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The countless fiery eyes of the ship were barely visible behind the snow to the Devil, who was watching from the rocks of Gibraltar, from the rocky gates of two worlds, the ship leaving into the night and blizzard. The devil was huge, like a cliff, but even more enormous was the ship, multi-tiered, multi-pipe, created by the pride of a New Man with an old heart. A blizzard beat in his rigging and wide-necked pipes, white with snow, but he was steadfast, firm, majestic and terrible. On its very top roof, those cozy, dimly lit chambers stood alone among the snow whirlwinds, where, immersed in a sensitive and anxious slumber, its overweight driver, looking like a pagan idol, sat above the entire ship. He heard the heavy howls and furious squeals of a siren, suffocated by the storm, but he calmed himself by the proximity of what was ultimately most incomprehensible to him, what was behind the wall of that large, seemingly armored cabin, which was constantly filled with a mysterious hum, trembling and dry crackling. blue lights flashed and burst around a pale-faced telegraph operator with a metal half-hoop on his head. At the very bottom, in the underwater womb of the "Atlantis", the thousand-pound huge boilers and all sorts of other machines, that kitchen, heated from below by hellish furnaces, in which the ship's movement was cooked, were dimly shining with steel, wheezing with steam and oozing with boiling water and oil - bubbling terrible in their concentration forces transmitted to its very keel, into an endlessly long dungeon, into a round tunnel, faintly illuminated by electricity, where slowly, with a rigor overwhelming the human soul, a gigantic shaft rotated in its oily bed, like a living monster stretching out in this tunnel, similar to a vent . And the middle of Atlantis, its dining rooms and ballrooms, shed light and joy, hummed with the talk of an elegant crowd, fragrant with fresh flowers, and sang with a string orchestra. And again, painfully wriggled and sometimes convulsively collided among this crowd, among the sparkle of lights, silks, diamonds and naked female shoulders, a thin and flexible pair of hired lovers: a sinfully modest, pretty girl with drooping eyelashes, with an innocent hairstyle, and a tall young man with black, black hair. hair as if glued to it, pale with powder, in the most elegant patent leather shoes, in a narrow tailcoat with long tails - a handsome man, looking like a huge leech. And no one knew either that this couple had long been tired of pretending to suffer their blissful torment to the shamelessly sad music, or that the coffin stood deep, deep below them, at the bottom of the dark hold, in the vicinity of the gloomy and sultry bowels of the ship, heavily overcome by darkness, ocean, blizzard. ..

A gentleman from San Francisco - no one remembered his name either in Naples or Capri - was traveling to the Old World for two whole years, with his wife and daughter, solely for the sake of entertainment.

He was firmly convinced that he had every right to rest, to pleasure, to a long and comfortable journey, and who knows what else. His reason for such confidence was that, firstly, he was rich, and secondly, he had just started life, despite his fifty-eight years. Until that time, he had not lived, but only existed, although very well, but still pinning all his hopes on the future. He worked tirelessly - the Chinese, whom he hired thousands of to work for him, knew well what this meant! - and, finally, he saw that a lot had already been done, that he was almost equal to those whom he had once taken as a model, and decided to take a break. The people to whom he belonged had the custom of beginning the enjoyment of life with a trip to Europe, India, and Egypt. He decided to do the same. Of course, he wanted to reward himself first of all for his years of work; however, he was also happy for his wife and daughter. His wife had never been particularly impressionable, but after all, all elderly American women are passionate travelers. And as for the daughter, an older girl and slightly sickly, the journey was absolutely necessary for her - not to mention the health benefits; don’t there be happy encounters during travel? Here sometimes you sit at a table or look at the frescoes next to a billionaire.

