meaning does I. A. Bunin put into this characteristic (I. A. Bunin, story “The Gentleman from San Francisco)?

Shows that for the passengers of Atlantis, the captain seemed like a god, protecting them from the “horrors” outside the ship, and thus contrasts the choice that people make between true (god) and false (idol) values

emphasizes the soullessness and lack of spirituality of the captain himself

One of the most complex grotesque images in this regard by Shchedrin is the “something” that appears at the end of “The History of a City” and is called “it” by the chronicler. Here we have another variety grotesque image, worthy of special, detailed consideration. What did the satirist mean by this “it”? What is the meaning of the ending?

The answers to these questions given by different literary scholars are not just different, but directly opposite. Some researchers believe that in the image of the formidable “it” Shchedrin portrays a revolution that destroys the anti-people Foolov regime. Others believe that this refers to the onset of the most severe reaction, plunging Glunov into pitch darkness. In order to correctly understand the meaning final scene, it is necessary to consider it, firstly, in accordance with the concept of the entire book and, secondly, in the context of its final pages.

It has already been said above what Shchedrin’s attitude towards the people was. The writer believed in the people as a force capable of actively influencing the course of historical development, to the people as “the embodiment of the idea of ​​democracy.” At the same time, he was well aware that the real people, the “historical people,” are still very far from this ideal, that they represent an ocean of “jubilant unconsciousness,” that they are passive, dark, downtrodden and are currently incapable of successful action. .

If final scene The book symbolized a victorious revolution, then Shchedrin, undoubtedly, would have referred to the dog to refute the opinion of the reviewer, who argued that the writer forces the Foolovites to endure the oppression placed on them too passively. In fact, Shchedrin proves something exactly the opposite; namely, that " overall result“, in his opinion, consists precisely in the passivity of the masses. And he refers the reader to those pages of the novel where it is explained why the Foolovites are depicted in the book this way and not otherwise. Turning to pages 155-158 of “The History of One City” of the 1870 edition, to which Shchedrin refers, we find that the writer had in mind the beginning of the chapter “Worship of Mammon and Repentance,” which represents the author’s reasoning on the issue that interests us.

In this argument, the satirist says quite clearly “that the Foolovites unquestioningly submit to the whims of history and do not present any data by which one could judge the degree of their maturity, in the sense of self-government; that, on the contrary, they are rushing about. In the ninth volume Full meeting Shchedrin’s works, published in 1934, included a letter from the satirist to the editors of the magazine “West Peak of Europe” as an appendix to “The History of a City”. Moreover, to the part of the letter quoted above, a note containing an error was made. The note says that pages 155-158 indicated by Shchedrin in the ninth volume correspond to pages 424-426 (that is, three last pages chapter “Confirmation of repentance. Conclusion"). But in fact, the reasoning to which the writer refers is this volume found on pages 375-378.

This error was then repeated in all editions of “The History of a City,” the text of which was printed from the ninth volume of this Collected Works and was corrected only in separate publication 1969, published by the publishing house " Fiction» Collection op. M.E. Saltykova - Shchedrin in 20 volumes. For three and a half decades, not only numerous readers, but also some respected researchers, supporters of a revolutionary interpretation of the ending, have been victims of this unfortunate mistake for three and a half decades. In a number of reprints of “The History of a City” in recent years, this error is still repeated.

Concluding his reasoning, the writer asks: “...would it be better or even more pleasant” for readers if the chronicler made the Foolovites not tremble, but, on the contrary, successfully protest? “Hand on heart, I affirm,” Shchedrin declares, “that such a perversion of Foolov’s customs would be not only not useful, but even positively unpleasant. And the reason for this is very simple: the chronicler’s story in this form would be inconsistent with the truth.” From Shchedrin's words it follows that the final scene could not be a depiction of a victorious revolution: in this case, the ending of the book would be inconsistent with the truth.

Now let's turn to the pages preceding the finale and see in what context the writer gives the final scene.

