Come in and have a seat, dear reader, the table is already set. Our menu today includes pies and pickles, oysters and roast beef, dumplings, pancakes and other dishes that appeared on the pages of Russian classical literature of the 19th century. To paraphrase the famous saying of Yevgeny Yevtushenko, food in Russian classics can be safely called “more than food.” And it’s not just about appetizing descriptions: often it was through “food” images and vocabulary that writers managed to convey the subtlest nuances of meaning.
Cabbage soup versus oysters: a duel of life philosophies
Russian literature owes the first truly appetizing lines to G.R. Derzhavin. Already in his ode “Felitsa” he glorifies the “glorious Westphalian ham” and, not without voluptuousness, admits through the lips of the lyrical hero: “I wash down the waffles with champagne, and I forget everything in the world.” In “In Praise of Rural Life,” the poet goes even further and sets the key gastronomic dichotomy of Russian literature: refined overseas food versus traditional homemade food. He paints a cozy picture of a home-made landowner's dinner with his family with a pot of “hot, good cabbage soup,” after which oysters and everything else “that the French feed us with” seems tasteless.
Subsequently, this opposition appeared on the pages of many Russian classics, developing and deepening, but the essence remained the same: French cuisine carried the symbolism of secular splendor, isolation from home and the desire for a “beautiful life”, and traditional Russian food personified nepotism, simplicity of morals and adherence to the “habits of dear old times.”
This collision of two worlds is clearly manifested in “Eugene Onegin” by A.S. Pushkin: it is difficult to find two less similar meals than Evgeniy’s exquisite feast in a St. Petersburg restaurant and Tatyana’s name day in the Larins’ house. At one pole there is “bloody roast-beef”, truffles, pineapple and expensive French wines, at the other - fatty pie, roast, domestic Tsimlyansk champagne and tea with rum. Can characters with such different habits understand each other? Hardly. The dissimilarity of culinary traditions and attitudes to everyday life emphasizes the incompatibility and mutual misunderstanding of our heroes even before Tatyana’s final “no” sounds.
The dissimilarity of culinary traditions and attitudes to everyday life emphasizes the incompatibility and mutual misunderstanding of our heroes even before Tatyana’s final “no” sounds.
However, Pushkin is not a moralizer and does not condemn “everything French,” giving credit to each of the two worlds and describing them with equal observation and warmth.
No less expressive is the collision of “simple” and “secular” food in Leo Tolstoy’s Anna Karenina. Stiva Oblonsky's luxurious dinners with oysters and parmesan are contrasted with the simple meals of Levin, who loves cabbage soup and porridge and sometimes shares prison with peasants. Despite the fact that the author’s sympathies are, of course, on the side of folk cuisine, he depicts Stiva’s feasts with skill. However, the duality of the gastronomic universes in Anna Karenina serves not only to reveal the characters' personalities; it contains much deeper symbolism. The attitude towards food becomes a reflection of the attitude towards life and moral choices.
One of the cross-cutting images of the novel is the kalach, which has a metaphorical meaning of temptation. In a dialogue with Oblonsky, this image is put into words: Levin compares betrayal of his beloved wife to how a well-fed man steals a kalach, and Oblonsky objects, “the kalach sometimes smells so bad that you can’t resist.”
After reading this episode, the symbolic meaning of the scene from the beginning of the novel becomes clear, where Stiva Oblonsky, who recently cheated on his wife, happily eats a kalach with butter and shakes off its crumbs from his chest (there is a parallel with the bitten off forbidden fruit). Levin, a supporter of the “don’t steal kalach” position, interacts with the ill-fated baked goods differently: before asking for Kitty’s hand in marriage, he orders a kalach in a tavern, but does not feel the desire to eat it and eventually... spits it out.
Of course, this detail may indicate that in excitement the hero lost all appetite, but the metaphorical interpretation cannot be discounted.
The “food” comparisons in the novel do not end there. The image of the kalach is just one of the links in the unbreakable chain that connects the concepts of love and passion, hunger and gourmet in Anna Karenina. “I am like a hungry person who has been given food,” Anna says about her love for Vronsky. Experiencing Vronsky’s cooling off, she remarks: “Yes, that taste for him is no longer in me.” The difference in perceptions is also noticeable here: for her, love is the satisfaction of spiritual hunger, a vital necessity, but for him it is just a taste that can fade. In this respect, Anna turns out to be closer to Levin, who eats in order to “get full quickly” and not to feast on it longer. At the end of the novel, Anna also loses her taste for food (and life) - she does not touch bread and cheese, and at the station her attention is attracted by the dirty ice cream in the ice cream maker’s tub and the greedy glances of the boys at it. “We all want sweet, tasty things,” she thinks with disgust, and, of course, the meaning of this sentence is not only a statement of the universal human love for sweets.
Pies with love in Gogol's style
The theme of food and its correlation with love and passion is found in many works of Russian classical literature of the 19th century. Chaste in her depiction of carnal passions, she was not as ascetic regarding food pleasures. All the richness of tastes, colors, the whole range of pleasures associated with food are displayed in it, sometimes with voluptuous sensuality. This relationship is especially evident in the works of N.V. Gogol.
Researchers have written a lot about the significance of food images in Gogol’s work, primarily for revealing the characters’ personalities, but we want to focus our attention specifically on the relationship between passion and gluttony. They so often go side by side in his books that one can derive the formula “love = food”, and vice versa.
In the further development of events, the equality of love and food turns into a sum: the hero combines both pleasures, holding a dumpling in one hand, and hugging the “plump figure” of the hostess with the other.
A vivid embodiment of this Gogolian axiom is a parody scene from the Sorochinskaya Fair, where the characters flirt with each other using gastronomic vocabulary against the backdrop of a deliciously set table. In the further development of events, the equality of love and food turns into a sum: the hero combines both pleasures, holding a dumpling in one hand, and hugging the “plump figure” of the hostess with the other.
But the most romantic and even lyrical gluttony is described by Gogol in “Old World Landowners.” An ironic ode to the happy life together of Afanasy Ivanovich and Pulcheria Ivanovna is an ode to mutual care, expressed primarily in the desire to feed tasty food. Pulcheria Ivanovna constantly treats her beloved husband to pies, dumplings, homemade pickles, fruits and other “products of ancient delicious cuisine.” The world outside the garden fence does not exist for them, the old people have no children, and, isolated on each other, they strive to fill the life of their beloved creature with pleasures. In fact, that's all they have left. Love is melted into food, and judging by its quantity, the feeling is enormous. Food becomes the only opportunity to create something from their shared love, and this care turns into self-realization, into the meaning of life.
It is not for nothing that Pulcheria Ivanovna’s first “everyday” request to the housekeeper on her deathbed is “so that what he [Afanasy Ivanovich] loves is prepared in the kitchen,” and the confused husband, not knowing how to help the dying old woman, offers her “something to eat” . And, for the first time destroying their happy food cycle, she does not answer him and dies. But the memory of her is also perceived by the widower through the prism of food: seeing the bread with sour cream once beloved by the deceased, Afanasy Ivanovich, despite all attempts to restrain himself, cries bitterly and inconsolably. It is noteworthy that the premonition of death comes to the old man precisely in the garden, in which the couple loved to walk together and the amazing fertility of which evokes clear associations with the Garden of Eden.
The “love-food” parallel is clearly manifested in other works of Russian literature. Returning to Anna Karenina, let us remember the huge pear that Stiva Oblonsky brings to his wife (and on the same day, happy and carefree, he will be exposed as cheating). Equally indicative is a touching moment from the much later “Walking through Torment” by A.N. Tolstoy, where Telegin awkwardly tries to take care of Dasha on their first meeting, choosing her the most “delicate” sandwich and offering her caramels from his pocket. “Just my favorite caramels,” the girl answers, trying to please him - and on a metaphorical level accepts his advances, sympathy and, ultimately, Telegin himself.
Gastronomic heaven or killer pancakes
Another major novel in which the symbolism of food is infinitely important is “Oblomov” by I.A. Goncharova. Food in it also becomes synonymous with love. The ideal image of Oblomovka in the imagination of Ilya Ilyich is a heavenly picture, woven from love and sleep. The fullness of life is embodied in the dining table laden with food, and it is not surprising that Oblomov understands more clearly the “food” love language of the busy housewife Agafya Timofeevna, who treats him with various delicacies, than the attempts of the beautiful Olga to awaken him to life.
Even Pshenitsyna’s surname is “talking”, and in the novel her image every now and then echoes the theme of baking. Either Oblomov will look at her as if she were a “hot cheesecake,” or the hostess will treat the master to a pie that is “no worse than Oblomov’s.”