The route was developed by the gentleman from San Francisco and was extensive. In December and January he hoped to enjoy the sun of Southern Italy, ancient monuments, tarantella, serenades of traveling singers and what people at his age feel! especially subtly - with the love of young Neapolitan women, even if not completely disinterested, he thought to hold the carnival in Nice, in Monte Carlo, where at this time the most selective society flocks - the same one on which the entire benefit of civilization depends: and the style of tuxedos , and the strength of thrones, and the declaration of wars, and the welfare of hotels - where some enthusiastically indulge in automobile and sailing races, others in roulette, others in what is commonly called flirting, and still others in shooting pigeons, which soar very beautifully from cages over the emerald lawn, against the backdrop of the sea, the color of forget-me-nots, and immediately the white lumps hit the ground; he wanted to devote the beginning of March to Florence, to come to Rome for the passion of the Lord to listen to Miserere there; His plans included Venice, and Paris, and a bullfight in Seville, and swimming in the English islands, and Athens, and Constantinople, and Palestine, and Egypt, and even Japan - of course, already on the way back... And everything went from the beginning Great.

It was the end of November, and all the way to Gibraltar we had to sail either in icy darkness or amid a storm with sleet; but they sailed quite safely.

There were many passengers, the ship - the famous "Atlantis" - looked like a huge hotel with all the amenities - with a night bar, with oriental baths, with its own newspaper - and life on it flowed very measuredly: they got up early, at the sound of trumpets, sharply resounding through the corridors even at that gloomy hour, when the light was shining so slowly and uninvitingly over the gray-green watery desert, heavily agitated in the fog; putting on flannel pajamas, drinking coffee, chocolate, cocoa; then they sat in the marble baths, did gymnastics, stimulating their appetite and good health, performed their daily toilets and went to their first breakfast; until eleven o'clock they were supposed to walk cheerfully along the decks, breathing in the cold freshness of the ocean, or play sheffle board and other games to whet their appetite again, and at eleven they had to refresh themselves with sandwiches with broth; having refreshed themselves, they read the newspaper with pleasure and calmly waited for the second breakfast, even more nutritious and varied than the first; the next two hours were devoted to rest; all the decks were then filled with longchairs, on which travelers lay, covered with blankets, looking at the cloudy sky and at the foamy mounds flashing overboard, or sweetly dozing off; at five o'clock, refreshed and cheerful, they were given strong fragrant tea with cookies; at seven they announced with trumpet signals what was the main goal of this entire existence, its crown... And then the gentleman from San Francisco, rubbing his hands with a surge of vitality, hurried to his rich luxury cabin to get dressed.

In the evenings, the floors of Atlantis gaped in the darkness as if with countless fiery eyes, and a great many servants worked in the cooks', sculleries' and wine cellars. The ocean that walked outside the walls was terrible, but they did not think about it, firmly believing in the power over it of the commander, a red-haired man of monstrous size and bulkiness, always as if sleepy, resembling in his uniform, with wide golden stripes, a huge idol and very rarely appearing to people from his mysterious chambers; on the forecastle the siren constantly wailed with hellish gloom and shrieked with furious anger, but few of the diners heard the siren - it was drowned out by the sounds of a beautiful string orchestra, exquisitely and tirelessly playing in the marble two-story hall, covered with velvet carpets, festively flooded with lights, crowded with low-cut ladies and men in tailcoats and tuxedos, slender footmen and respectful head waiters, among whom one, the one who took orders only for wine, even walked around with a chain around his neck, like some lord mayor. The tuxedo and starched underwear made the gentleman from San Francisco look very young. Dry, short, awkwardly cut, but tightly sewn, cleaned to a gloss and moderately animated, he sat in the golden-pearl radiance of this palace behind a bottle of amber Johannisberg, behind glasses and goblets of the finest glass, behind a curly bouquet of hyacinths. There was something Mongolian in his yellowish face with a trimmed silver mustache, his large teeth glittered with gold fillings, and his strong bald head was old ivory. His wife was dressed richly, but according to her years, a large, broad and calm woman; complex, but light and transparent, with innocent frankness - a daughter, tall, thin, with magnificent hair, beautifully dressed, with aromatic breath from violet cakes and with the most delicate pink pimples near the lips and between the shoulder blades, slightly powdered... Lunch lasted more than an hour, and after dinner, dances opened in the ballroom, during which the men, including, of course, the gentleman from San Francisco, raised their feet, decided on the basis of the latest stock market news the fate of nations, smoked Havana cigars until they were crimson red and got drunk on liqueurs a bar served by blacks in red camisoles, with whites that looked like peeling hard-boiled eggs.