So, the writer does not depict the details of the case itself. However, what kind of “business” this is is easy to guess. Of course, this is an attempt to act against the mayor himself. In interpretation at this moment Absolutely all Shchedrin researchers agree on the books. There is no disagreement on this “point”. Disagreements begin further, when answering the question: how did this “case” end?

When publishing the final chapter of the book in the magazine, the writer gave a note in which this idea is expressed quite clearly. Interception - Zalikhvatsky, according to Shchedrin himself, appeared “at a time when Foolov’s story was already over, and the chronicler does not even describe his actions, but only makes it clear that something more happened than the ordinary that was committed by the Warts, Negodyaevs, etc. ." .

From these words it follows that the ominous it that swooped down on the Foolov at the end of the book personifies something extraordinary, going beyond what was depicted before. As a result of the appearance of this “it,” Foolov’s story stopped flowing.

Comments on essays

C17.1. Why does the finale of the sixth chapter of A. S. Pushkin’s novel “Eugene Onegin” sound like the theme of the author’s farewell to youth, poetry and romanticism?

The romantic and poet Lensky seems to be the spiritual and social antipode of Onegin, completely divorced from everyday life, from Russian life. With Lensky, the novel includes themes of youth, friendship, youthful courage and nobility.

Having introduced the hero in the second chapter of the novel, Pushkin gives him an eloquent description. Lensky, “a handsome man in full bloom, an admirer of Kant and a poet,” returned to his village from “Foggy Germany.” The themes and images of his work are reminiscent of commonplaces of romantic elegies; in his poems, Lensky glorifies “the faded color of life at almost eighteen years old.” Such sentiments are a tribute romantic tradition. And, like a romantic, Lensky thinks in romantic categories. And of course how romantic hero, he dies in a duel.

The death of a romantic hero is symbolic - a young life is ruined, with her departure poetry and romance end. That is why the finale of the sixth chapter contains the theme of farewell to romanticism, poetry, and youth.

C17.2. What does the fate of the gentleman from San Francisco symbolize and which other writers of the 20th century addressed the theme of “the well-fed”?

The gentleman from San Francisco is a man who long ago chose for himself a model that, in his opinion, was worth emulating. For many years « hard work"allowed him to achieve what he wanted. He's rich. He knows that people in his circle often go on vacation to the Old World - and he goes there too. The hero surrounds himself with bright scenery and protects himself from everything that he does not want to see. However, the truth is that life - real, sincere - remains just behind these decorations of his artificial world, saturated through and through with falsehood. Ironically, the hero returns to his native place on the same Atlantis. However, his death does not change anything in the whole world - people continue to feign happiness and indulge their momentary impulses. The gentleman from San Francisco will never again be able to see and appreciate the beauty of the sea, mountains, and endless plains. And the whole drama lies in the fact that he could not have done this during his lifetime - the passion for wealth atrophied his sense of beauty.

Just like I.A. Bunin, M. Bulgakov and A. Kuprin addressed the topic of “well-fed”. In the story “Garnet Bracelet” A. Kuprin draws a line between the world of the rich and the real world. “Well-fed” people include Vera, her husband, and, in general, everyone around them. Simple employee Zheltkov (G.S.Zh., representative real world) is alien to them. Vasily Lvovich turns the love of G.S.Zh. to Vera in funny story"Princess Vera and the telegraph operator in love." And those around Vera also find this story funny. Spiritual values ​​fade into the background; material values ​​are above all else in this society.

A similar situation was depicted by M. Bulgakov in the novel “The Master and Margarita”. For most of his characters material assets: money, an apartment - were the most important in life, the author shows this through the image of the bribe-taker Bosogo, the director of the variety show Stepan Likhodeev, even Margarita herself before her meeting with the Master.

All the “well-fed” in the works are punished. The bourgeois from “The Mister from San Francisco” dies without having time to taste the joy of travel, of the luxury that he had been striving for for so long. Vera is punished - she understands that her life is empty true love walked past her. In M. Bulgakov's novel, Woland puts everything in its place: everyone gets what they deserve.

C17.3. Why did Sophia choose the inconspicuous Molchalin over the brilliant Chatsky?

