Essay on bazaars and Pavel Kirsanov comparative characteristics. How are the images of Katerina and Varvara contrasted with each other? (based on the play “The Thunderstorm” by A.N. Ostrovsky) (Unified State Examination in Literature) Images are contrasted with each other

How are the author-narrator and old Izergil opposed to each other?

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

I heard these stories near Akkerman, in Bessarabia, on the seashore.

One evening, having finished the day's grape harvest, the party of Moldovans with whom I worked went to the seashore, and I and the old woman Izergil remained under the thick shadow of the vines and, lying on the ground, were silent, watching how the silhouettes of those people who went to the sea.

They walked, sang and laughed; men - bronze, with lush, black mustaches and thick shoulder-length curls, in short jackets and wide trousers; women and girls are cheerful, flexible, with dark blue eyes, also bronze. Their hair, silky and black, was loose, the wind, warm and light, played with it, and tinkled the coins woven into it. The wind flowed in a wide, even wave, but sometimes it seemed to jump over something invisible and, giving rise to a strong gust, blew the women’s hair into fantastic manes that billowed around their heads. This made women strange and fabulous. They moved further and further from us, and night and fantasy dressed them more and more beautifully.

Someone was playing the violin... the girl sang in a soft contralto voice, you could hear laughter...

The air was saturated with the pungent smell of the sea and the greasy fumes of the earth, which had been heavily moistened by rain shortly before evening. Even now, fragments of clouds wandered across the sky, lush, of strange shapes and colors, here - soft, like puffs of smoke, gray and ash-blue, there - sharp, like fragments of rocks, matte black or brown. Between them, dark blue patches of sky, decorated with golden specks of stars, sparkled tenderly. All this - sounds and smells, clouds and people - was strangely beautiful and sad, it seemed like the beginning of a wonderful fairy tale. And everything seemed to stop growing, dying; the noise of voices died away, receding, and degenerated into sad sighs.

Why didn't you go with them? - Old woman Izergil asked, nodding her head.

Time had bent her in half, her once black eyes were dull and watery. Her dry voice sounded strange, it crunched, as if the old woman was speaking with bones.

“I don’t want to,” I answered her.

Uh!., you Russians will be born old. Everyone is gloomy, like demons... Our girls are afraid of you... But you are young and strong...

The moon has risen. Her disk was large, blood-red, she seemed to have emerged from the depths of this steppe, which in its lifetime had absorbed so much human flesh and drunk blood, which is probably why it became so fat and generous. Lace shadows from the leaves fell on us, and the old woman and I were covered with them like a net. Over the steppe, to our left, the shadows of clouds, saturated with the blue radiance of the moon, floated, they became more transparent and lighter.

Look, Larra is coming!

I looked where the old woman was pointing with her trembling hand with crooked fingers, and I saw: shadows were floating there, there were many of them, and one of them, darker and denser than the others, swam faster and lower than the sisters - she was falling from a piece of cloud that swam closer to the ground than others, and faster than them.

There's no one there! - I said.

You are more blind than me, old woman. Look, there, the dark one, is running through the steppe!

I looked again and again saw nothing but a shadow.

M. Gorky “Old Woman Izergil”

Name the literary movement that gave way to realism in the second half of the 19th century and was revived in the early prose of M. Gorky.

Explanation.

The compositions and characters of the heroes of M. Gorky's early stories return the reader to the romantic tradition. Romantic works include Gorky’s stories: “Makar Chudra”, “Old Woman Izergil”, “Chelkash”, “Grandfather Arkhip and Lenka”, etc.

Answer: romanticism.

Answer: romanticism

Indicate the genre to which M. Gorky’s work “Old Woman Izergil” belongs.

Explanation.

A story is a small form of narrative literature that depicts an episode from the life of a hero. The story “Old Woman Izergil” belongs to the early romantic works of M. Gorky.

Answer: story.

Answer: story

Source: Unified State Examination in Literature 06/13/2013. Main wave. Center. Option 1.

At the beginning of the fragment a description is given of a group of Moldovans returning from work. What is the name of the means of characterizing characters that is based on describing their appearance?

Explanation.

A portrait is a description of a character’s appearance, one of the means of creating an image. In a literary work, a portrait corresponds to the peculiarities of its content and form, and constitutes one of the moments of its artistic originality.

Answer: portrait.

Answer: portrait

Source: Unified State Examination in Literature 06/13/2013. Main wave. Center. Option 1.

Establish a correspondence between the characters of “Old Woman Izergil” and their characteristics. For each position in the first column, select the corresponding position from the second column.

Write down the numbers in your answer, arranging them in the order corresponding to the letters:

Explanation.