A gentleman from San Francisco - no one remembered his name either in Naples or Capri - he went to the Old World for two whole years, with his wife and daughter, solely for the sake of entertainment.

He was firmly convinced that he had every right to rest, to pleasure, to a long and comfortable journey, and who knows what else. His reason for such confidence was that, firstly, he was rich, and secondly, he had just started life, despite his fifty-eight years. Until that time, he had not lived, but only existed, although very well, but still pinning all his hopes on the future. He worked tirelessly - the Chinese, whom he hired thousands of to work for him, knew well what this meant! - and, finally, he saw that a lot had already been done, that he was almost equal to those whom he had once taken as a model, and decided to take a break. The people to whom he belonged had the custom of beginning the enjoyment of life with a trip to Europe, India, and Egypt. He decided to do the same. Of course, he wanted to reward himself first of all for his years of work; however, he was also happy for his wife and daughter. His wife had never been particularly impressionable, but all older American women are passionate travelers. And as for the daughter, an older girl and slightly sickly, the journey was absolutely necessary for her - not to mention the health benefits; don’t there be happy encounters during travel? Here sometimes you sit at a table or look at the frescoes next to a billionaire.

The route was developed by the gentleman from San Francisco and was extensive. In December and January he hoped to enjoy the sun of Southern Italy, ancient monuments, tarantella, serenades of traveling singers and what people at his age feel! Especially subtly - with the love of young Neapolitan women, even if not completely disinterested, he thought to hold the carnival in Nice, in Monte Carlo, where at this time the most selective society flocks - the same one on which all the benefits of civilization depend: and the style of tuxedos , and the strength of thrones, and the declaration of wars, and the welfare of hotels - where some enthusiastically indulge in automobile and sailing races, others in roulette, others in what is commonly called flirting, and still others in shooting pigeons, which soar very beautifully from cages over the emerald lawn, against the backdrop of the sea the colors of forget-me-nots, etc.

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Part 1.

Read the fragment of the work below and complete tasks 1–7; 8, 9.

“Mr. from San Francisco” I.A. Bunin

A gentleman from San Francisco - no one remembered his name either in Naples or Capri - was traveling to the Old World for two whole years, with his wife and daughter, solely for the sake of entertainment.

He was firmly convinced that he had every right to rest, to pleasure, to a journey that was excellent in all respects. His reason for such confidence was that, firstly, he was rich, and secondly, he had just started life, despite his fifty-eight years. Until that time, he had not lived, but only existed, although very well, but still pinning all his hopes on the future. He worked tirelessly - the Chinese, whom he hired thousands of to work for him, knew well what this meant! - and finally saw that a lot had already been done, that he was almost equal to those whom he had once taken as a model, and decided to take a break. The people to whom he belonged had the custom of beginning the enjoyment of life with a trip to Europe, India, and Egypt. He decided to do the same. Of course, he wanted to reward himself first of all for his years of work; however, he was also happy for his wife and daughter. His wife had never been particularly impressionable, but all older American women are passionate travelers. And as for the daughter, an older girl and slightly sickly, the journey was absolutely necessary for her: not to mention the benefits for health, don’t there be happy encounters during travel? Here sometimes you sit at a table or look at the frescoes next to a billionaire.