Comedy “Woe from Wit” by A.S. Griboyedov is one of the most bright works in the author's work. The play is based on love conflict, connected with the Sofya-Molchalin-Chatsky storyline. Chatsky returns to his beloved Sophia, whom he has not seen for 3 years. However, during his absence the girl changed. She is offended by Chatsky because he abandoned her, left and “didn’t write three words", and is in love with Father Molchalin's secretary.

So why did Sophia choose the inconspicuous Molchalin over the brilliant Chatsky? There are a number of objective and subjective reasons for this. The first include Chatsky’s long absence, while Molchalin was constantly nearby. In one of the remarks, the heroine expressed her opinion on this matter: “He thought highly of himself... The desire to wander attacked him, ah! If someone loves someone, why travel so far?” TO objective reasons It also applies that in such a society it was easier to love Molchalin than Chatsky. Compliance, modesty, silence, and the ability to serve could help to survive in such an environment. And intelligence, freethinking, any word spoken against the foundations inevitably doomed Chatsky to failure in Famus society.

One of the subjective reasons is Sophia’s passion for novels. “French books make her sleepless” (Famusov). The Servant Lover is an “ideal novel”, as if from French books. Sophia chose the inconspicuous Molchalin over the brilliant Chatsky and was mistaken, because her lover turned out to be a scoundrel.

The ending of the play is dramatic: having learned the truth, the characters understand their mistakes, but very late.

C17.4. Why in the works of V. Shukshin the dispute between city and village was always resolved in favor of the village?

The relationship between city and village in Shukshin's stories has always been complex and contradictory. In Shukshin’s stories, the village man often responds to the city’s “boast” of civilization with rudeness and defends himself with harshness. This is Gleb Kapustin from the story “Cut.”

The relationship between the city and the village can be traced in the story “I choose a village to live in.” In the life of the hero Nikolai Kuzovnikov, a city resident, everything was calm and prosperous, but in his old age he developed a strange whim. On Saturdays, when he could have spent the day with his wife, Kuzovnikov went to the station in the evening. There he found a “smoking room” - a meeting place for village men who came to the city on their own business. And among them the hero began strange conversations. Allegedly, he chooses a village to live in - he wants to return to his roots and consults with the peasants about where it is better to go. A discussion began about everyday issues of “living and being” in the village: how much a house costs, what the nature is like, how things are with work, and so on. Gradually, the conversations flowed into a different direction - a discussion began between people, urban and rural. And it always turned out that the city people lost: they were more dishonest, evil, ill-mannered, boorish. And we understand that the real reason Nikolai Grigorievich’s every Saturday hikes lay precisely in the fact that he simply needed to pour out his soul, to feel a different communication, warmer and more sincere, coming from the village peasants. The author tells us that Kuzovnikov himself behaved evilly and boorishly at work. But his soul demanded something else: warmth, participation, kindness, good-naturedness. Something that is so lacking in the city, where in the pursuit of a beautiful life people forget about their soul.

All of Shukshin’s work is based on depicting the facets of not only human character, but also the contrast of village and city life. Based on the title this story, we understand that the writer is on the village side. “Choosing a village to live in” is not only a process, but also a result. Between city and village, between urban and rural worldviews, philosophy, man, the author and his hero choose the village as a stronghold of life, the basis, the roots of human existence in general.

Example 1.

“Eugene Onegin”... This “collection of motley chapters” has retained to this day the unique artistic appeal that the brilliant poet endowed it with. The novel was rightly called “an encyclopedia of Russian life,” because in it the author captured not only the life, but also the mores of the noble society of the early nineteenth century. The characters of the people who lived at that time did not go unnoticed. And in order to fully understand the motives of the characters’ behavior, the meaning of their actions, we need to plunge into the atmosphere of that era at least for a while. The novel “Eugene Onegin” presents such a unique opportunity.

Onegin was “born on the banks of the Neva”, he was raised by a French tutor. Then Evgeny began to lead a social life: going to balls, to theaters... But soon he got bored with such a pastime, and he went to the village. At first Onegin admired the local nature, but the paintings rural life later he got tired of it. Imagine a bored young man who has become familiar with everything in the world, and he no longer wants anything in life. This was Evgeny Onegin.

