Description of nature in the story “Asya” by I.S. Turgenev.
Answers:
I. S. Turgenev’s story “Asya” is sometimes called an elegy of unfulfilled, missed, but so close happiness. The plot of the work is simple, because the author is not interested in external events, but in the spiritual world of the characters, each of which has its own secret. In revealing the depths of spiritual states loving person Turgenev is also helped by the landscape, which in the story becomes the “landscape of the soul.” Here we have the first picture of nature, introducing us to the scene of action, a German town on the banks of the Rhine, given through the perception of the protagonist. ABOUT young man , who loves walks, especially at night and in the evening, peering into the clear sky with a motionless moon shedding a serene and exciting light, observing the slightest changes in the world around him, one might say: a romantic, with deep, sublime feelings. This is further confirmed by the fact that he immediately felt sympathy for his new acquaintances, the Gagins, although before that he did not like meeting Russians abroad. The spiritual closeness of these young people is also revealed with the help of the landscape: the Gagins’ home was located in a wonderful place, which Asya especially liked. The girl immediately attracts the narrator's attention, her presence seems to illuminate everything around: ? “fiery”, then clear and scarlet; the wine “glimmered with a mysterious brilliance,” the illuminated trees have a “festive and fantastic appearance,” and, finally, a “moon pillar” across the river, which the hero breaks. “You drove into the moon pillar, you broke it,” Asya bellowed to me. This detail in Turgenev becomes a symbol, because the broken moon pillar can be compared with Asya’s broken life, the girl’s broken dreams of a hero, love, and flight. Continuing acquaintance with the Ganins sharpened the narrator’s feelings: he is attracted to the girl, he finds her strange, incomprehensible and surprising. The jealous suspicion that the Gagins are not brother and sister forces the hero to seek peace in nature: “The mood of my thoughts was just in line with the calm nature of that region. I gave myself entirely to the quiet play of chance, the rushing impressions...” What follows is a description of what the young man saw during these three days: “a modest corner of German soil, with simplicity and contentment, with ubiquitous traces of applied hands, patient, although unhurried work...”. But the most important thing here is the remark that the hero “gave himself entirely to the quiet game of chance...”. This phrase explains the contemplative nature of the narrator, his habit of not mentally straining himself, but of going with the flow, as is depicted in Chapter X, where the hero is actually sailing home in a boat, returning after a conversation that excited him with Asya, who opened her soul to him. It is at this moment of merging with nature that a new leap is made in the hero’s inner world: what was vague, anxious, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with Asya’s personality. But the hero prefers to mindlessly surrender to the oncoming impressions: “I’m not only talking about the future, I didn’t think about tomorrow, I felt very good.” Everything further happens rapidly: Asya’s excitement, her awareness of the futility of her love for the young aristocrat (“my wings have grown, but there is nowhere to fly”), a difficult conversation with Gagin, a dramatic meeting of the heroes that showed the complete “winglessness” of the narrator, Asya’s hasty flight, sudden departure brother and sister.
Lesson: The role of landscape sketches in the story by I.S. Turgenev "Asya"
Purpose: 1. Educational - to expand and deepen for students the concept of “landscape in
literary work»;
2. Developmental - to develop skills in analyzing the content of artistic
text;
3. Educational - to be able to see the beauty and spirituality of nature,
assess its impact on a person’s inner world.
During the classes:
I. The teacher's word.
We are finishing our conversation on the works of I.S. Turgenev, we summarize the conversations and debates on the story “Asya”. I would like the important remark made in the first lesson that the writer was a person sensitive to poetry and the beauty of nature not to go unnoticed.
The story “Asya” contains many landscape sketches. Knowing " Golden Rule» unity art world works, we cannot help but ask the question: “Why does the writer turn to the state of nature? What role do landscape sketches play in the story “Asya”?
II. Let us concentrate our attention on Chapter X of the story. Let's read it. It's not big.
(A trained student reads the chapter by heart.)
- Am I mistaken in calling this chapter a landscape sketch? What is landscape?
The statement that Chapter X is a landscape sketch is controversial. But the main content of the chapter is devoted to the description of the river, sky, wind, stars, and the singing of a nightingale. This corresponds to the definition of landscape in a literary work.
Definition of landscape on the board.
Landscape (French) - (literally - country, area) - a picture of nature that has different artistic value. The landscape is part of the entire picture depicted and correlates with the mood of the characters.