The route was developed by the gentleman from San Francisco and was extensive. In December and January, he hoped to enjoy the sun of Southern Italy, ancient monuments, tarantella, serenades of traveling singers and what people of his age feel especially subtly - the love of young Neapolitan women, even if not entirely disinterested; he thought of holding the carnival in Nice, in Monte Carlo, where at this time the most selective society flocks, where some enthusiastically indulge in automobile and sailing races, others in roulette, others in what is commonly called flirting, and others in shooting pigeons, which they soar very beautifully from the cages over the emerald lawn, against the backdrop of a sea the color of forget-me-nots, and immediately hit the ground with white lumps; he wanted to devote the beginning of March to Florence, to come to Rome for the Passion of the Lord to listen to the Miserere* there; His plans included Venice, and Paris, and a bullfight in Seville, and swimming in the English islands, and Athens, and Constantinople, and Palestine, and Egypt, and even Japan - of course, already on the way back... And that’s all it went great at first.

*“Have mercy” (lat.) - Catholic prayer.

When completing tasks 1-7, the answer must be given in the form of a word or combination of words. Write words without spaces, punctuation marks or quotation marks.

1

Determine the genre of the work.

2

What term is usually used to designate stable combinations of words, the meaning of which may be identical to the meaning of one word (“He worked tirelessly...”)?

3

Name a pictorial technique based on comparing a phenomenon or concept with another phenomenon or concept in order to highlight a particularly important artistic feature (“against the backdrop of a sea of ​​forget-me-not colors”).

4

Establish a correspondence between the characters and their portrait descriptions: for each position in the first column, select the corresponding position from the second column.

For each position in the first column, select the corresponding position from the second column.

Write your answer in numbers without spaces or other symbols

5

What is the name of the type of trope, which is based on the transfer of the name by similarity or analogy (“and immediately they hit the ground with white lumps ...”)?

6

What type of ridicule, containing a special derogatory force, is used by the author (“... the most selective society, where some enthusiastically indulge in car and sailing races, others in roulette, others in what is commonly called flirting, and still others in shooting pigeons... ")?

7

Increased difficulty level

Part 2.

Read the work below and complete tasks 10–14; 15, 16.

“Poet and Citizen” N.A. Nekrasov

Citizen

The thunderstorm is silent, with a bottomless wave

The skies argue in the radiance

And the wind is gentle and sleepy

The sails barely flutter, -

The ship runs beautifully, harmoniously,

And the travelers’ hearts are calm,

As if, instead of a ship,

Beneath them is solid ground.

But the thunder struck; the storm is moaning

And he tears the rigging and tilts the mast,

This is not the time to play chess,

This is not the time to sing songs!

Here is a dog - and he knows the danger

And barks furiously into the wind:

He has nothing else to do...

What would you do, poet?

Is it really in a distant cabin?

You would become an inspired lyre

To please the ears of sloths

And drown out the roar of the storm?

The answer to tasks 10–14 is a word or phrase, or a sequence of numbers. Enter your answers without spaces, commas or other additional characters.

10

Formulate the essence of the aesthetic and political declaration of a citizen.

11

Indicate the line number in which the image appears, which has become a symbol of poetic creativity, poetry.

12

The work creates a situation of special verbal communication between the poet and the citizen. What is this form of communication called?

13

From the list below, select three names of artistic means and techniques used by the poet in lines 9-12 of this passage. Write down the numbers under which they are indicated.

1) paraphrase

2) hyperbole

3) alliteration

4) personification

5) anaphora

14

What term is used to denote the emotional content of a work of art, feelings, passionate inspiration that the author puts into the text, expecting the reader’s empathy?

8. What is the semantics of the age of the main characters in the work (the gentleman from San Francisco, his wife, daughter)?

When starting to formulate a detailed answer to the question of the assignment, remember that the concept of “age”, which includes knowledge, ideas, assessments, associations and images that characterize the physical, mental and social state of a person, determines his existence in time.

Note that age in “The Mister from San Francisco” is the most important semantic detail of the character’s appearance, behavior, and worldview. It helps to present a portrait of the hero, is the impetus for the narrative of his life, connects the events of the present with the most important events in the past, etc.