At this time, eighteen-year-old Lensky, an aspiring romantic poet, returned from abroad. This is a dreamy, cheerful person, full of hopes and aspirations, expecting a lot from life. Onegin and Lensky became friends. “They got along; wave and stone, poetry and prose, ice and stone are not so different from each other,” the author writes about them. It is obvious that their friendship was based on the complementarity of their characters.

But what led to Onegin killing his best friend? The fact is that Lensky invited Evgeny to go to Tatyana’s name day. Onegin did not want to go because he knew what such celebrations were like. But Lensky nevertheless persuaded him to be present at the Larins’ house. Naturally, there was nothing new for Evgeny at the ball, and he decided to take revenge on Lensky: he began to invite Olga, the young poet’s chosen one, to every dance. This behavior of his friend could not help but anger Lensky, and he demanded that Onegin appear for a duel. It so happened that Lensky died. This means that youth, dreaminess, and love of life, which Lensky personified, perished. That is why A.S. Pushkin at the beginning of the sixth chapter says goodbye to youth, poetry and romanticism. A man has died, and you can’t bring him back, just as it’s impossible to return something to which the great poet said goodbye forever.

Task No. 725

To complete the assignment, choose only ONE of the four proposed essay topics (17.1-17.4). Write an essay on this topic in a volume of at least 200 words (if the volume is less than 150 words, the essay is scored 0 points).

Reveal the topic of the essay fully and multifacetedly.

Justify your theses by analyzing the elements of the text of the work (in an essay on lyrics, you need to analyze at least three poems).

Identify the role artistic means, important for revealing the topic of the essay.

Think over the composition of your essay.

Avoid factual, logical, and speech errors.

Write your essay clearly and legibly, observing the norms of writing.

C17.1. Why was Sonya Marmeladova able to lead Raskolnikov to confess to the crime?

C17.2. In what works of Russian literature do natural phenomena appear as signs of future events?

C17.3. In which works of Russian literature are reflected the fate of ordinary soldiers and how can the heroes of A. T. Tvardovsky be compared with them?

Comments on essays

C17.1. Why was Sonya Marmeladova able to lead Raskolnikov to confess to the crime?

F. M. Dostoevsky in the novel “Crime and Punishment” with enormous artistic power showed that the main and, perhaps, the only place in the struggle of God with the devil is the human soul. Dostoevsky wrote a novel about the suffering of a soul that “split”, lost the integrity given to it by God, and about how this soul was healed by uniting with Sophia - Divine wisdom.

Raskolnikov's mistake was that, having created his theory and testing it, he did not understand the main thing: it is not power and not intelligence that makes a person a Man, but love, feeling, compassion. And if you want to change the world, then you must sacrifice yourself, and not others. Sonya understands this well. She already had to sacrifice herself for the sake of Katerina Ivanovna’s children. That is why it was Sonya who saved Raskolnikov from a monstrous delusion. Sonya fell in love with Rodion for who he is, but for Raskolnikov, to love meant precisely to believe, to believe that the only opportunity for a person to be a Human is to love. “Love resurrected them, the heart of one concluded endless sources life for the heart of another."

The image of Sonya, who healed the hero’s soul from a “pestilence” with her love, is a great merit of the writer. It contains the hope of the author and every reader that God does not leave anyone without love, especially those who, due to their “splitness,” are in dire need of it.

C17.2. In what works of Russian literature do natural phenomena appear as signs of future events?

Russian writers often resorted to symbolism natural phenomena as a sign of future events in the work. This tradition originates in folklore and is preserved in ancient Russian literature, continues in the classics.

In the poem “The Twelve” by A.A. Blok's blizzard is an uncontrollable element that personifies the revolution: “Wind, wind! There is wind all over the world...”

In M. Bulgakov’s novel “ White Guard“, the image of “red, trembling Mars” is also symbolic. It acts as a sign of war and the bloodshed, death and suffering associated with it.