So, let's delve into what the author portrays.
What is the emphasis in describing nature?
- River.
2) What did N.N. see? on the river? Name specific words.
- Royal (epithet) river; the river carried (personification); dark, cold depth.
- Is the river so dark and cold?
- No, the stars sway and tremble in it, reflected from the heavens.
“Anxious revival seemed to me everywhere...” And this statement doesn’t seem to be about the river at all..
- N.N. leaned his elbows on the edge of the boat. For what?
- Probably take a closer look at the state of the water.
- What did he see?
- It’s not so much my vision that’s affected, but my hearing (the whisper of the wind in my ears is personification), the quiet murmur of water behind the stern. The sense of smell and sensation are also heightened (fresh breath of the wave - and again the technique of personification). That's all. Just a mention of the nightingale, which sang on the shore.
- What next?
- Further to the end of the chapter a description of the state of the hero himself is given. And only the last sentence says that “the boat kept rushing, and the old carrier sat and dozed, leaning over the oars.”
III. So, the landscape sketch is small
- What did we, the readers, see?
- Sky, river, reflection in the river.
- Perhaps, we have before us an ordinary picture of nature. But is this true for N.N.?
Prove that the surrounding nature causes him great excitement.
- “Looking around, I felt a secret uneasiness in my heart..” “.. but also in
there was no peace in the sky: speckled with stars, it kept moving, moving,
shuddered (personification), “an alarming revival seemed to me everywhere - and
anxiety grew within me,” “the whisper of the wind in my ears, the quiet murmur of water
irritated me, the fresh breath of the wave did not cool me down"
- The hero is absolutely not calm, he is very excited, and therefore it is not at all accidental
next sentence: “Tears boiled in my eyes, but they weren’t tears
pointless delight." Next N.N. explains their reasons himself. How?
- “What I felt was not the vague sensation I had recently experienced
comprehensive desires, when the soul expands, sounds, when it seems to it that it
understands and loves everything No! A thirst for happiness was kindled in me. I did not yet dare to call it by name, but happiness, happiness to the point of satiety - that’s what I wanted, that’s what I was yearning for.”
- What's going on?
The hero actually admits to himself, formalizes in his heart the irresistible need that has arisen - the thirst for happiness, happiness to the point of satiety. And he himself clarifies that this is no longer the vague, recently experienced feeling of comprehensive desires...”
What was created by the author, how did he construct the events, what did N.N. Did such movements of the soul arise, did such a thought take shape?
(Pay attention to the beginning of the chapter)
- Where was N.N. and what was he doing?
- The whole day went as well as possible. We had fun like children. Asya was sweet and simple. Gagin was happy looking at her. I left late.
Conclusion: it was a wonderful, eventful day. Everyone was pleased with each other. In this situation, that “feeling of all-encompassing desires, when the soul expands and sounds,” may well arise. Moreover, it was on this day that N.N.’s spiritual rapprochement took place. and Asi.
During the way home in the shower N.N. a qualitative change occurs - “a thirst for happiness was kindled in him..”
- What happened on the way home? How does this path differ from those daily journeys that N.N. made?
- N.N. For the first time, I not only crossed the river, but asked the ferryman to launch the boat downstream.
- The movement along the river turned out to be surprising. It radically changed the hero's condition. What did he see?
- The river appeared before him in all its royal splendor. She came to life. The hero felt an alarming revival everywhere. And anxiety grew within him.
- Why did the alarm arise? (a statement about the river that it is life itself.
The life of every person can be compared to a river, the beginning of which is noticeable to everyone;
its further course and its purpose, when it wriggles like a snake across wide planes, can only be discerned by the All-Seeing One. Will it merge with neighboring rivers, increasing their volume, or will it absorb them? Will it remain a nameless river; will it feed with its shallow waters, along with millions of other rivers and streams, any great river? Or a new Danube or Rhine will be formed from it and its streams of water will become an eternal border line on globe, a stronghold and waterway for entire states and continents? We won't know; we know only one thing, that its path lies in the Great Ocean.. (T. Carlyle).
For the first time N.N. did not cross this “life”, occupying his usual position of an outside observer. He found himself in the “thickest of life itself” - in the middle of the Rhine. Everything in this life “stirred, moved, shuddered.” Life is full of events; there is no calm, predictability, or balance in it. All this causes concern for N.N.