Larra is the son of an eagle from the legend of punished pride. Danko is a legendary hero who saved his tribe from death, Arcadek is the name of a proud nobleman who won the heart of Izergil. In the text of the story, the old woman simply calls the little Turk, who fled with Izergil from his father, a boy.

The clash of different generations, different views is a problem that will never cease to be relevant. The most striking example is the novel by Ivan Sergeevich Turgenev “Fathers and Sons”. In this work, I. S. Turgenev masterfully reveals the theme of the clash of generations with the help of two characters: Evgeny Bazarov and Pavel Kirsanov. Evgeny Bazarov represents the younger generation, and Pavel Kirsanov represents the old.

The views of the heroes are opposed to each other, they are from different generations, which is why there is a huge gap between them. It would seem that age does not always divide people so strongly, but a serious conflict arises between Pavel and Evgeniy. Their ideological views are opposite to each other. Bazarov and Kirsanov are “on opposite sides of the barricades.” In order to understand what the disagreement is, you need to consider the images and ideas of both heroes.

Due to his rather “young” views on life, Bazarov has a rather critical point of view. He is a nihilist, that is, all traditions and foundations for him are just the dust of time. Old stuff. For Eugene, nature is not a temple, but a workshop, and “Man is a worker in it.” It immediately becomes clear that in the person of Bazarov in the novel, the new generation denies the entire foundation that their ancestors built, they want to destroy it. Although they cannot offer anything new in return. The most important thing in the image of the hero is that he accepts only what is useful, and the aristocrats of that time, in his opinion, are useless.

Kirsanov is a supporter of the old generation. He is an aristocrat and firmly believes that this section of society has earned its place by works. Living in the village with his brother, Pavel continues to behave like a real aristocrat. He wears a suit, his gait is confident, his speech and appearance: everything speaks of the hero’s intelligence. Pavel Kirsanov zealously proves his ideas to Evgeniy, his opponent of the younger generation. Kirsanov stands for moral principles, but it is worth noting that they do not coincide with his life. The hero spends his days in celebration.

Both heroes are very similar to each other, their characters are not at all opposite: they both fight for their idea, although they bring practically nothing useful to society. And this has its place in the novel. Generations are always similar to each other, they are inextricably linked, but each generation brings with it ideas and views that may differ. In the novel, the main plan is occupied by the clash of generations, so similar, but denying each other.

Evgeny Bazarov and Pavel Petrovich Kirsanov essay

Pavel Kirsanov is a typical aristocrat with a sleek appearance and liberal views. In Pavel's family there is a cult of veneration of beauty. Evgeny Bazarov's appearance is “plebeian”. He is simple, his facial features reveal a man of deep mental work. Evgeniy is interested in natural science, since it can be seen and verified, unlike spiritual “nonsense.” He is one of the nihilists. The views of both heroes differ. Through their beliefs and conversations, Turgenev shows this confrontation: a dispute between the old, entrenched, and the new, which does not know what to do except deny the opposite.

Despite all their differences, both heroes are similar in many ways. Both Pavel and Evgeniy are strong-willed and strong personalities. And, both of them are susceptible to reasoning on abstract topics. This was the problem. Bazarov, wanting global changes and actions leading to this, does not go beyond the limits of reasoning, just like Kirsanov.

But, in the end, Evgeniy is faced with what previously seemed empty to him. No matter how Bazarov denies love, considering it complete nonsense, he falls in love. And, dying, he rethinks his views. What he denied all his life turns out to be an integral part of human existence.

But the situation prevailing in liberal societies, a striking example of which is the Kirsanov family, cannot contribute to its full development. The problem of discord, based on these trends, is shown by Turgenev in the novel with all its principles and problems. And the main thing is that the one-sided views of both sides only lead to inaction or thoughtless actions.

Turgenev's novel is dedicated to the problem of confrontation between two ideological social trends of that time. At first glance, it seems that this is an eternal problem of the older and younger generations, their misunderstanding of each other. But it turns out to be a little different. On the one hand, there are liberals, ardent defenders of established ways of life, on the other, nihilists who deny all these orders. This work is built on the opposition of some views to others. This is shown by the example of two heroes of the novel - Pavel Kirsanov and Evgeny Bazarov.

The actions described in the novel take place in the mid-19th century. At this time, the emergence of new ideals and principles of life was just beginning to develop. The people who followed them did not fully and fully realize the significance of this social phenomenon. And they followed it, for the most part, because it was fashionable.