Natural phenomena in these works are of great importance semantic meaning, the authors turn them into symbols of the future.

C17.3. In which works of Russian literature are reflected the fate of ordinary soldiers and how can the heroes of A.T. be compared with them? Tvardovsky?

Fates ordinary soldiers reflected in the works of M. Sholokhov and L.N. Tolstoy, A.T. Tvardovsky.

In the epic novel “War and Peace” L.N. Tolstoy, through the image of Captain Tushin, shows the courage and patriotism of Russian soldiers. Captain Tushin shows real heroism in battle: he feels “ enormous growth, a powerful man who throws cannonballs at the French with both hands,” thanks to which the soldiers from his battery survived.

In M. Sholokhov's story “The Fate of Man,” Andrei Sokolov showed true patriotism and courage in conditions German captivity. In a duel with the commandant of the concentration camp, the Russian soldier, despite the inhuman trials that befell him, is ready to face death with such courage that it causes admiration even among his enemies.

In Tvardovsky’s poem “Vasily Terkin”, in the image of the main character of the poem, best qualities a Russian soldier-defender, ready to sacrifice his life for the sake of his land, his country, without thinking for a minute about the correctness of this action.

Terkin, Sokolov, Tushin - ordinary people, but each of them, according to the authors, - significant figure in history.

C17.4. How is the theme of the artist and the era revealed in poetry of the 20th century? (Using the example of 2-3 works by one of the poets.)

Our contemporary E. Yevtushenko said: “A poet in Russia is more than a poet,” - these lines perfectly define the essence of poetic creativity. For a real poet, life and creative credo are synonymous. The motif of the unity of life and creativity is one of the leading ones in Pasternak’s lyrics. The theme is also relevant for the work of Akhmatova, for whom writing was as natural as breathing. In the cycle “Secrets of Craft,” the poetess tried to reveal her understanding of creativity, which continues the tradition of perceiving the process of writing poems as the implementation of an intermediary connection between the Creator and the world of people (the poem “Creativity”). It is impossible to explain this sacrament; in it, “everything must be inappropriate.” Both the naturalness and simplicity with which poetry is sometimes born makes it similar to a living creature capable of “growing”:

If only you knew what kind of rubbish

Poems grow without shame,

How yellow dandelion at the fence.

Like burdocks and quinoa.

Continuing the traditional theme for Russian poetry about the purpose of the poet, about the purpose of his work, A. A. Akhmatova develops it in a new key, introducing new motives into it. First of all, the poetess manages to reveal the uniqueness of the feminine inner world. The tragedy of the poetess’s fate, according to A. A. Akhmatova, lies in the fact that women’s happiness cannot be combined with complete dedication to creativity. The tragic rivalry between Love and the Muse was reflected in many works, starting with the early, 1911, poem “Muse,” where the sister Muse takes away “ golden ring" - a symbol of earthly joys - and dooms the lyrical heroine to “love torture.” However, Akhmatova foresees that poetic glory cannot replace love and earthly happiness.

Example 1.

F. M. Dostoevsky’s novel “Crime and Punishment” presents the reader with many different characters who not only push Rodion Raskolnikov to commit a crime, but also directly or indirectly contribute to the protagonist’s recognition of his crime, Raskolnikov’s awareness of the inconsistency of his theory, which is the main reason for his crime . I think that the person who pushed the main character to recognition, helped him to rise spiritually, is Sonya Marmeladova. After all, the main idea of ​​the novel is that only compassion and faith can open a person’s path to spiritual rebirth.

Fate treated Sonya and her loved ones cruelly and unfairly. Firstly, apparently, Sonya lost her mother, and then her father; secondly, poverty forced her to go out into the streets to earn money. But the cruelty of fate did not break Sonya’s moral spirit. In conditions that seem to exclude goodness and humanity, the heroine finds a way out worthy of a real person. Her path is self-sacrifice and religion. Sonya is able to understand and alleviate the suffering of any person, guide him on the path of truth, forgive everything, and absorb the suffering of others. It is not surprising that it is Sofya Semyonovna who is destined to share the depth of Raskolnikov’s mental torment. Rodion decided to tell her, and not Porfiry Petrovich, his secret, because he felt that only Sonya could judge him according to his conscience, and her judgment would be different from Porfiry’s. He longed for love, compassion, human sensitivity. Raskolnikov's hopes for sympathy and understanding from Sonya were justified. This extraordinary girl, whom he called a “holy fool”, having learned about Rodion’s terrible crime, kisses and hugs him, saying that “there is no one more unhappy in the whole world now” than Raskolnikov.