But at the same time, to know all these complexities and contradictions of existence is what it means to live life. Feeling how everything moves and lives around, N.N. and he himself suddenly feels a thirst for happiness, a thirst to live to the fullest. Thus, it is the state of nature that helps the hero understand himself, form a thought that may become the basis for his further actions.
And one last thing. What is the role of the carrier in this passage?
- He helps to cross the river.
- And if we consider it on a symbolic level, assuming that the river is life itself, and the boat is the movement of one person in it?
N.N. unable to control his own destiny. It is not suitable for this. And while the boat is moving along the river, the carrier is dozing, leaning over the oars. This means that the boat (N.N.’s life) flows along the river (life in in a general sense) is arbitrary. There is no control over your destiny, no goal. This gives rise to the assumption of N.N.’s personal insolvency.
And to the question: will he be able to rebuild his life, take responsibility for Asya’s fate, become her support, her hero, we can probably only give a negative answer.
IV. Conclusion.
Thus, the landscape sketch, to which Chapter X is devoted, acquires higher value, going beyond the landscape and its role in work of art.
In your notebook, you must make the following notes during or at the end of the conversation:
The role of landscape sketching.
Affirmation of the enormous influence of the life-giving power of nature on the spiritual world of man.
The hero felt the fullness of life sensations.
A vital thought takes shape in the hero’s soul, which can become the basis for his further actions.
The assumption of the hero's inability to decide his fate.
This lesson is applied in the basic system of lessons for studying the story by I.S. Turgenev "Asya", therefore homework involves moving on to a new block of lessons on the work of another writer (for example, preparing a message on a biography).
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I. S. Turgenev’s story “Asya” is sometimes called an elegy of unfulfilled, missed, but so close happiness. The plot of the work is simple, because the author is not interested in external events, but in the spiritual world of the characters, each of which has its own secret.
In revealing the depths of the spiritual state of a loving person, Turgenev is also helped by the landscape, which in the story becomes the “landscape of the soul.”
Here we have the first picture of nature, introducing us to the scene of action, a German town on the banks of the Rhine, given through the perception of the protagonist. About a young man who loves walks, especially at night and in the evening, peering into the clear sky with a motionless moon shedding a serene and exciting light, observing the slightest changes in the world around him, one can say: a romantic, with deep, sublime feelings.
This is further confirmed by the fact that he immediately felt sympathy for his new acquaintances, the Gagins, although before that he did not like meeting Russians abroad. The spiritual closeness of these young people is also revealed with the help of the landscape: the Gagins’ home was located in a wonderful place, which Asya especially liked.
The girl immediately attracts the narrator's attention, her presence seems to illuminate everything around: ? “fiery”, then clear and scarlet; the wine “glimmered with a mysterious brilliance,” the illuminated trees have a “festive and fantastic appearance,” and, finally, a “moon pillar” across the river, which the hero breaks.
“You drove into the moon pillar, you broke it,” Asya bellowed to me. This detail in Turgenev becomes a symbol, because the broken moon pillar can be compared with Asya’s broken life, the girl’s broken dreams of a hero, love, and flight.
Continuing acquaintance with the Ganins sharpened the narrator’s feelings: he is attracted to the girl, he finds her strange, incomprehensible and surprising. The jealous suspicion that the Gagins are not brother and sister forces the hero to seek peace in nature: “The mood of my thoughts was just in line with the calm nature of that region. I gave myself entirely to the quiet play of chance, the rushing impressions...” What follows is a description of what the young man saw during these three days: “a modest corner of German soil, with simplicity and contentment, with ubiquitous traces of applied hands, patient, although unhurried work...”. But the most important thing here is the remark that the hero “gave himself entirely to the quiet game of chance...”. This phrase explains the contemplative nature of the narrator, his habit of not mentally straining himself, but of going with the flow, as is depicted in Chapter X, where the hero is actually sailing home in a boat, returning after a conversation that excited him with Asya, who opened her soul to him.
It is at this moment of merging with nature that a new leap is made in the hero’s inner world: what was vague, anxious, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with Asya’s personality. But the hero prefers to mindlessly surrender to the oncoming impressions: “I’m not only talking about the future, I didn’t think about tomorrow, I felt very good.” Everything further happens rapidly: Asya’s excitement, her awareness of the futility of her love for the young aristocrat (“my wings have grown, but there is nowhere to fly”), a difficult conversation with Gagin, a dramatic meeting of the heroes that showed the complete “winglessness” of the narrator, Asya’s hasty flight, sudden departure brother and sister.