Moreover, each time this process of treating is emphatically physical and sensual: Agafya’s naked hand sticks out from behind the curtain with a plate on which a freshly baked pie is smoking.
The pleasure of eating combines with the eroticism of a naked body - and plunges the unfortunate Ilya Ilyich deeper into the abyss of sleepy mundaneness. Oblomov’s illness - “thickening of the heart” - is also associatively connected with the theme of gluttony, and it is also significant that he, realizing that “filling the stomach every day is a kind of gradual suicide,” still cannot stop. Here the theme of food takes on another dimension: its correlation with the theme of absorption and death. There are plenty of associative examples in the novel: an afternoon nap in Oblomovka, called by the author “the true likeness of death”; a mention of village geese, which are hung motionless so that they swim in fat; the master’s thoughts about Agafya’s “unyielding” hands, which “will feed, drink, clothe and shoe and put to sleep, and in death will close<…>eyes".
The relationship between food and death is played out even more curiously in the novel by M.E. Saltykov-Shchedrin “Lord Golovlevs”. Judushka Golovlev, a lover of diminutive endings and conversations over tea, a strict adherent of “dinners” and “memorial services” is more than once called “empty-witted” in the book. This definition can be attributed both to the hero’s inner emptiness and to his insatiable hunger for material wealth. This hunger, feeling of need and stinginess gradually envelops the entire master's estate, as Porfiry Vladimirovich takes over more and more possessions.
The trio “hunger-taste-satiety” runs through the entire text of the novel. Judas’s verbose rebuke is compared to “a stone given to a hungry man,” and the author himself wonders whether the hero realizes “that this is a stone, not bread,” but in any case, “he had nothing else.” At the end of the novel, Golovlevo appears to Anninka’s imagination as “death itself, evil, empty,” as a place where they are fed rotten corned beef and reproached with every extra piece.
The pleasure of eating combines with the eroticism of a naked body - and plunges the unfortunate Ilya Ilyich deeper into the abyss of sleepy mundaneness.
The theme of rotting and decomposition becomes a natural “bridge” between the theme of food and death, and the story from the beginning of the book about how an Englishman ate a dead cat on a dare is naturally woven into this metaphorical series.
Another food parallel - “bittersweet” - often appears in the speeches of Judas. As a rule, in relation to the “bitter” but well-deserved words of parents and the desire for “sweets” that need to be restrained. The only one whom Golovlev does not deny sweets for the time being is his mother, who is “both warm and well fed” for her son. Conflict with brothers is also often conveyed through “food” images, starting from childhood, when Judas hid an apple in his closet, and brother Volodya found it and ate it, and continues by comparing children deprived of an inheritance to “thrown away pieces.” The separation of these “pieces” deepens the theme of fragmentation, decomposition, division of the whole into parts and their absorption.
It is noteworthy that the pie, a symbol of family unity and abundance, so often mentioned in many Russian works, appears rarely in The Golovlev Gentlemen. However, the context of its appearance is always “speaking”. In the course of the action, there is a mention twice that the mother does not give pie to her children, whom she keeps from hand to mouth - both when they were little and when they grew up. The unloved eldest son Stepka the dunce climbed into the kitchen as a child and stole a pie there (an illustrative metaphor for getting love at any cost), but as an adult, he realized the hopelessness of his efforts. Arriving to visit his mother, he learns that, among other things, raspberry pie with cream is expected for dinner, and summarizes bitterly: “it will rot, but<мне>will not give".
The only pie, the eating of which is described in person in the novel, is a funeral pie, combining the symbolism of both food and death.
Food and death are directly connected in a small but very expressive humoresque by A.P. Chekhov "On Mortality". In it, court councilor Semyon Petrovich Podtykin carefully prepares for eating pancakes: he pours butter, caviar, sour cream over them, covers them with fatty pieces of salted fish, and... dies of apoplexy without having time to taste the delicacy. Was Podtykin’s killer an absurd accident, or was his immoderate passion for food at least partly to blame? When we say “passion,” we also mean an erotic connotation, which appears every now and then in this sketch: at the sight of the rich appetizers, the court councilor’s face “contorted with voluptuousness,” and the pancakes themselves were “plump, like the shoulder of a merchant’s daughter.”
This is not the writer’s only mention of pancakes in the context of Thanatos. In the Maslenitsa story “The Stupid Frenchman,” Chekhov also addresses the theme of deadly (in every sense) gluttony. The visiting French clown Pourquois witnesses the gluttony of the Russian reveler, and, watching him order more and more dishes, comes to the conclusion that he wants to commit suicide. The Frenchman decides to save the unfortunate man and everything ends, as often happens in the works of Anton Pavlovich, in embarrassment. The theme of gluttony, no longer in a “deadly” context, appears in other stories and plays by Chekhov. Sometimes as a tragicomic contrast to the feelings of the characters (the famous “sturgeon with a scent” in “The Lady with the Dog”), and sometimes as a subject of almost sympathetic irony. The clearest example is the story “Siren”, entirely dedicated to the invincible “food voluptuousness”.
Sturgeon of the second freshness and narzan from another life
From the image of death to the image of paradise (including the lost one) is just one step, and many writers (especially in the 20th century) interpreted food precisely as a reflection of the “lost paradise”. This is exactly the feeling that is created when reading the novel “The Summer of the Lord” by I. Shmelev.
A child's joy of life, the abundance and colorfulness of the surrounding world, admiration for every little thing - all this creates a feeling of an ideal world, which at the end of the book is destroyed before the reader's eyes along with the death of the protagonist's father.
But, until the fateful event happened, we see an expressive picture of the Lenten market, a table set for various religious holidays, and children's delicacies.
In The Summer of the Lord, food becomes a symbol of bliss, and it is based on certainty. The holiday calendar is strictly observed in the family of the protagonist, and through this series of events, in the flow of strictly regulated time, he perceives the world around him. The change of traditional dishes on the table month after month makes the rhythm of life noticeable and predictable. The stronger the boy’s encounter with grief when, due to his father’s fatal illness, the traditional course of things is disrupted. And again, it is food that helps the author demonstrate the tragic split of the children’s universe into “before” and “after”: the protodeacon, who administered unction to the hero’s dying father, trying to console the children, gives them each “wedding” candy. This inappropriateness of a festive delicacy at a funeral makes a deep impression on the child and becomes the first harbinger of difficult life changes that await him later. In I. Shmelev’s later work “The Sun of the Dead” about the difficult times of the Civil War, “hunger, and fear, and death” are described in a frighteningly tangible way. The word “satiety” and its derivatives appear in the text of the book only 2 times. (For comparison, the word “hunger” and its derivatives - 67 times). But this “summer” will forever remain in the memory of the lyrical hero as delicious and cloudless.
The only pie, the eating of which is described in person in the novel, is a funeral pie, combining the symbolism of both food and death.
Another writer whose attitude towards food can undoubtedly be called “nostalgic” is M.A. Bulgakov. During the terrible years of the revolution, the subsequent “lack of food” and global social reorganization, the food culture also completely changed. The writer addressed a lot of evil irony on the pages of his novels and stories to the new world order, paying attention to gastronomic changes. How can one not recall “second-fresh sturgeon” and Krakow sausage, poisonous remarks about “three-day-old pike perch” and “normal food” canteens. All these innovations are felt by the author as violations of the norm, the established rhythm of life, and the author, although not without self-irony, yearns for the irretrievable past.
This longing for the past is shared by his heroes: the intellectual Professor Preobrazhensky from “The Heart of a Dog,” who is trying to maintain domestic order as it was before the revolution, Foka and Ambrose from “The Master and Margarita,” who yearn for sterlet, fillets, woodcock and eggs -cocotte However, the salmon, cut into the thinnest slices and caviar in a silver tub lined with snow, already bears the stamp of doom. “Eating food” by Preobrazhensky and “eating” by Sharikov are incompatible, both on the semantic and on a purely phonetic level. The lost paradise floats into the past and becomes unattainable. And when Bulgakov, with playfully exaggerated delight, nostalgizes through the lips of two gourmets about the dishes of past times and “narzan hissing in his throat,” then barely audible tears sound in this hissing.
Love and death, satiety and all-consuming hunger, heavenly abundance or poison and rot - the theme of food is fraught with dozens, if not hundreds of possible interpretations. The attitude towards eating affects both the physical and spiritual aspects of the human personality, and it is their fusion and mutual enrichment that makes gastronomic images in literature so understandable and tangible. However, food has not only long been included in literature - literature itself is often discussed using culinary categories: “good taste”, “food for thought”, “delicious” text. All that remains is to avoid book fast food and enjoy the art of brilliant chefs of the word. ■
Natalia Makuni
Literature
- Chekhov A.P. About frailty, 1886.