Nihilists denied everything that had been established for centuries: the existing social and state order and much more. And their task at that time was to undermine these structures, to destroy them. But they could not build something new on the ruins of the old. Yes, and few people thought about it. This very clearly conveys one of Pavel’s conversations with Bazarov. To Kirsanov’s words that someone needs to build it, Evgeniy replied that it was no longer their concern

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Antithesis

All artists (writers, poets, composers, painters) widely use the juxtaposition of artistic images in their work. In literary criticism, such a opposition is called antithesis, but this term can also be used in relation to painting.

Romantics at the beginning of the 19th century loved to contrast a proud, strong, extraordinary personality, whose spiritual qualities rise above the surrounding society, with this very society with its vulgar and base interests. At the same time, the romantic hero was usually portrayed as lonely, disappointed in everyone and everything, because no one could understand and appreciate the nobility and loftiness of his soul. This is how, for example, Byron portrays Childe Harold in the poem of the same name.

This opposition of an extraordinary personality to a vulgar society expressed the denial of reality characteristic of artists of the Romantic era.

In painting, an example of such a contrast between the individual and society is Bryullov’s painting “Portrait of Yu. P. Samoilova leaving the ball with her pupil Amatsilia Pacini.”

Samoilova is depicted in the foreground, in full growth. She leaves the masquerade ball after taking off her mask. The masquerade ball symbolizes the masquerade of high society life, where there is no sincerity, naturalness, simplicity, and everyone puts on a mask. Samoilova, distinguished by sincerity and independence, is alien to any pretense, and the mask, a symbol of hypocrisy, - the mask that Samoilova took off her face and holds in her hand, explains why this beautiful, majestic woman leaves the masquerade and takes her pupil away. Bryullov admires this woman, and therefore her face and every detail of her luxurious clothing are lovingly painted. The girl trustingly clung to her, which also characterizes Samoilova as a generous, kind person, capable of arousing mutual love and affection.

Secular society is depicted in the background, small. High society, where everyone is constrained by the rules of decency, prevents the bright expression of individuality, averages, depersonalizes a person, therefore it is depicted sketchily, without drawing details. This apparent, but in fact conscious incompleteness of the picture expressed Bryullov’s condemnation of high society.

The second title of this painting is “Masquerade”. It is interesting that a drama with the same name was created at the same time (Bryullov’s painting was painted around 1839) and M. Yu. Lermontov. It also contrasts a strong, proud personality and high society. But the poet expressed his condemnation of high society even more briefly and succinctly in a poem written on January 1, 1840. Lermontov speaks indignantly about a society in which

With the noise of music and dancing,

With the wild whisper of confirmed speeches,

Images of soulless people flash by,

Decorously pulled masks.

How amazingly this description is similar to Bryullov’s depiction of high society! This coincidence in the assessment of high society by the artist and the poet is not accidental: it reflects the dissatisfaction of the best people of Russia with the way of life and the moral state of society of that time.

In fiction, one often encounters a contrast between different historical eras in the life of a particular people. Artists contrasted the past with the present, usually as a reproach to modern life.

Thus, in M. Yu. Lermontov’s poem “Borodino,” an old warrior, a participant in the Battle of Borodino, telling his young interlocutor about this great battle, twice, beginning and ending his story, reproached the younger generation:

Yes, there were people in our time.

Not like the current tribe:

The heroes are not you!

The past and the present, the old and the new are contrasted in I. S. Turgenev’s novel “Fathers and Sons” and in L. N. Tolstoy’s story “The Two Hussars.” In painting, too, the composition of a work is often based on the collision and opposition of two eras: one - receding into the past; another - born to replace it.

Let us turn to the painting by an English artist of the 19th century. Turner "The Last Voyage of the Frigate "Brave"". A beautiful military sailing ship, a participant in the Battle of Trafalgar, where the British won a glorious victory, is transported to the place of its breakdown and destruction by a terrible dark steamer, spewing a column of fire and black smoke. This happens at sunset, which symbolizes the end of the old romantic era. The setting sun illuminates the scene with an ominous red glow.

With the entire structure of the picture, every detail of it, the artist expresses his negative attitude towards the mercantile bourgeois world with its technical progress, hostile to everything romantic and heroic.

A striking example of the contrast between different eras is Yaroshenko’s painting “Old and Young,” which depicts an argument between a young man (probably a student) and an elderly owner of the house, typical of the 80s of the 19th century. The artist's contemporaries believed that this was a dispute between father and son.

The young man, judging by the content of the ideological struggle in Russia at that time, passionately, confidently and inspiredly preaches about freedom, equality, brotherhood, progress and a happy future for mankind, and, raising his hand forward and upward and himself leaning forward with his whole body, he as if I was ready with my whole being to immediately rush into this bright future. He calls on others to abandon a calm, carefree life as something immoral and unworthy and to devote themselves to serving progress and humanity. Such heroes and speeches are widely reflected in our literature from Belinsky and Herzen all the way to Chekhov and Gorky.