With the power of her love, the ability to selflessly endure any torment for the sake of others, the girl helps the main character overcome himself and resurrect. After Raskolnikov’s confession, she goes after him to hard labor and helps him to be reborn.

Sonechka's fate convinced Raskolnikov that his theory was wrong. He saw before him not a “trembling creature”, not a humble victim of circumstances, but a man whose self-sacrifice is far from humility and is aimed at saving the perishing, at effectively caring for his neighbors.

Sonya's truth lies in her faith in man, in the indestructibility of good, in the fact that compassion, forgiveness and universal love will save the world.

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Task No. 743

To complete the assignment, choose only ONE of the four proposed essay topics (17.1-17.4). Write an essay on this topic in a volume of at least 200 words (if the volume is less than 150 words, the essay is scored 0 points).

Reveal the topic of the essay fully and multifacetedly.

Justify your theses by analyzing the elements of the text of the work (in an essay on lyrics, you need to analyze at least three poems).

Identify the role of artistic means that is important for revealing the topic of the essay.

Think over the composition of your essay.

Avoid factual, logical, and speech errors.

Write your essay clearly and legibly, observing the norms of writing.

C17.1. Why exactly does the story “Fatalist” complete M. Yu. Lermontov’s novel “A Hero of Our Time”?

C17.2. How is the theme “Man and War” revealed in the work (the work is chosen by the student)?

C17.3. How do you understand the words of A.P. Chekhov: “What a pleasure it is to respect people”? (Based on 1-2 stories by A.P. Chekhov.)

C17.4. The problem of the relationship between man and nature in modern Russian literature. (Using the example of one of the works.)

Can one small piece to revolutionize literature? Yes, Russian literature knows such a precedent. This is a story by N.V. Gogol's "The Overcoat". The work was very popular among contemporaries, caused a lot of controversy, and the Gogolian direction developed among Russian writers until the mid-20th century. What is this great book? About this in our article.

The book is part of a series of works written in the 1830s-1840s. and united common name- “Petersburg Tales”. The story of Gogol's "The Overcoat" goes back to an anecdote about a poor official who had a great passion for hunting. Despite the small salary, the ardent fan set himself a goal: at all costs to buy a Lepage gun, one of the best at that time. The official denied himself everything in order to save money, and finally, he bought the coveted trophy and went to the Gulf of Finland to shoot birds.

The hunter set sail in the boat, was about to take aim, but did not find a gun. It probably fell out of the boat, but how remains a mystery. The hero of the story himself admitted that he was in a kind of oblivion when he anticipated the treasured prey. Returning home, he fell ill with a fever. Fortunately, everything ended well. The sick official was saved by his colleagues who bought him a new gun of the same type. This story inspired the author to create the story “The Overcoat”.

Genre and direction

N.V. Gogol is one of the most prominent representatives critical realism in Russian literature. With his prose the writer sets special direction, sarcastically called “Natural School” by the critic F. Bulgarin. This literary vector is characterized by an appeal to acute social topics concerning poverty, morality, class relations. Here the image of the “little man”, which became traditional for writers of the 19th century, is actively being developed.

A narrower direction characteristic of “Petersburg Tales” is fantastic realism. This technique allows the author to influence the reader in the most effective and original way. It is expressed in a mixture of fiction and reality: the real in the story “The Overcoat” is social issues Tsarist Russia(poverty, crime, inequality), and the fantastic is the ghost of Akaki Akakievich, who robs passers-by. Dostoevsky, Bulgakov and many other followers of this trend turned to the mystical principle.