First of all, it is worth noting that I. S. Turgenev’s story “Asya” is sometimes called an elegy of unfulfilled, missed, but so close happiness. The plot of the work is simple, because the author is not interested in external events, but in the spiritual world of the characters, each of which has its own secret. In revealing the depths of the spiritual state of a loving person, the landscape also helps the author, which in the story becomes the “landscape of the soul.”
So, here we have the first picture of nature, introducing us to the scene of action, a German town on the banks of the Rhine, given through the perception of the protagonist. About a young man who loves walks, especially at night and in the evening, peering into the clear sky with a motionless moon shedding a serene and exciting light, observing the slightest changes in the world around him, we can say that he is a romantic, with deep, sublime feelings.
This is further confirmed by the fact that he immediately felt sympathy for his new acquaintances, the Gagins, although before that he did not like meeting Russians abroad. The spiritual closeness of these young people is also revealed with the help of the landscape: the Gagins’ home was located in a wonderful place, which Asya especially liked. The girl immediately attracts the narrator's attention, her presence seems to illuminate everything around.
“You drove into the moon pillar, you broke it,” Asya shouted to me. This detail in Turgenev becomes a symbol, because the broken moon pillar can be compared with Asya’s broken life, the girl’s broken dreams of a hero, love, and flight.
Continuing acquaintance with the Gagins sharpened the narrator's feelings: he is attracted to the girl, he finds her strange, incomprehensible and surprising. A jealous suspicion that the Gagins are not brother and sister forces the hero to seek solace in nature: “The mood of my thoughts was just in line with the calm nature of that region. I gave myself entirely to the quiet play of chance, to the rushing impressions...” What follows is a description of what the young man saw during these three days: “a modest corner of German soil, with simple contentment, with ubiquitous traces of applied hands, patient, although unhurried work...” But the most important thing here is the remark that the hero “gave himself entirely to the quiet game of chance.” This phrase explains the contemplative nature of the narrator, his habit of not mentally straining himself, but of going with the flow, as is depicted in Chapter X, where the hero is actually sailing home in a boat, returning after a conversation that excited him with Asya, who opened her soul to him. It is at this moment of merging with nature that a new turn takes place in the hero’s inner world: what was vague, anxious, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with Asya’s personality. But the hero prefers to mindlessly surrender to the oncoming impressions: “I’m not only talking about the future, I didn’t think about tomorrow, I felt very good.” Everything further happens rapidly: Asya’s excitement, her awareness of the futility of her love for the young aristocrat (“my wings have grown, but there is nowhere to fly”), a difficult conversation with Gagin, a dramatic meeting of the heroes, which showed the complete “winglessness” of the narrator, Asya’s hasty flight, the sudden departure of brother and sister. For that a short time the hero begins to see clearly, a reciprocal feeling flares up, but it is too late, when nothing can be corrected.
In my opinion, having lived for many years as a familyless man, the narrator keeps as a shrine the girl’s notes and the dried geranium flower that she once threw to him from the window.
Asya’s feeling for Mr. N.N. is deep and irresistible, it is “unexpected and as irresistible as a thunderstorm,” according to Gagin. Detailed descriptions of mountains and powerful river flows symbolize the free development of the heroine’s feelings.
Undoubtedly, only this “insignificant grass” and its slight smell remained for the hero from that beautiful, integral world of nature and the world of Asya’s soul, merged together into the brightest, important days the life of Mr. N.N., who lost his happiness.
Reference material for schoolchildren:
Turgenev Ivan Sergeevich is a famous Russian writer, poet and translator. Included in the galaxy best writers"Golden Age" of Russian Literature.
Years of life: 1818-1883.
Noble Nest
The day before
Fathers and Sons
Mu Mu
Inn
Notes of a Hunter (collection of stories)
Faust
Calm
Trip to Polesie
Asya
First love
Bachelor.
## Satirical image in fact, in “The History of a City” by M. E. Saltykov‑Shchedrin - chapter “On the root of the origin of the Foolovites” ##
First of all, it is worth noting that “The History of a City” is the greatest satirical novel. This is a merciless denunciation of the entire management system Tsarist Russia. Completed in 1870, “The History of a City” shows that the people in post-reform times remained as powerless as the officials - tyrants of the 70s. differed from pre-reform ones only in that they robbed using more modern, capitalist methods.