Next, show that the age of I. A. Bunin’s main characters correlates with their physical, mental and social characteristics. Make sure that with its specific fixation (the main character is fifty-eight years old), age is also a general characterological detail, indicating typical features associated with the cultural life of society (“his wife has never been particularly impressionable, but all older American women are passionate travelers"). The same detail is the age of the gentleman’s daughter from San Francisco, “a girl of age” and “slightly sickly.”

Note that the age of the gentleman from San Francisco contributes to the symbolic image of the "New Man with an Old Heart." Make sure that the depiction of death in the story is paradoxical: the life of a “New Man with an Old Heart” is perceived as a state of spiritual death, while physical death carries with it the possibility of awakening the soul.

In conclusion, draw a conclusion about the semantic and aesthetic significance of the category “age” in I. A. Bunin’s story.

9. In which work of Russian literature of the 20th century does the tradition of the character’s namelessness as a sign of generalization remain, and how does it differ from the work of I. A. Bunin?

When thinking about the problem posed, remember that the namelessness of the main character in the work is the result of the author’s conscious choice. It contrasts with the naming of any, even the most insignificant, episodic character and becomes a more striking characteristic than any name.

Using your knowledge of the history of Russian literature, identify the origins of this tradition (the nameless fellow from the ancient Russian everyday “Tale of Woe-Misfortune”, the “insightful reader” from the novel by N. G. Chernyshevsky “What is to be done?”, the “paradoxalist” F. M. Dostoevsky from “Notes from Underground”, etc.).

Show how this tradition was continued into the 20th century. Note that the fact of namelessness only enhances the high meaning of the word “master,” which became the name of the hero of M. A. Bulgakov’s novel “The Master and Margarita.” Explain the conceptual nature of the author's choice. Emphasize that Master is a common designation for all the chosen ones, for all true artists. Naming the hero with this name puts the Master on a par with his great predecessors.

Show that the namelessness of the hero I. A. Bunin has its own difference from the namelessness of the Master. The gentleman from San Francisco is one of the ordinary “many”. His true name would not add any additional information to his personality. It does not represent any significance either for the hero’s family, or for the servants, or for the doctor who declares his death.

Summing up your observations, note that the difference in the use of the traditional Russian literature device of anonymity is explained by the uniqueness of the worldview and the author's intention of the artists.

15. Why did N. A. Nekrasov choose not a monologue, but a dialogical, dramatized form for the poem “The Poet and the Citizen”?

When starting to formulate a detailed answer to the question of the assignment, remember that the poem “The Poet and the Citizen” was written after the first collection of 1856 passed censorship.

ON THE. Nekrasov could place the last work either at the end of the collection or at the beginning. By choosing the latter option, the poet gave the famous text the character of an introduction and program.

Next, explain that dialogue is used, on the one hand, as a traditional form of polemic between representatives of polar movements in the art of the 60s (revolutionary democratic and “pure” art).

On the other hand, dialogue allows the author to convey the dispute between two voices sounding in his own soul. It allows you to honestly, sternly and bitterly tell about the thorny path chosen by the poet for the good of the people and homeland, to hint about your doubts and hopes.

In conclusion, conclude that the elected N.A. Nekrasov’s form most closely corresponds to the specifics of the ideological and artistic content of the poem “The Poet and the Citizen.”

16. In what works of Russian lyricism is a situation of ideological and aesthetic clash between two antagonists, one of whom is a poet, created, and how does it correlate with the artistic version of N.A. Nekrasova?

In order to present your own judgment on the proposed topic, remember that the situation of an ideological and aesthetic clash between two antagonists, one of whom is a poet, was repeatedly used in Russian lyric poetry of the 19th century.

Explain why many famous poets have actualized the situation of a dispute: a dispute by its nature is informative, it is result-oriented, its goal is usually pragmatic. An ideal argument is a dialogue in which one of the speakers proposes a certain thesis, and the interlocutor puts forward a certain antithesis.