- Saltykov-Shchedrin M.E. Messrs. Golovlevs, 1875-1880.
- I. A. Goncharov. Collected Works in eight volumes. T. 4. M.: State Publishing House of Fiction, 1953.
- Gogol N.V. Old world landowners. // Gogol N.V. Evenings on a Farm Near Dikanka. Mirgorod. Stories. Comedy "The Inspector General". - Alma-Ata: Zhazushy, 1984.
- Tolstoy A.N. The Road to Calvary. 1921-1941.
- Tolstoy L.N. Anna Karenina. // Tolstoy L.N. Anna Karenina: A Novel in 8 Parts. M.: Khudozh. Lit., 1985.
- Pushkin A. S. “Eugene Onegin.” // A. S. Pushkin. Selected works in 2 volumes. Volume 2. Novels. Stories. M.: RIPOL CLASSIC, 1996.
- Derzhavin G.R. Felitsa // G.R. Derzhavin. Poems. L.: Soviet writer, 1957.
Considering the question of the connection between haute cuisine and class-class inequality, in a number of cases we find that different classes (layers) of the same society are focused on different national cuisines. The most privileged and wealthy classes (strata) often prefer foreign cuisines, offering a large selection of luxurious and expensive dishes, while the rest (low-ranking and poor nobles, petty bourgeoisie and social lower classes) are limited to simpler and poorer national cuisine. Let's call this phenomenon culinary-class disaggregation. Great Russian literature provides colorful examples of this phenomenon.
According to A. S. Pushkin, the food of the aristocrat Eugene Onegin included French wines, “bloody roast-beef”, “truffles”, “Strasbourg incorruptible pie between live Limburg cheese and golden pineapple”. Stepan Arkadyevich Oblonsky from L. N. Tolstoy's Anna Karenina orders the waiter in a restaurant three dozen Flensburg oysters, porridge a la Russe, soup prentanière, turbot fish with thick Beaumarchais sauce, roast beef, capon, poulard a lestragon (chicken with herbs ), macédoine de fruy (fruit drenched in wine), Parmesan cheese and wines (champagne and Chablis). As we can see, Onegin and Oblonsky, belonging to the highest aristocracy of the Russian Empire of the 19th century, were focused mainly on French cuisine with some English motifs.
N.V. Gogol described the gastronomic practices of the humble and poor small and middle nobility. In "Old World Landowners" the main characters eat dishes of Russian (and Ukrainian) cuisine - porridge, shortcakes with lard, pies with poppy seeds, with cheese, with cabbage, with buckwheat porridge, salted saffron milk caps, mushrooms with thyme, dried fish, jelly, marshmallows honey and sugar, vodka, coffee, jelly, milk, uzvar with pears, jam, fruits, berries. Sobakevich's lunch in "Dead Souls" looked like this: vodka, pickles, cabbage soup, nanny (lamb stomach stuffed with buckwheat porridge, brain and legs), cheesecakes, turkey stuffed with eggs, rice, liver, side of lamb with porridge, jam. Sobakevich criticizes German and French cuisines for the fact that they starve diets, while the French one also offers frogs. Thus, he acts not only as a culinary patriot, but also as a representative of the lower and middle nobility, for whom culinary preferences are a reason to express hostility (and envy) towards the rich nobility who prefer French cuisine.
Here is an example of the kitchen of middle-class landowners. Pyotr Petrovich Rooster (the second volume of Gogol’s “Dead Souls”) makes an order to his cooks: “Make the kulebyak into four corners. In one corner put me sturgeon and elm, in the other put buckwheat gruel, mushrooms and onions, and sweet milk, yes brains, and what else do you know there..."
But nevertheless, the noble Russian nobility gravitated towards French cuisine, since the cuisine of Russian small and even medium-sized landowners was not luxurious and sophisticated enough, and did not offer a wide enough range of gastronomic pleasures. Of course, gastronomic fashion, which already in the 19th century, also had a certain significance. was pan-European.
From the article: Rakhmanov A. B. Determinants of the global culinary space // ECO. All-Russian Economic Journal, No. 7, July 2017, pp. 72-88
A. Voloskov. “At the tea table”
In descriptions of the feast, Russian literature literally comes close to painting - “verbal still lifes” of great writers capture the imagination no less than real still lifes painted by famous artists on canvas or cardboard, and one is not inferior to the other in brightness and “delicacy”.
Let's start with Pushkin - Evgeny Onegin visits the restaurant " Talon » (St. Petersburg, Nevsky Prospekt) :
Entered: and there was a cork in the ceiling,
The current flowed from the comet's fault,
Before him roast-beef is bloody,
And truffles, the luxury of youth,
French cuisine has the best color,
And Strasbourg's pie is imperishable*
Between live Limburg cheese
And a golden pineapple.
*) A specially prepared pate of duck liver, truffles and hazel grouse in a thin crispy dough shell.
After the restaurant, Onegin immediately rushed to the theater:
Thirst asks for more glasses
Pour hot fat over cutlets,
But the ringing of the Breguet reaches them,
That a new ballet has begun.
In “Excerpts from Onegin’s Travels” another restaurant is mentioned - the Odessa restaurant Oton and its famous oysters:
What are oysters? We've arrived! O joy!
Gluttonous youth flies
Swallow from sea shells
Hermits fat and alive,
Lightly sprinkled with lemon.
Noise, controversy - light wine
Brought from the cellars
On the table by the helpful Otho;
The hours are flying, and the score is terrible*
Meanwhile, it grows invisibly.
*) Oysters in the 1st half of the 19th century were a very expensive pleasure - the cost of a hundred oysters in a restaurant reached 100 rubles (for example, an army captain then earned these same 100 rubles a month, and 1 kg of fresh meat cost 40-50 kopecks .).
Ivan Andreevich Krylov:
The famous Russian fabulist was endowed with many other talents: he knew five foreign languages perfectly; played the violin excellently; had great health - until the very cold, he swam in the Neva, quickly breaking through the young ice with his huge body, weighing well over 100 kg. But his main joy was food. Frankly speaking, Ivan Andreevich Krylov was a rare, simply monstrous glutton. As P. Vyazemsky once said about Krylov, it was easier for him to survive the death of a loved one than to miss lunch. Here is the recollection of a contemporary: “For one lunch, to which Ivan Andreevich devoted at least three hours, he absorbed an incredible amount of food: three plates of fish soup, two dishes of pies, several veal chops, half a fried turkey, and for dessert a large pot of Guryev porridge.” .* Pushkin, with whom we began our story, loved Krylov and called him a “pre-original carcass.”
*) Porridge, prepared fromsemolinawith milk and nuts (walnuts, hazelnuts,almonds), dried fruits, creamy foam.
N.V. Gogol - “Dead Souls” (Chichikov listened to how the owner of the estate, Pyotr Petrovich Rooster, ordered his cook a “decisive dinner”):
- Yes, make a pie with four corners. In one corner put me sturgeon and elm, in the other put buckwheat porridge, and mushrooms with onions, and sweet milk, and brains, and what else you know... Yes, so that on one side it, you know, would turn brown, and on the other let her go easy. Yes, from the underside, from the underside, bake it so that it crumbles, so that it is all penetrated, you know, with juice, so that you don’t even hear it in your mouth - it would melt like snow... Yes, just make me some pork rennet*. Place a piece of ice in the middle so that it swells well. Yes, so that the sturgeon has a richer lining, a side dish, a richer side dish! Cover it with crayfish, and fried small fish, and fill it with minced meat from snowflakes, and add small chopped chicken, horseradish, and milk mushrooms, and turnips, and carrots, and beans, and isn’t there any other root there?..
*) Pork stomach stuffed with ground pork by-products (liver, kidneys, tongue, ears), various vegetables and spices, baked in the oven; a piece of ice placed inside in the oven turns into steam and makes the rennet porous, soft and tender.
I. A. Goncharov - “Oblomov”:
The whole house discussed dinner... Everyone offered their dish: some soup with giblets, some noodles or stomach, some tripe, some red, some white gravy for the sauce... Taking care of food was the first and main concern in life in Oblomovka. What calves grew fat there for the annual holidays! What a bird was raised!.. Turkeys and chickens assigned to name days and other special days were fattened with nuts, geese were deprived of exercise, forced to hang motionless in a sack a few days before the holiday, so that they would swim with fat. What stocks there were of jams, pickles, and cookies! What honeys, what kvass were brewed, what pies were baked in Oblomovka!