The genre of the story allows Gogol to succinctly, but quite clearly highlight several storylines, identify many current social themes and even include the motif of the supernatural in his work.

Composition

The composition of “The Overcoat” is linear; an introduction and an epilogue can be designated.

1. The story begins with a kind of writer's discussion about the city, which is an integral part of all “Petersburg Tales”. Then follows the biography of the main character, which is typical for the authors “ natural school" It was believed that these data help to better reveal the image and explain the motivation for certain actions.
2. Exposition - a description of the situation and position of the hero.
3. The plot takes place at the moment when Akakiy Akakievich decides to acquire a new overcoat, this intention continues to move the plot until climax- happy acquisition.
4. The second part is devoted to the search for the overcoat and the exposure of senior officials.
5. The epilogue, where the ghost appears, brings this part full circle: first the thieves go after Bashmachkin, then the policeman goes after the ghost. Or maybe behind a thief?

About what?

One poor official Akaki Akakievich Bashmachkin, in view of severe frosts finally dares to buy himself new overcoat. The hero denies himself everything, skimps on food, tries to walk more carefully on the pavement so as not to change his soles again. TO at the right time he manages to accumulate the required amount, and soon the desired overcoat is ready.

But the joy of possession does not last long: that same evening, when Bashmachkin was returning home after a festive dinner, robbers took the object of his happiness from the poor official. The hero is trying to fight for his overcoat, he goes through several levels: from a private person to a significant person, but no one cares about his loss, no one is going to look for the robbers. After a visit to the general, who turned out to be a rude and arrogant man, Akaki Akakievich came down with a fever and soon died.

But the story "takes on a fantastic ending." The spirit of Akaki Akakievich wanders around St. Petersburg, who wants to take revenge on his offenders, but, mainly, he is looking for significant person. One evening, the ghost catches the arrogant general and takes away his overcoat, which is where he calms down.

The main characters and their characteristics

• The main character of the story is Akaki Akakievich Bashmachkin. From the moment of birth it was clear that a difficult, unhappy life awaited him. This was predicted by the midwife, and the baby himself, when born, “cried and made such a grimace, as if he had a presentiment that there would be a titular councilor.” This is the so-called little man“, but his character is contradictory and goes through certain stages of development.
• Overcoat image works to reveal the potential of this seemingly modest character. Dear to my heart the new thing makes the hero obsessed, as if an idol controls him. The little official shows such persistence and activity that he never showed during his life, and after death he completely decides to take revenge and keeps St. Petersburg at bay.
• The role of the overcoat in Gogol's story it is difficult to overestimate. Her image develops in parallel with the main character: the holey overcoat is a modest person, the new one is the proactive and happy Bashmachkin, the general’s is an omnipotent spirit, terrifying.
• Image of St. Petersburg in the story it is presented completely differently. This is not a magnificent capital with elegant carriages and blooming ceremonies, but cruel city, with its fierce winter, unhealthy climate, dirty staircases and dark alleys.

Topics

• The life of a little man main topic the story “The Overcoat”, so it is presented quite vividly. Bashmachkin does not have a strong character or special talents; higher-ranking officials allow themselves to manipulate him, ignore him, or scold him. And the poor hero only wants to regain what belongs to him by right, but to significant persons and big world no time for the little guy's problems.
• The contrast between the real and the fantastic allows us to show the versatility of Bashmachkin’s image. In the harsh reality, he will never reach the selfish and cruel hearts of those in power, but by becoming a powerful spirit, he can at least take revenge for his offense.
• The running theme of the story is immorality. People are valued not for their skill, but for their rank, a significant person is by no means an exemplary family man, he is cold towards his children and seeks entertainment on the side. He allows himself to be an arrogant tyrant, forcing those of lower rank to grovel.
• The satirical nature of the story and the absurdity of the situations allow Gogol to most expressively point out social vices. For example, no one is going to look for the missing overcoat, but there is a decree to catch the ghost. This is how the author exposes the inactivity of the St. Petersburg police.

Issues

The problems of the story “The Overcoat” are very broad. Here Gogol raises questions concerning both society and the inner world of man.