It is worth noting that the city of Foolov is the personification of autocratic Russia, the Russian people. Its rulers embody specific features of historically reliable, living rulers, but these features are taken to their “logical conclusion” and are exaggerated. All the residents of Foolov - both the mayors and the people - live in some kind of nightmare, where the appearance of a ruler with an organ instead of a head, cruel tin soldiers instead of the living, an idiot who dreams of destroying everything on earth, a blockhead who went “eight miles to catch a mosquito,” etc. These images are constructed in the same way as the images of popular fantasy, but they are more terrible because they are more real. The monsters of Foolov's world are generated by this same world, nurtured by its rotten soil. Therefore, the satirist in “The History of a City” does not limit himself to ridiculing the rulers of the city; he also laughs bitterly at the slavish patience of the people.
It is obvious that the chapter “On the Roots of the Origin of the Foolovites,” according to the writer’s plan, was supposed to show the tradition of the emergence of the mayors’ favorite pastime - cutting and collecting arrears.
Initially, the Foolovites were called bunglers because “they had the habit of banging their heads on everything that came along the way. They come across a wall ─ they hit the wall; They’ll start praying to God and then they’ll scratch on the floor.” This “grabbing” already speaks enough about the spiritual, innate qualities of bunglers, which developed in them independently of the princes. With a bitter laugh, M.E. Saltykov-Shchedrin writes that “having gathered together the Kurales, the Guscheeders and other tribes, the bunglers began to settle inside, with the obvious goal of achieving some kind of order.” “It started with kneading Kolga with tolas, then dragging the jelemka to the bathhouse, then boiling the kosh in the purse” and doing other senseless things, because of which even the two stupid princes who were found did not want to “deal with” the bunglers, calling them Foolovites. But the people could not get comfortable on their own. We definitely needed a prince, “who will make soldiers for us and build a fort as it should be!” Here the “historical people” are subjected to satirical ridicule, “carrying on their shoulders the Wartkins, Burcheevs, etc.,” with whom the writer, as he himself admitted, could not sympathize.
The bunglers voluntarily surrendered to bondage, “sighed unabated, cried out loudly,” but “the drama was already completed irrevocably.” And the oppression and theft of the Foolovites began, leading them to riots that were beneficial to the rulers. A " historical times“For Foolov, they began with a cry: “I’ll screw it up!” But despite the sharply critical attitude towards popular passivity, humility and patience, the author in “The History of a City” in other chapters paints the appearance of the people with soulful colors, this is especially clearly manifested in scenes of popular disasters.
It is worth noting that in his work the author does not limit himself to showing pictures of the arbitrariness of the rulers and the long-suffering of the people, he also reveals the process of growing anger of the oppressed, convincing readers that this cannot continue: either Russia will cease to exist, or a turning point will occur that will sweep away the faces of the Russian land existing political system.
Reference material for schoolchildren:
Saltykov-Shchedrin Mikhail Evgrafovich - outstanding Russian writer
Years of life: 1826-1889.
The most famous works and works:
Messrs. Golovlevs
The story of one city
Poshekhonskaya antiquity
Monrepos Asylum
Anniversary
kind soul
Spoiled Children
Neighbours
Chizhikovo mountain
This story is the “true” chronicle of the city of Foolov, “The Foolov Chronicler,” covering the period of time from 1731 to 1825, which was “successively composed” by four Foolov archivists. In the chapter “From the Publisher,” the author especially insists on the authenticity of the “Chronicle” and invites the reader to “catch the face of the city and follow how its history reflected the various changes that were simultaneously taking place in the highest spheres.”
The Chronicler opens with an “Address to the Reader from the Last Chronicler Archivist.” The archivist sees the chronicler’s task as “to be a depicter” of “touching correspondence” - the authorities, “to the extent daring,” and the people, “to the extent of giving thanks.” History, therefore, is the history of the reigns of various mayors.
At the beginning there is a prehistoric chapter “On the roots of the origin of the Foolovites,” which tells how ancient people the bunglers defeated the neighboring tribes of walrus-eaters, bow-eaters, scythe-bellies, etc. But, not knowing what to do to ensure order, the bunglers went to look for a prince. They turned to more than one prince, but even the stupidest princes did not want to “deal with fools” and, having taught them with a rod, released them with honor. Then the bunglers called a thief-innovator, who helped them find the prince. The prince agreed to “lead” them, but did not go to live with them, sending a thief-innovator in his place. The prince called the bunglers themselves “Fools,” hence the name of the city.