The old man listens to the incendiary speech calmly and is preparing to object, judging by the gesture of his hand. Away from the arguing, in the back of the room, an old woman is playing solitaire. Her indifference to the argument and her occupation indicates that such disputes occur so often in the house that they bore her to death.

In Russia in the 19th century, the attitude of artists towards revolutionaries was ambivalent. What the revolutionaries liked was their desire to serve the people, sincere faith in their ideas, and selflessness. But at the same time, they were repulsive with their nihilism and desire to destroy all traditional values. This ambivalent attitude of the author towards what is happening is reflected in this picture. The young man looks somewhat theatrical, as if showing off in front of the girl, who fuels his fiery eloquence. But, despite this, the girl listens to his speech seriously, trustingly and with sympathy. And in Russian art of the 19th century, an intelligent, developed, spiritually living girl is usually a symbol of the aspirations of Russia (for example, in the novels “The Cliff” by Goncharov, “The Nest of the Nobles” by Turgenev). Yaroshenko saw that Russia, Russian society sympathized with the revolutionaries. And we now know that Russia trusted the revolutionaries, and even in the 21st century we continue to reap the bitter fruits of this mistake.

The tragic clash of the inexorably advancing new era with the outdated old era is depicted in the painting by N. N. Ge “Peter I interrogates Tsarevich Alexei Petrovich in Peterhof.” The very theme of this painting, the very historical episode depicted on it, determined the use of antithesis in the composition of this famous work.

Peter I is in a chair near the table, on the edge of which are papers incriminating the prince of treason. Peter I's head is turned to his traitorous son, and he himself sits almost with his back to his son, almost turning away from him in uncontrollable anger and contempt. And at the same time, on the stern face of the king, in his gaze one can see not only contempt and anger, but also bitter bewilderment, disappointment and, it seems, even pity for his son, who stands in front of him with his head down, expressing stubbornness with his whole appearance, barely hidden under external humility, and some kind of sluggish, lifeless protest against the father. The characterization of Tsarevich Alexei, given by the artist, reflects the features of the moribund past - inert and passive. And, on the contrary, the health and energy conveyed in the compressed, springy pose of Peter I, his gaze, correspond to the spirit of change, the spirit of new times.

The painting was created during the era of the reforms of the 1860s carried out by Alexander II, and expresses the artist’s sympathetic attitude towards these reforms. However, N. N. Ge, along with sympathy for the cause of Peter I, and therefore the reforms of Alexander II, also expressed the tragedy that is inevitably inherent in any turning point and raises doubts about the beneficial outcome of the changes taking place. After all, the irreconcilable enemies were not strangers to each other, but father and son. Innovations painfully severed sacred family ties, and the father’s cruelty involuntarily alerts the viewer to his cause. The artist himself recalled his work on this painting in the following way: “I inflated my sympathy for Peter, said that his social interests were higher than his father’s feelings, and this justified his cruelty, but killed the ideal”31.

Among the various types of contrasting images, the most important and frequent is the contrast of characters, beliefs, and views. So in the novel “Fathers and Sons” the beliefs and lifestyles of Bazarov and Pavel Petrovich Kirsanov are contrasted. In L. N. Tolstoy's novel "War and Peace", which, starting from the title, is completely riddled with oppositions, Napoleon and Kutuzov are contrasted, for example.

This type of contrast of images is the main thing in painting.

Consider Titian's painting Caesar's Denarius, an early masterpiece of the artist that depicts and contrasts Christ and the Pharisee.

The Pharisees, opponents of Christ, were constantly looking for a reason to put Him on trial. They sought to discredit Him before the people, disgrace Him, thus pushing the people away from Him, and then destroy Him. During a sermon about how a person must pay tribute first of all to God, that is, it is more important to take care of the spiritual than the physical, a Pharisee approached Christ. He wanted to convict Christ of disobedience to authority by distorting the meaning of the word tribute in His sermon. The Gospel of Matthew tells it this way. “Then the Pharisees went and consulted how to catch Him in words. And they sent their disciples to Him with the Herodians, saying: Teacher, we know that You are just, and teach truly the way of God, and do not care about pleasing anyone, for do not look at any face; therefore, tell us: is it permissible for you to give tribute to Caesar, or not? But Jesus, seeing their wickedness, said: Why are you tempting me, you hypocrites? Show me the coin with which they brought the tribute. denarius. And he said to them: Whose image and inscription is this? They say to him: Caesar’s. (Matt. 22:15–22).