Give examples confirming the repeated use of a similar situation to realize the author's intention. To do this, refer to the content of the famous work by A. S. Pushkin “Conversation of a Bookseller with a Poet”, in which there is a polemic between a poet defending the priority of the positions of “pure art” and a citizen proclaiming the ideas of socially significant creativity (“Be a citizen!..” ).

Remember the poem by M. Yu. Lermontov “Journalist, Reader and Writer”, in which the position of the creator is contrasted with the point of view of the critic and writer. Show what direction the conflict “poet - crowd” takes in this work (the crowd is personified in the image of a reader dissatisfied with modern literature).

Conclude that the situation of an ideological and aesthetic clash between two antagonists, one of whom is a poet, allows A.S. Pushkin, M.Yu. Lermontov and N.A. Nekrasov to most clearly present his civic and literary convictions.

17.1. What poems by M.Yu. Can Lermontov be considered an invective (an angry diatribe)?

Before you begin the task, use the conceptual apparatus of literary criticism and imagine the term that you will use to characterize the concept of “invective.” Show that the term “invective” is used by researchers as a synonym for accusatory speech.

Explain that the leading features of the invective genre are angry tonality and subjective organization. Please note that invectives are addresses to the addressee with formal indicators (pronouns “you”, “you”, corresponding forms of verbs, imperatives and addresses).

Note that, from a compositional point of view, the lines organized in the form of “you” occupy separate parts of the text, determining the tone of the work and its genre content.

Show that the sign of the invective is the specificity of the temporal organization: the grammatical present tense, moving into the future, which is associated with the idea of ​​\u200b\u200bretribution, punishment. Note that the author's consciousness is expressed as generalized (the creator of the text relates himself to his generation).

Next, identify poems that meet the above criteria (“The Death of a Poet”, “Farewell, Unwashed Russia...”, “I will not humiliate myself before you...”, “How often, surrounded by a motley crowd...”, “The Poet ", "Journalist, reader and writer", etc.).

Identify thematic groups in them (from the point of view of the object of exposure) (intimate-lyrical, social).

Describe the originality of Lermontov’s invective (despite its accusatory nature, unlike satire, there is no shaming, degrading details, swear words, high vocabulary, various methods of creating expression, such as ellipsis, graphic “text equivalent”) are used.

All this will allow you to conclude that in the works of M. Yu. Lermontov, the signs of the invective genre are vividly embodied.

17.2. What is the role of zoological detail in the stories of A.P. Chekhov?

Reflecting on the problem posed, remember that in the system of Chekhov’s visual and expressive means, zoological detail occupies a special place. It helps to reveal the compositional and characterological features of animal names in literal and figurative meanings.

Show how a zoological detail is used to create the image of a “little” person. Note that the surname Chervyakov in the context of A.P. Chekhov’s story “The Death of an Official” encourages the reader to associate the character with a worm. Please note that the surname “Chervyakov” is included in the context of Russian classics and echoes the textbook lines of G. R. Derzhavin, who talks about the insignificance and at the same time the greatness of man: “I am a king - I am a slave; I am a worm - I am God! Show that Chervyakov A.P. Chekhov is a pitiful, low and insignificant creature, “boneless” and “invertebrate”.

Make an intermediate conclusion that the zoological detail allows the author of the story to extremely accurately characterize the characteristics of the moral qualities and characterology of the social behavior of the “little man.”

Make sure that almost the entire animalistic fund associated with the concept of “chameleon” is presented by Chekhov in the story of the same name. Show that the idea of ​​chameleonism (that is, adapting to a changing environment by changing skin color) is developed in the story in a figurative, metaphorical sense (a chameleon is an unprincipled person who easily changes his views depending on circumstances).

At the same time, note that the name has not only a metaphorical, but also a literal plan (the writer actualizes the characteristics of this natural phenomenon: alertness, timidity, cowardice, willingness to hide, ability to adapt, change, variability).

Show the functional significance of the zoological detail that the author uses in the story “The Lady with the Dog” to characterize Gurov’s casual girlfriends (when the hero lost interest in them, their beauty aroused hatred in him and “the lace on their underwear seemed to him then like scales”).