The Foolovites were a submissive people, but the novotor needed riots to pacify them. But soon he stole so much that the prince “sent a noose to the unfaithful slave.” But the novotor “and then dodged: […] without waiting for the noose, he stabbed himself to death with a cucumber.”
The prince also sent other rulers - an Odoevite, an Orlovets, a Kalyazinian - but they all turned out to be real thieves. Then the prince “... arrived in person in Foolov and cried out: “I’ll lock it up!” With these words, historical times began."
Next comes the “Inventory for mayors in different time appointed to the city of Foolov by the highest authorities,” after which the biographies of “the most remarkable mayors” are given in detail.
Book table of contents open close
Content
The story in N. M. Karamzin’s story “Natalia, the Boyar’s Daughter”
Images of animals in the fables of I. A. Krylov
The history of the Russian state in the fables of I. A. Krylov (theme of the Patriotic War of 1812)
“The history of the Pugachev rebellion” and a fictional narrative in A. S. Pushkin’s novel “The Captain’s Daughter”
Masha Mironova is the embodiment of the Russian national character
Masha Mironova in the novel by A. S. Pushkin “The Captain's Daughter”
Emelyan Pugachev - historical hero of the novel by A. S. Pushkin “The Captain's Daughter”
Popular uprising in A. S. Pushkin’s novel “The Captain's Daughter”
Three days in freedom (based on M. Yu. Lermontov’s poem “Mtsyri”)
Where is Mtsyri running from and what is he striving for?
Why did Mtsyri's escape fail?
Pictures of nature in M. Yu. Lermontov’s poem “Mtsyri” and their meaning
Features of the composition in N. V. Gogol’s comedy “The Inspector General”
The life of a district town in N. V. Gogol’s comedy “The Inspector General”
Images of officials in N. V. Gogol’s comedy “The Inspector General”
Khlestakov is the main character of N. V. Gogol’s comedy “The Inspector General”
Khlestakov and Khlestakovism in N. V. Gogol’s comedy “The Inspector General”
Analysis of the scene of lying in N. V. Gogol’s comedy “The Inspector General” (act III, scene VI)
Analysis of the scene of giving a bribe in N. V. Gogol’s comedy “The Inspector General” (act IV, scenes III–IV)
The meaning of the silent scene in N. V. Gogol’s comedy “The Inspector General”
“Laughter is a noble face” in N. V. Gogol’s comedy “The Inspector General”
The hero of I. S. Turgenev’s story “Asya”. How his attitude towards life changed
“Russian man at rendez vous” (The hero of I. S. Turgenev’s story “Asya” in the assessment of N. G. Chernyshevsky)
Asya - one of Turgenev’s girls (based on the story “Asya” by I. S. Turgenev)
Pictures of nature in I. S. Turgenev’s story “Asya”
Who is to blame for the heroine’s suffering? Based on the story “The Old Genius” by N. S. Leskov
Russian reality in N. S. Leskov’s story “The Old Genius”
Moral categories in L. N. Tolstoy’s story “After the Ball”
Why didn’t Ivan Vasilyevich serve anywhere? Based on the story by L. N. Tolstoy “After the Ball”
Autumn in the lyrics of Russian poets based on the poems by M. Yu. Lermontov “Autumn” and F. I. Tyutchev “Autumn Evening”
Spring in the lyrics of Russian poets based on the poems by A. A. Fet “The First Lily of the Valley” and A. N. Maykov “The Field Ripples with Flowers”
The inner world of the hero in A. P. Chekhov’s story “About Love”
The problem of the positive hero in M. Gorky’s story “Chelkash”
Landscape in M. Gorky's story "Chelkash"
Chelkash and Gavrila based on the story “Chelkash” by M. Gorky
“The past looks passionately into the future.” The historical past of Russia in the cycle of poems “On the Kulikovsky Field” by A. A. Blok
Poem by A. A. Blok “Russia”
Pugachev - the hero of the poem by S. A. Yesenin
Hero and uprising in the assessment of A. S. Pushkin and S. A. Yesenin
The thing in M. A. Osorgin’s story “Pince-nez”
How did Grinev accept his father’s behest? (based on the novel by A. S. Pushkin “The Captain’s Daughter”). 1st option