A.P. Chekhov - from the story “Siren” (the case takes place in the deliberation room of the court, where everyone has gathered to make a decision):
“Well, when you enter the house,” the court secretary began, “the table should already be set, and when you sit down, now put a napkin in your tie and slowly reach for the decanter of vodka.” The court clerk painted a look of bliss on his sweet face. - As soon as you have drunk, you need to have a snack now.
“Listen,” said the chairman, raising his eyes to the secretary, “speak more quietly!” Because of you, I’m already ruining the second sheet.
- Oh, it’s my fault, Pyotr Nikolaich! “I’ll be quiet,” the secretary said and continued in a half-whisper: “Well, and you also need to eat skillfully, my soul Grigory Savvich.” You need to know what to eat. The best appetizer, if you want to know, is herring. If you ate a piece of it with onions and mustard sauce, now, my benefactor, while you still feel the sparks in your stomach, eat the caviar on its own or, if you wish, with a lemon, then a simple radish with salt, then again herring, but best of all , benefactor, salted saffron milk caps, if you cut them finely, like caviar, and, you know, with onions, with Provençal butter... delicious! But burbot liver is a tragedy!
“Hmm, yes...” agreed the honorary justice of the peace, squinting his eyes. - Also good for appetizers... sultry porcini mushrooms...
- Yes, yes, yes... with onions, you know, with bay leaves and all sorts of spices. You open the pan, and steam comes out of it, a mushroom spirit... sometimes even a tear comes out! Well, as soon as they brought the kulebyaka out of the kitchen, you immediately need to drink a second one.
More Chekhov - from the story “On Mortality”:
Court Councilor Semyon Petrovich Podtikin sat down at the table, covered his chest with a napkin and, burning with impatience, began to wait for the moment when the pancakes would begin to be served... But finally, the cook appeared with pancakes... Semyon Petrovich, risking burning his fingers, grabbed the two top, most hot pancakes and deliciously plopped them onto his plate. The pancakes were crispy, spongy, plump, like the shoulder of a merchant’s daughter... Podtykin smiled pleasantly, hiccupped with delight and doused them with hot butter. Then, as if whetting his appetite and enjoying the anticipation, he slowly, sparingly coated them with caviar. He poured sour cream on the places where the caviar did not fall... Now all that was left was to eat, wasn’t it? But No! grunted, opened his mouth... But then he was seized with an apoplexy.
L. N. Tolstoy – “Anna Karenina”:
When Levin entered the hotel with Oblonsky, he could not help but notice a certain peculiarity of expression, a kind of restrained radiance, on the face and throughout the entire figure of Stepan Arkadyevich. A waiter of Tatar appearance immediately flew up to them.
- If you order, your Excellency, a separate office will now be emptied: Prince Golitsyn with a lady. Fresh oysters received.
- A! oysters
Stepan Arkadyevich thought about it.
– Shouldn’t we change the plan, Levin? - he said, placing his finger on the map. And his face expressed serious bewilderment. -Are the oysters good? Look!
- Flensburg, your Excellency, no Ostend.
- Are the Flensburg ones fresh?
- Received yesterday, sir.
- So, shouldn't we start with oysters, and then change the whole plan? A?
- I don't care. The best thing for me is cabbage soup and porridge; but that’s not the case here.
- Porridge à la russe, would you like? - said the Tatar, like a nanny over a child, bending over Levin.
- Still would! Whatever you say, this is one of the pleasures of life,” said Stepan Arkadyevich. - Well, then give us, my brother, two oysters, or a few - three dozen, soup with roots...
“Prentanier,” the Tatar picked up. But Stepan Arkadyevich, apparently, did not want to give him the pleasure of naming the dishes in French.
- With roots, you know? Then turbot with a thick sauce, then... roast beef; Yes, make sure it’s good. Yes, capons, or something, and canned food.
The Tatar, remembering Stepan Arkadyich’s manner of not naming dishes according to the French map, did not repeat after him, but gave himself the pleasure of repeating the entire order according to the map: “Soup prentanière, turbot saus Beaumarchais, poulard à lestragon, macédoine de fruy...”.
M. Bulgakov –“The Master and Margarita” (Foka, in a conversation with the poet Ambrose, not wanting to eat the current “boiled portioned pike-perch”, recalls near the entrance to Griboyedov’s restaurant “at the cast-iron grate”* as it was before the October Revolution):
- Eh-ho-ho... Yes, it was, it was!.. Moscow old-timers remember the famous Griboyedov! What boiled portioned pike perch! It's cheap, dear Ambrose! Do you remember sterlet, sterlet in a silver saucepan, sterlet in pieces, arranged with crayfish necks and fresh caviar? What about cocotte eggs with champignon puree in cups? Didn't you like blackbird fillets? With truffles? Genoese quail? Ten and a half! Yes jazz, yes polite service! And in July, when the whole family is at the dacha, and urgent literary matters keep you in the city, - on the veranda, in the shade of climbing grapes, in a golden spot on a clean tablecloth, a plate of soup-prentanière? Remember, Ambrose? Well, why ask! I see from your lips that you remember. What are your pike perch these days! Do you remember great snipes, woodcocks, snipes, woodcocks in season, quails, waders? Narzan hissing in the throat?!..
*) Here Bulgakov describes a real Moscow building, Tverskoy Boulevard 25, also known as “Herzen’s House”, now the Literary Institute is located there. Gorky.
Isaac Babel - “Odessa Stories”:
... And now... we can return to the wedding of Dvoira Krik, the King's sister. Turkeys were served for dinner at this wedding. ,
fried chicken, geese, stuffed fish and fish soup,
in which lemon lakes shone like mother-of-pearl. Flowers swayed like lush plumes above the dead goose heads. But is it possible that fried chicken is washed ashore by the foamy surf of the Odessa Sea? All the noblest of our contraband, all that the earth is famous for from end to end, did its destructive, its seductive work on that starry, that blue night. The foreign wine warmed the stomachs, sweetly broke the legs, stupefied the brains and caused belching, sonorous as the call of a battle trumpet. The black cook from the Plutarch, which arrived on the third day from Port Said, carried it beyond the customs line pot-bellied bottles of Jamaican rum,
m oily Madeira, cigars from the plantations of Pierpont Morgan and oranges from the outskirts of Jerusalem.
This is what the foamy surf of the Odessa Sea brings ashore...
Selection and comments by Mikhail Krasnyansky
Food in literature, particularly in Russian literature, is more than just food. She is part of the surroundings, along with the furnituredecoration of the characters’ living rooms, their appearance, costume and nature. What and how did the heroes of famous literary works by Russian authors eat and what did they drink with?
1. How Mitrofanushka from Fonvizin’s “The Minor” deigned to eat:
Mrs. Prostakova. Ah, Mother of God! What happened to you, Mitrofanushka?
Mitrofan. Yes, mother. Yesterday after dinner it hit me.
Skotinin. Yes, it’s clear, brother, you had a hearty dinner.
Mitrofan. And I, uncle, almost didn’t have dinner at all.
Prostakov. I remember, my friend, you wanted to eat something.
Mitrofan. What! Three slices of corned beef, and hearth slices, I don’t remember, five, I don’t remember, six.
Eremeevna. Every now and then he asked for a drink at night. I deigned to eat a whole jug of kvass.
2.Perhaps the most juicy descriptions of provisions can be found in the works of Gogol.
"Dead Souls"
“In the meantime, he was served various dishes common in taverns, such as: cabbage soup with puff pastry, specially saved for travelers for several weeks, brains with peas, sausages with cabbage, fried poulard, pickled cucumber and the eternal sweet puff pastry, always ready to serve ; While all this was served to him, both heated and simply cold, he forced the servant or the floor guard to tell all sorts of nonsense about who ran the inn before and who now, and whether it gives a lot of income, and whether their owner is a big scoundrel.”
Do you have a piglet? - Chichikov asked this question to the standing woman.
- Eat.
- With horseradish and sour cream?
- With horseradish and sour cream.
- Give it here!
Sausages with cabbage, pickled cucumber and eternal sweet puff pastry
“This was on point, because Themistoclus bit Alcides by the ear, and Alcides, closing his eyes and opening his mouth, was ready to sob in the most pitiful way, but, feeling that for this he could easily lose the dish, he brought his mouth back to its previous position and began tearfully gnawing on a mutton bone that made both his cheeks shiny with fat. The hostess very often turned to Chichikov with the words: “You don’t eat anything, you took very little.” To which Chichikov answered every time: “I humbly thank you, I’m full, a pleasant conversation is better than any dish.”