Conclude that the zoological detail in the stories of A.P. Chekhov characterizes the heroes from the point of view of intellectual, moral qualities and social behavior. It reflects the deep imperfection of human society, the spiritual decline of Chekhov's contemporaries.

17.3. Identify the typological features of the righteous hero (based on works of Russian village prose).

When starting to work on your essay, remember that the type of righteous person is presented in Russian village prose in a varied and multifaceted way. Name the works in which this type manifests itself most clearly (“Matryonin’s Dvor” by A. I. Solzhenitsyn, “Last Bow” by V. P. Astafiev, “The Last Term” and “Farewell to Matera” by V. G. Rasputin, “Light souls" by V. M. Shukshina, "Business as usual" by V. I. Belov, "Relatives" by V. I. Likhonosov, etc.).

Imagine the righteous heroes you know: Matryona (“Matryonin’s Dvor”), Ekaterina Petrovna (“The Last Bow”), Anna (“The Last Term”), Matryona (“Farewell to Matyora”). Describe their typological features.

Note the special significance of the characters’ age: they are all, as a rule, old people or very middle-aged people. Explain the reason: guardians of antiquity, they personify a stereotype of life behavior, sanctified by centuries-old traditions.

Show that, despite the differences in destinies and milestones of artistic biography, they all represent a special psychological type: they are conscientious, kind, honest and pure people. The most important quality of this type is selflessness.

Note the integrity of nature: such a hero is “equal to himself,” internal mental and spiritual stability is his internal norm.

Indicate that the typological properties of the characters influenced the forms of the narrative (in works, as a rule, acute plot development, conflict situations, etc. are excluded).

In conclusion, conclude that the special typological features of the righteous hero make him a spiritual and moral guideline and a moral and ethical standard. Village writers create characters that are fundamentally stereotypical; the typical in them dominates the individual.

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I. Bunin S1. What is the main idea of ​​I. A. Bunin’s story? C2. In which works of Russian classics does the theme of “spiritual death” sound and what makes them similar to the story “The Gentleman from San Francisco”? The Kuragin family in Tolstoy's novel, The Master and Margarita is full of them, the first is Berlioz. There are many of these types. Chekhov's "Ionych", Bunin's "Mr. from San Francisco", Goncharov's "Oblomov". Gogol's "Dead Souls".

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I. Bunin S5. What are the moral lessons of I.A.’s story? Bunin's "Mr. from San Francisco"? How is the author’s position expressed in the story by I.A. Bunin's "Mr. from San Francisco"? What do you think is the tragedy of the main character of the story I.A. Bunin's "Mr. from San Francisco"? How do the eternal and the momentary relate in the story of I.A. Bunin's "Mr. from San Francisco"? "Woe to you, Babylon, strong city!" How much do you think the idea of ​​these terrible words from the Apocalypse was reflected in I. Bunin’s story “The Gentleman from San Francisco”? Why are all those sailing on the ship Atlantis (both the idle rich and the exhausted sailors) doomed to death? C5.3 How is the theme of the earthly and eternal revealed in I. A. Bunin’s prose? C5.3. Why does the main character of the story I.L. Bunin's "Mr. from San Francisco" has no name?

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M. Gorky S1. What character traits of the hero does this fragment of text reveal? C2. In the works of which Russian writers (poets, playwrights) do the themes of pride, vanity and “perhaps imaginary superiority” sound, and in what ways are these works consonant with the legend of the “son of an eagle”? C5.3 How is the ideal and anti-ideal of man reflected in M. Gorky’s story “Old Woman Izergil”? C5.3. What moral issues does M. Gorky solve in the story “Old Woman Izergil”? C5.3. What is the role of composition in revealing the ideological content of M. Gorky’s story “Old Woman Izergil”? C5.3. What features of romanticism are inherent in M. Gorky’s story “Old Woman Izergil”?

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