• The main problem of the story is humanism, or rather, the lack of it. All the heroes of the story are cowardly and selfish, they are incapable of empathy. Even Akaki Akakievich does not have any spiritual goal in life, does not strive to read or be interested in art. He is driven only by the material component of existence. Bashmachkin does not recognize himself as a victim in the Christian sense. He has fully adapted to his miserable existence, the character does not know forgiveness and is only capable of revenge. The hero cannot even find peace after death until he fulfills his base plan.
• Indifference. Colleagues are indifferent to Bashmachkin’s grief, and a significant person is trying by all means known to him to drown out any manifestations of humanity in himself.
• The problem of poverty is touched upon by Gogol. A person who performs his duties roughly and diligently does not have the opportunity to update his wardrobe as needed, while careless flatterers and dandies are successfully promoted, have luxurious dinners and arrange evenings.
• The problem of social inequality is highlighted in the story. The general treats the titular councilor like a flea that he can crush. Bashmachkin becomes shy in front of him, loses the ability to speak, and a significant person, not wanting to lose his appearance in the eyes of his colleagues, humiliates the poor petitioner in every possible way. Thus, he shows his power and superiority.

What is the meaning of the story?

The idea of ​​Gogol's "Overcoat" is to point out the acute social problems, relevant in Imperial Russia. With the help of a fantastic component, the author shows the hopelessness of the situation: the little man is weak in front of strongmen of the world This means they will never respond to his request, and they will also kick him out of his office. Gogol, of course, does not approve of revenge, but in the story “The Overcoat” it is the only way to reach the stony hearts of high-ranking officials. It seems to them that only the spirit is above them, and they will agree to listen only to those who are superior to them. Having become a ghost, Bashmachkin takes precisely this necessary position, so he manages to influence arrogant tyrants. This is the main idea of ​​the work.

The meaning of Gogol’s “The Overcoat” is the search for justice, but the situation seems hopeless, because justice is possible only by turning to the supernatural.

What does it teach?

Gogol’s “The Overcoat” was written almost two centuries ago, but remains relevant to this day. The author makes you think not only about social inequality and the problem of poverty, but also about your own spiritual qualities. The story “The Overcoat” teaches empathy; the writer encourages not to turn away from a person who is in difficult situation and asks for help.

To achieve his author's goals, Gogol changes the ending of the original anecdote, which became the basis for the work. If in that story the colleagues collected enough money to buy a new gun, then Bashmachkin’s colleagues did practically nothing to help their comrade in trouble. He himself died fighting for his rights.

Criticism

In Russian literature, the story “The Overcoat” played a huge role: thanks to this work, a whole movement arose - the “natural school”. This work became a symbol of new art, and confirmation of this was the magazine “Physiology of St. Petersburg”, where many young writers came up with their own versions of the image of a poor official.

Critics recognized Gogol's mastery, and "The Overcoat" was considered a worthy work, but the controversy was mainly conducted around the Gogol direction, opened precisely by this story. For example, V.G. Belinsky called the book “one of Gogol’s deepest creations,” but considered the “natural school” a direction without prospects, and K. Aksakov denied Dostoevsky (who also started with the “natural school”), the author of “Poor People,” the title of artist.

Not only Russian critics were aware of the role of “The Overcoat” in literature. The French reviewer E. Vogüe owns famous saying"We all came from Gogol's overcoat" In 1885, he wrote an article about Dostoevsky, where he spoke about the origins of the writer’s work.

Later, Chernyshevsky accused Gogol of excessive sentimentality and deliberate pity for Bashmachkin. Apollo Grigoriev, in his criticism, contrasted Gogol's method with true art satirical image reality.

The story made a great impression not only on the writer’s contemporaries. V. Nabokov in his article “The Apotheosis of the Mask” analyzes creative method Gogol, his features, advantages and disadvantages. Nabokov believes that “The Overcoat” was created for “the reader with creative imagination", and for maximum full understanding a work must be familiarized with it in the original language, because Gogol’s work “is a phenomenon of language, not ideas.”

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