“He poured very diligently into both glasses, right and left, for his son-in-law and Chichikov; Chichikov noticed, however, somehow in passing, that he did not add much to himself. This forced him to be careful, and as soon as Nozdryov somehow started talking or poured a drink for his son-in-law, he would at that very moment tip his glass into the plate. In a short time, mountain ash was brought to the table, which, according to Nozdryov, had the perfect taste of cream, but in which, to amazement, fusel could be heard in all its strength. Then they drank some kind of balm that had a name that was even difficult to remember, and the owner himself another time called it by a different name.”
"Christmas Eve"
“Then Vakula noticed that there were neither dumplings nor a tub in front of him; but instead there were two wooden bowls on the floor: one was filled with dumplings, the other with sour cream. His thoughts and eyes involuntarily turned to these dishes. “Let’s see,” he said to himself, “how Patsyuk will eat dumplings. He probably won’t want to bend over to slurp it like dumplings, but he can’t: you need to dip the dumplings in sour cream first.”
As soon as he had time to think this, Patsyuk opened his mouth, looked at the dumplings and opened his mouth even more. At this time, the dumpling splashed out of the bowl, plopped into the sour cream, turned over to the other side, jumped up and just landed in his mouth. Patsyuk ate it and opened his mouth again, and the dumpling went out again in the same order. He only took on the labor of chewing and swallowing. “Look, what a miracle!” - thought the blacksmith, his mouth open in surprise, and at the same time he noticed that the dumpling was climbing into his mouth and had already smeared his lips with sour cream.
3. The heroes of Ostrovsky’s “Dowry” loved to sip tea, but not only that:
Vozhevatov. Gavrilo, give us some of my tea, you know?.. Mine!
Gavrilo. I'm listening, sir. (Leaves.)
Knurov. What kind of special drink do you drink?
Vozhevatov. Yes, it’s still the same champagne, only he will pour it into teapots and serve glasses and saucers.
The dumpling climbs into his mouth and has already smeared his lips with sour cream.
4. In the life of Ilya Ilyich Oblomov, food occupies an extremely important place:
“Caring for food was the first and main concern of life in Oblomovka. What calves grew fat there for the annual holidays! What a bird was raised! How many subtle considerations, how many activities and worries go into courting her! Turkeys and chickens assigned to name days and other special days were fattened with nuts; The geese were deprived of exercise and forced to hang motionless in a bag several days before the holiday, so that they would swim with fat. What stocks there were of jams, pickles, and cookies! What honeys, what kvass were brewed, what pies were baked in Oblomovka!”
Life changes, the situation changes, food becomes dull and poor:
“Zakhar brought an old tablecloth, laid it on half the table, next to Oblomov, then carefully, biting his tongue, brought a device with a decanter of vodka, put the bread and left. The door on the master's side opened and Agafya Matveevna entered, carrying a nimbly sizzling frying pan with scrambled eggs. Akulina was no longer in the house. Anisya is in the kitchen, and in the garden, and follows the birds, and washes the floors, and does laundry; She can’t do it alone, and Agafya Matveevna, willy-nilly, works in the kitchen herself: she crushes, sows and rubs a little, because not enough coffee, cinnamon and almonds come out, and she has forgotten to even think about lace. Now she more often has to chop onions, grate horseradish and similar spices. There is deep despondency in her face.
What honeys, what kvass were brewed, what pies were baked in Oblomovka!
But she sighs not about herself, not about her coffee, she grieves not because she doesn’t have a chance to fuss, do a lot of housekeeping, crush cinnamon, put vanilla in the sauce or cook thick cream, but because Ilya Ilyich doesn’t eat any of this for another year, because he doesn’t get coffee in bulk from the best store, but buys it for ten kopecks in a shop; The cream is not brought by a Chukhonka, but supplied by the same shop, because instead of a juicy cutlet, she brings him scrambled eggs for breakfast, seasoned with tough ham that has been stale in the shop.”
5. Pushkin’s heroes were also not fools to eat:
It’s already dark: he gets into the sled.
“Fall, fall!” - there was a cry;
Silvery with frosty dust
His beaver collar.
He rushed to Talon: he is sure
What is Kaverin waiting for him there?
Entered: and there was a cork in the ceiling,
The comet's fault flowed with current;
Before him roast-beef is bloody,
And truffles, the luxury of youth,
French cuisine has the best color,
And Strasbourg's pie is imperishable
Between live Limburg cheese
And a golden pineapple.
6. The hero of “Anna Karenina” by Steve Oblonsky knew a lot about both food and drink:
Instantly spreading a fresh tablecloth on a round table already covered with a tablecloth under a bronze sconce, he pulled up velvet chairs and stopped in front of Stepan Arkadyevich with a napkin and card in his hands, awaiting orders.
If you order, Your Excellency, a separate office will now be emptied: Prince Golitsyn with a lady. Fresh oysters received.
- A! oysters
Stepan Arkadyevich thought about it.
- Shouldn't we change the plan, Levin? - he said, placing his finger on the map. And his face expressed serious bewilderment.
- Are the oysters good? Look!
- Flensburg, your Excellency, no Ostend.
- Are the Flensburg ones fresh?
- Received yesterday, sir.
- So, shouldn't we start with oysters, and then change the whole plan? A?
- I don't care. The best thing for me is cabbage soup and porridge; but that’s not the case here.
- Porridge, à la russe, would you like? - said the Tatar, like a nanny over a child, bending over Levin.
- No, no joke, whatever you choose is good. I went skating and I'm hungry. “And don’t think,” he added, noticing a dissatisfied expression on Oblonsky’s face, “that I don’t appreciate your choice.” I'll be happy to eat well.
- Still would! Whatever you say, this is one of the pleasures of life,” said Stepan Arkadyevich. - Well, then give us, my brother, two oysters, or three dozen, soup with roots...
“Prentanier,” the Tatar picked up. But Stepan Arkadyevich, apparently, did not want to give him the pleasure of naming the dishes in French.
- With roots, you know? Then turbot with a thick sauce, then... roast beef; Yes, make sure it’s good. Yes, capons, or something, and canned food.
The Tatar, remembering Stepan Arkadyevich’s manner of not naming dishes according to the French map, did not repeat after him, but gave himself the pleasure of repeating the entire order according to the map: “Soup prentanière, turbot saus Beaumarchais, poulard, a lestragon, macédoine de fruy...” - and immediately, as if on springs, he put down one bound card and picked up another, a wine list, and brought it to Stepan Arkadyevich.
What are we going to drink?
“Whatever you want, just a little champagne,” said Levin.
- How? at first? But, perhaps, it’s true. Do you love with a white seal?
“Cache blanc,” the Tatar picked up.
- Well, then serve this brand with oysters, and we’ll see.
- I’m listening, sir. What kind of dining room would you like?
- Give me Nyui. No, the classic Chablis is better.
- I’m listening, sir. Would you like some of your cheese?
- Well, yes, parmesan. Or do you love someone else?
“No, I don’t care,” Levin said, unable to contain his smile.
Entered: and the plug was in the ceiling, the comet's wine splashed current
7. For the hero of Chekhov's story, the long-awaited meal turned into a real disaster:
“The court councilor Semyon Petrovich Podtykin sat down at the table, covered his chest with a napkin and, burning with impatience, began to wait for the moment when pancakes would begin to be served... In front of him, as in front of a commander inspecting the battlefield, a whole picture was spread out... In the middle of the table, stretched out to the front , there were slender bottles. There were three types of vodka, Kiev liqueur, chatolarose, Rhine wine, and even a pot-bellied vessel with a work by the Benedictine fathers. Herrings with mustard sauce, sprat, sour cream, grainy caviar (3 rubles 40 kopecks per pound), fresh salmon, etc. were crowded around the drinks in artistic disorder. Podtikin looked at all this and greedily swallowed his saliva... His eyes turned oily, his face twisted with voluptuousness...
Well, can it take so long? - He winced, turning to his wife. - Hurry up, Katya!
But finally the cook appeared with pancakes... Semyon Petrovich, risking burning his fingers, grabbed the top two, hottest pancakes and deliciously plopped them on his plate. The pancakes were crispy, spongy, plump, like the shoulder of a merchant’s daughter... Podtykin smiled pleasantly, hiccupped with delight and doused them with hot butter. Then, as if whetting his appetite and enjoying the anticipation, he slowly, sparingly coated them with caviar. He poured sour cream on the places where the caviar did not fall... Now all that was left was to eat, wasn’t it? But No! grunted, opened his mouth...
But then he was seized with apoplexy.”
The pancakes were crispy, spongy, plump, like the shoulder of a merchant’s daughter...
8. In “Walking Through Torment,” the main characters, who lead a very bohemian lifestyle, sip wine and champagne every now and then in anticipation of an imminent revolution:
“Yes, more news,” greeted Akundina, assuring that in the very near future we will have a revolution. You see, in factories, in villages, there is fermentation everywhere. Oh, I wish I could hurry up. Nikolai Ivanovich was so happy that he took me to Pivato, and we drank a bottle of champagne, for no apparent reason, for the future revolution.”
“Dasha, sipping champagne through a straw, watched the tables. Here, in front of a steamy bucket and a lobster skin, sits a shaven man with powdered cheeks. His eyes are half-closed, his mouth is compressed contemptuously. Obviously, he sits and thinks that in the end the electricity will go out and all people will die - is there anything to be happy about?
“He took off her coat and hat and laid her on a broken armchair. The polovoi brought a bottle of champagne, small apples and a bunch of grapes with cork sawdust, looked into the washstand and disappeared, still as gloomy. Elizaveta Kievna pulled back the curtain on the window - there, in the middle of a wet wasteland, a gas lamp was burning and huge barrels with people on sawhorses bent under matting were driving. She grinned, went to the mirror and began to straighten her hair with some new, unfamiliar movements. “Tomorrow I’ll come to my senses and I’ll go crazy,” she thought calmly and straightened the striped bow.
Bessonov asked:
- Do you want some wine?
- Yes I want to".
“Ivan Ilyich ordered the table to be taken out onto the deck and, looking at the card, he began to anxiously scratch his clean-shaven chin.
- What do you think, Daria Dmitrievna, about a bottle of light white wine?
- I'll drink a little with pleasure.
-White or red?
Dasha answered just as busily:
- Either one or the other.
“In that case, let’s drink some sparkling wine.”
But sometimes heroes end up in simple kitchens:
“Dasha thought that she would give him pleasure if she agreed, got up and went to the dining room. There on the table there was a dish with sandwiches and a dented samovar. Telegin immediately collected the dirty plates and put them right on the floor in the corner of the room, looked around, looking for a rag, wiped the table with a handkerchief, poured Dasha some tea and chose the most “delicate” sandwich. He did all this slowly, with big strong hands, and said, as if especially trying to make Dasha feel comfortable among this garbage: “Our household is in disarray, that’s true, but the tea and sausage are first-class, from Eliseev. There were sweets, but they were eaten, though,” he pursed his lips and looked at Dasha, fear appeared in his blue eyes, then determination, “if you allow me?” - and pulled out two caramels in pieces of paper from his vest pocket.
“You won’t be lost with something like that,” thought Dasha, and also, to make him feel good, she said:
“Just my favorite caramels.”
And in the revolution, the joys of food are completely rare:
“Ivan Ilyich had great respect for his stove, lubricated its cracks with clay, and hung tins under the pipes so that tar would not drip onto the floor. When the kettle boiled, he pulled the bag out of his pocket and poured sugar into a glass, which was sweeter. From another pocket he pulled out a lemon that miraculously fell into his hands today (bartered for mittens from a disabled person on Nevsky), prepared sweet tea with lemon and placed it in front of Dasha.
Dashenka, here with a lemon... And now I’ll make a blinker. This was the name of a device made from an iron jar in which a wick floated in sunflower oil. Ivan Ilyich brought a blinker, and the room was somehow illuminated. Dasha was already sitting in a chair like a human being, drinking tea. Telegin, very pleased, sat down nearby.”
He pulled out a bag from his pocket and poured sugar into a glass, sweeter
9. Another master of describing feasts is Mikhail Bulgakov. In The Master and Margarita, Woland and company are true connoisseurs:
No no no! Not another word! Under no circumstances and never! I won’t take anything in your mouth in your buffet! I, most respected one, passed by your stand yesterday and still can’t forget either the sturgeon or the feta cheese. My precious one! Cheese cheese is not green, someone deceived you. She's supposed to be white. Yes, and what about tea? After all, this is slop! I saw with my own eyes how some unkempt girl poured raw water from a bucket into your huge samovar, while the tea continued to be poured. No, my dear, that’s impossible!
“I’m sorry,” said Andrei Fokich, stunned by this sudden attack, “I have nothing to do with this matter, and sturgeon has nothing to do with it.”
- That is, it has nothing to do with it if it is spoiled!
“The sturgeon was sent back fresh,” said the barman.
Darling, this is nonsense!
- What nonsense?
- The second freshness is nonsense! There is only one freshness - the first, and it is also the last. And if the sturgeon is second freshness, then this means that it is rotten!
“Dear Stepan Bogdanovich,” the visitor spoke, smiling shrewdly, “no pyramidon will help you. Follow the old wise rule - treat like with like. The only thing that will bring you back to life is two glasses of vodka with a spicy and hot snack.
Styopa was a cunning man and, no matter how sick he was, he realized that since he was caught in this form, he needed to confess everything.
Frankly speaking...” he began, barely moving his tongue, “yesterday I was a little...
- Not a word more! - the visitor answered and drove off to the side with his chair. Styopa, wide-eyed, saw that a tray was served on a small table, on which there was sliced white bread, pressed caviar in a vase, pickled white mushrooms on a plate, something in a saucepan and, finally, vodka in a voluminous jewelry decanter. Styopa was especially struck by the fact that the decanter was fogging up from the cold. However, this was understandable - he was placed in a gargle filled with ice. It was covered, in a word, cleanly and skillfully.
The second freshness is nonsense! There is only one freshness - the first
Well, and, of course, the golden phrase of Behemoth:
Noble lick,” the cat noticed and poured some clear liquid into Margarita’s lafite glass.
- Is this vodka? - Margarita asked weakly.
The cat jumped up in his chair from offense.
“For mercy, queen,” he wheezed, “would I allow myself to pour vodka for the lady?” This is pure alcohol!
10. We can talk about food in Russian literature, perhaps, endlessly, but we need to conclude with something. Finally, let’s remember what God sent the “blue thief” from “12 Chairs” to dine with:
“On this day, God sent Alexander Yakovlevich for lunch a bottle of bison, home-made mushrooms, minced herring, Ukrainian borscht with first-grade meat, chicken with rice and compote of dried apples.”
SYSTEM OF TASKS FOR ESTABLISHING LITERARY PARALLELS
EXPLANATORY NOTE
One of the most difficult tasks in literature for students is the search for literary parallels, allusions and reminiscences in a work of art. Often a literary text is perceived by students outside of the historical context, outside of literary traditions. And the teacher’s task is precisely to teach to see the relationships between literary texts, to present the literary process as an integral phenomenon.
This manual presents tasks that are aimed at finding connections between works that are different in genre, in belonging to a historical era, but have similar themes or issues.
The tasks are grouped by the names of writers whose work is included in the study program of 19th-century literature. For example, when studying creativity A. S. Pushkina you can turn to the tradition of depictionparental order or "themes of madness"in Russian literature; and when getting acquainted with the works A.P.Chekhova summarize the studythe image of a “little man”.
It is also worth paying attention to the fact that literary traditions are not limited to one or two works; as a rule, key themes, problems and images are cross-cutting and pass, one way or another, through many works. Therefore, studying the work of A.S. Pushkin and finding parallels with texts of the 18th and early 19th centuries, we must not forget that later Gogol, Dostoevsky, and other writers will continue the tradition, bringing their own individual view of the problem or artistic image. If you search for parallels in the system, then formulating generalizations will not be difficult for students. Attention is also drawn to this in the footnotes to a number of materials.
At the end of the manual there is a table (APPENDIX) where the works are grouped by themes, images, plot features and composition. Of course, it is not exhaustive and can be supplemented. You can also work with these materials when studying the work of a particular writer or poet.
The presented tasks can be used asto prepare students for literature olympiads and to prepare for the Unified State Exam (tasks C2, C4 - work with context).
A.S. Pushkin
Exercise 1
In what works of Russian literature is the theme of madness reflected? What is unique about the disclosure of this topic in the works of fiction of Russian writers?
To answer:
A.S. Pushkin "The Bronze Horseman"(Evgeny’s real madness from the loss of his beloved Parasha, the opportunity to express a kind of “rebellion” against the authorities - he shakes his fist at the Bronze Horseman and says: “Too bad for you!”)
A.S. Pushkin “Don’t let me, God, go crazy”(choice between madness and other misfortunes in life: better poverty than lack of reason; Pushkin’s “Long live reason!”)
A.S. Griboyedov "Woe from Wit"(imaginary madness, Chatsky being declared crazy in secular society because of a rumor spread by Sophia; crazy because he is not like everyone else - a roll call with Dostoevsky)
(Raskolnikov’s temporary insanity after committing a crime, a feeling of alienation from the world, he sees enemies in everyone, suspiciousness, misunderstanding of some of his actions; the second dream is the murder of an old woman with an ax again, and she laughs at the killer)
F.M. Dostoevsky "Idiot"(imaginary madness, which is attributed to the hero for his gentleness, desire to help, naivety)
F.M. Dostoevsky "Notes of a Madman"
Task 2
Remember in what other works of Russian literature you have encountered parental orders. Why do you think these covenants are so different from each other?
To answer:
“Goodbye, Peter. Serve faithfully to whom you pledge allegiance; obey your superiors; Don’t chase their affection; don’t ask for service; do not dissuade yourself from serving; and remember the proverb: take care of your dress again, but take care of your honor from a young age.”
A.S. Griboyedov "Woe from Wit"(father bequeathed Molchalin to serve:
“My father bequeathed to me:
First, please all people without exception -
The owner, where he will live,
The boss with whom I will serve,
To his servant who cleans dresses,
Doorman, janitor, to avoid evil,
To the janitor’s dog, so that it is affectionate.”)
DI. Fonvizin "Nedorosl"(Mitrofan’s mother, Mrs. Prostakova, having attended one of her son’s lessons, teaches her child: “don't study this stupid science", expressing his attitude towards education and enlightenment)
Task 3
Find similarities in the themes of V. Rasputin’s story “Fire”, V. Bykov’s novel “Sotnikov” and the story by A.S. Pushkin "The Captain's Daughter"
Answer: general problem: a person’s moral choice in a difficult life situation, the problem of conscience and honor
Task 4
Find similarities in the perception of the image of the sea in the works of A.S. Pushkin and V.A. Zhukovsky.
To answer:
A.S. Pushkin "To the Sea"(romantic image, addressed as a living being), "Eugene Onegin"(lyrical digression about the sea: “Adriatic waves...”, “Do you remember the sea before the storm//How I envied the waves...”; the sea and love are inseparable)
V.A. Zhukovsky "Sea"(admiration for the sea, separation of sea and sky and earthly life - the dual worlds of romanticism)
M.Yu. Lermontov
Exercise 1
In which work of the 19th century, besides Lermontov’s novel “A Hero of Our Time,” does the image of the road play a key role and help the author show the formation and development of the hero’s character?
To answer:
M.Yu. Lermontov "Hero of Our Time"(Pechorin’s road through the Caucasus and from Russia to Persia is the path of the hero’s loneliness, the path of destruction of his own life and the lives of those with whom fate confronts the hero (Princess Mary, Bela, Vera, Grushnitsky, smugglers)
"I go out alone on the road"(the road is a flinty path that the hero does not want to follow, a dream of peace)
A.S. Pushkin "The Captain's Daughter"(the road from Petrusha Grinev’s house is a road that teaches life, reveals the qualities of the character’s character: the incident with the money Petrusha lost, the meeting with Pugachev in a blizzard)
Task 2
What traditions of Pushkin's lyrics are continued by M.Yu. Lermontov? What new does the poet bring to the interpretation of artistic images and themes?
To answer:
You can invite students to compare poems by poets with the same titles:"Prophet", "Prisoner", "Dagger", "Demon".
It is not necessary to carry out this work in the form of a classical comparative analysis; you can suggest drawing up a table, paying attention to the formal elements of the texts.
For example
"Demon" by Pushkin | "Demon" by Lermontov |
There is a lyrical hero (pronouns “me”, “our meetings”, “me”) and there is a demon (“he”, “him” - anaphora, “evil genius”) The distance between the characters is at the request of the lyrical hero himself | There is only “he” (anaphora), distance, inaccessibility |
The demon descends to the hero (text space) | Demon on high, above the world “Running between smoky clouds... His motionless throne stands; On it among the numb winds..." |
The demon is the world of the past (“In those days when // All the impressions of existence were new to me...”; “Then some evil genius // Began to secretly visit me.”) | The demon is the present (“He loves... sits...//He instills mistrust...He rejects all prayers.//He sees shelter indifferently.”); all verbs are in the present tense |
There is no indifference (“sarcastic speeches, despised inspiration, looked at life mockingly”) | Dual (“indifferently sees” BUT “voice of passions”) |
I.A. Goncharov
Exercise 1
What was the name of I.I. Oblomov’s servant? In which works of Russian classics does the image of a servant complement the characteristics of the master?
To answer:
Oblomov's servant - Zakhar
“Dead Souls” (lackey Petrushka - servant of Pavel Ivanovich Chichikov)
“The Captain’s Daughter” (Savelich – Petrusha Grinev’s servant)
“The Inspector General” (Osip – servant of Ivan Aleksandrovich Khlestakov)
Task 2
Determine what similarities can be found between Oblomov and the hero of the story by A.P. Chekhov's "Man in a Case".
To answer:
Both heroes shut themselves off from the world, and their only desire was to eventually be left alone
Task 3
Determine what similarities can be found between Oblomov and the heroes of the novels by A.S. Pushkin “Eugene Onegin” and M.Yu. Lermontov "Hero of Our Time"
To answer:
All these heroes can be classified as “extra people”. Possessing knowledge and having the opportunity for self-realization, these heroes only experience boredom from life, do not see a goal and do not have the slightest desire to implement any grandiose plans.
A.N. Ostrovsky
Exercise 1
In what works of Russian classics were the morals of the merchant world reflected, in what ways can these works be compared with the drama of A.N. Ostrovsky's "Thunderstorm"?
To answer:
A.N. Ostrovsky "Bankrupt" ("Our people - we will be numbered")
(N. Dobrolyubov about Katerina Kabanova: “a ray of light in a dark kingdom”, V. Gebel about Katerina Izmailova: “lightning generated by the darkness itself and only more clearly emphasizing the impenetrable darkness of merchant life”; L. Annensky about Katerina Izmailova: “What is it like” Ostrovsky's "thunderstorm" - here is not a ray of light, here a fountain of blood flows from the bottom of the soul: here "Anna Karenina" is foreshadowed - the vengeance of demonic passion)
Task 2
F. Odoevsky said: “I believe that in Rus' there are three tragedies: “The Minor” by Fonvizin, “Woe from Wit” by Griboyedov and “The Inspector General” by Gogol. On "Bankrupt" I put number four. What is the paradox of such a point of view? What gives a critic the basis to evaluate a work this way?
When working on this task, you will need to remember the problems of the works of Fonvizin, Griboedov, Gogol, the characteristics of the figurative system, genre features, and draw on the knowledge acquired in grades 8 and 9
To answer:
All works named by F. Odoevsky by genre are comedies; the critic calls them tragedies, focusing on the problems that are raised in the works. The authors of all four plays paint terrible pictures of Russian reality in the 19th century, revealing the vices of society (serfdom, lack of education of the nobility, bribery, veneration of rank, failure of officials to fulfill their direct duties, savage morals in the merchant environment, lack of respect for each other in the family, destruction of traditions, etc. .P.). The author's focus in each of these works, in addition to the central characters, is family relationships, the destruction of family values and traditions.
I.S. Turgenev
Exercise 1
In which works of Russian literature is it used as a means of characterizing characters?
To answer:
Ivan Sergeevich Turgenev "Fathers and Sons" (Pavel Petrovich Kirsanov and Evgeniy Vasilyevich Bazarov)
Maxim Gorky "Old Woman Izergil" (Larra and the Tribe of Cattle Breeders)
Mikhail Afanasyevich Bulgakov "Heart of a Dog" (Philip Filippovich Preobrazhensky and Ivan Arnoldovich Bormental)
The dispute reflects the speech characteristics of the character, the relationship of the participants in the dispute and their views on a particular event or phenomenon.
Task 2
One of the issues on which the points of view of Bazarov and P.P. differ. Kirsanov in the novel “Fathers and Sons” is an attitude towards art. What other work of Russian literature deals with a similar topic?
To answer:
I.S. Turgenev "Fathers and Sons"(“Raphael is not worth a penny”, “the art of making money, and more importantly, hemorrhoids”)
N.V. Gogol "Portrait"(true and false art; true causes admiration and remains in the memory of people for centuries, although it requires enormous effort, and false gives material well-being, but it is temporary and does not give moral satisfaction to the artist)
M. E. Saltykov-Shchedrin
Exercise
In a fairy tale M. E. Saltykov-Shchedrin “The Wise Minnow”the father bequeaths the gudgeon to beware and take care of his life:“Living life is not licking a whorl. Keep your eyes open."
Remember the works of Russian literature in which the father’s order (testament) plays an important role as a way of passing on traditions from generation to generation. Draw a conclusion about how paternal orders changed in 19th-century literature?
To answer:
A.S. Griboyedov "Woe from Wit"(father bequeathed to Molchalin “please all people without exception...")
A.S. Pushkin "The Captain's Daughter"(the officer father bequeaths his son Petrusha Grinev to serve honestly:“Don’t talk yourself out of serving; and remember the proverb: take care of your dress again, but take care of your honor from a young age")
N.V. Gogol "Dead Souls"(father bequeaths Pavlusha to save a penny:“You will do everything and ruin everything in the world with a penny”)
L.N. Tolstoy "War and Peace" (the order of the father, the old Prince Bolkonsky, to his son Andrei before the latter was sent to the army: not to disgrace the father’s honorable name, to serve in such a way that the father would not be ashamed of his son)
Each of the heroes goes through life, following the precepts of his father, does not neglect them, the orders reflect the peculiarities of the upbringing and lifestyle of families: life according to honor among the Grinevs (Petrusha defends the honor of Masha Mironova and his own - a duel with Shvabrin), fear for his life among the minnows ( the wise minnow hides all his life and dies alone, having lived for over a hundred years), the Chichikovs’ thirst for accumulation and enrichment (Pavlusha constantly rises, despite the blows of fate, and stubbornly goes towards his goal), the desire to become one of the people through flattery and intrigue in the Molchalins (for example, the hero’s hypocrisy in relations with Sophia and Lisa)
A.N. Nekrasov
Exercise 1
In what works of Russian literature of the 19th century does the image of the road (the motif of the path, journey) play one of the key roles? What opportunities does the use of this image (motif) provide the author to realize the artistic intent of the work?
To answer:
(the road along which the peasants travel allows the author to show a large-scale image of the Russian land, meeting along the way with representatives of various classes; in this case, the road unites all the heroes in search of an answer to one question - who is happy?)
N.V. Gogol "Dead Souls"(the motive of the road is key, let us remember Chichikov’s journey, a lyrical digression about the road: “How strange, and alluring, and carrying, and wonderful is the word: road! and how wonderful it is, this road: a clear day, autumn leaves, cold air... tighter in our travel overcoat, a hat over our ears, let’s press closer and more comfortably to the corner! For the last time, a shudder ran through the limbs, and was already replaced by a pleasant warmth. The horses are racing... how seductively drowsiness creeps in and your eyes close, and already through your sleep you can hear “The snow is not white,” and the sound of horses, and the noise of wheels, and you are already snoring, pressing your neighbor to the corner. Woke up: five stations ran back; the moon, an unknown city, churches with ancient wooden domes and blackened peaks, dark log and white stone houses. The radiance of the month here and there: as if white linen scarves were hung on the walls, along the pavement, along the streets; shoals of coal-black shadows cross them; The wooden roofs, illuminated at random, shine like sparkling metal, and there is not a soul anywhere - everything is asleep. Alone, is there a light shining somewhere in the window: is it a city tradesman sewing his pair of boots, or a baker tinkering in his stove - what about them? And the night! heavenly powers! what a night is taking place on high! And the air, and the sky, distant, high, there, in its inaccessible depths, so immensely, sonorously and clearly spread out!.. But the cold night breath breathes fresh into your very eyes and lulls you, and now you doze and forget yourself, and snore, and the poor neighbor, squeezed in the corner, tosses and turns angrily, feeling the weight on himself. You woke up - and again there are fields and steppes in front of you, nothing anywhere - wasteland everywhere, everything is open. A mile with a number flies into your eyes; practices in the morning; on the whitened cold sky there is a pale golden stripe; The wind becomes fresher and harsher: wear your warm overcoat tighter!.. what a glorious cold! what a wonderful dream that embraces you again! A jolt - and he woke up again. The sun is at the top of the sky. "Easy! easier!" - a voice is heard, the cart descends from the steep slope: below there is a wide dam and a wide clear pond, shining like a copper bottom in front of the sun; village, huts scattered on the slope; like a star, the cross of a rural church shines to the side; the chatter of men and the unbearable appetite in the stomach... God! how beautiful you are sometimes, long, long way! How many times, like someone dying and drowning, have I grabbed onto you, and each time you generously carried me out and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt!..”;lyrical digression about Russia - the bird-three in the finale of the first volume: from the life path of entrepreneur Chichikov to the path of development of Russia)
(Ivan Flyagin’s journey across Russia - the search for himself, his place in life, the search for God, since the hero was promised to God:“...the sand has been swept up by a cloud, and there is nothing, only somewhere a thin bell is ringing quietly, and the whole big white monastery is bathed in a scarlet dawn, and there are winged angels along the walls...”;the road leads him to the monastery, a request for a new, more perfect spirit and a new goal in life:“I really want to die for the people”)
F. I. Tyutchev
Exercise 1
What theme unites the poems of V.A. Zhukovsky “The Inexpressible” and F.I. Tyutchev “Silentiun”?
Answer: the general theme is the impossibility of expressing in words what is stored in a person’s soul, what you see in the world around you; poverty of human language (“The inexpressible is subject to expression” and “How can the heart express itself//How can another understand you?”)
Task 2
What image (what theme) brings together the poems of A.S. Pushkin “Imitation of the Koran” (IX), M.Yu. Lermontov “Three Palms” and V.I. Tyutchev “The executing God took everything away from me”?
Answer: the image of God, the theme of fate, predestination, there is no need to grumble at God, accept what fate has given you, do not ask for more
A.A. Fet
Exercise
Which of the 19th century poets embodies the image of nature as an unknown, mysterious world standing above man?
To answer:
(nature is animated, it is much wiser than man, and can teach people and reveal to them the secrets of the universe)
(nature is a mystery, “it has a soul, it has freedom”, the divine origin of nature)
N.S. Leskov
Exercise 1
In what works of Russian classics, in addition to Leskov’s tale, is the image of a hero found? What common and distinctive features do heroes have in the perception of Russian writers?
To answer:
N.S. Leskoy "The Enchanted Wanderer" ( Ivan Flyagin: “ He was a man of enormous stature, with a dark, open face and thick, wavy, lead-colored hair: his streak of gray was so strange. He was dressed in a novice cassock with a wide monastic belt and a high black cloth cap. Was he a novice or a tonsured monk - it was impossible to guess, because the monks of the Ladoga Islands, not only when traveling, but even on the islands themselves, do not always put on kamilavkas, and in rural simplicity limit themselves to caps. This new companion of ours, who later turned out to be an extremely interesting person, looked to be in his early fifties; but he was in the full sense of the word a hero, and, moreover, a typical, simple-minded, kind Russian hero, reminiscent of grandfather Ilya Muromets in the wonderful painting by Vereshchagin and in the poem of Count A.K. Tolstoy. It seemed that he would not walk around in duckweed, but would sit on his “forelock” and ride in bast shoes through the forest and lazily smell how “the dark forest smells of resin and strawberries”)
N.V. Gogol “Dead Souls”(Mokiy Kifovich: “He was what is called a hero in Rus', and while his father was busy giving birth to the beast, his twenty-year-old broad-shouldered nature was trying to unfold. He could never grasp anything lightly: either someone’s hand would crack, or a blister would pop up on someone’s nose. In the house and in the neighborhood, everything, from the yard girl to the yard dog, ran away when they saw him; He even broke his own bed in the bedroom into pieces.”)
ON THE. Nekrasov “Who lives well in Rus'?”(Savely - Holy Russian hero, repentance for his sins, forgiveness)
M.Yu. Lermontov "Borodino", "Two Giants"(reflection of the theme of the Patriotic War of 1812, Russian soldiers:“Yes, there were people in our time//Not like the current tribe //Bogatyrs - not you”, hyperbole as the main method of description in Lermontov)
Similarity: strength ( “Russian people can handle everything”- N.S. Leskov), power, simplicity and kindness, love of life
The difference: Gogol and Leskov have the inability to apply force where it is necessary, the inability to manage it, so Mokiy Kifovich breaks everything around him and cripples people (and his father can’t do anything about it) just like Ivan Flyagin at his age ( accidentally strangled a little pigeon with his own hands, killed a monk with a whip, stole horses from a count, killed a Tatar in a duel, etc.)
Task 2
What features are inherent in the righteous in works of Russian literature? What brings the righteous closer to the “eccentrics” V. Shukshin ?
To answer:
N.S. Leskov “Enchanted Wanderer”, “Odnodum”
A.I. Solzhenitsyn "Matrenin's Dvor"
A righteous person is a person who lives in truth, in justice. It is in the images of the righteous that the national traits of the Russian character are reflected. These are people with a difficult fate, who have experienced a lot in their lifetime, who have experienced more than one tragedy, but who have not lost faith in people and in life. These are always very sincere, simple-minded, kind and open heroes. As a rule, they live in harmony with the world around them and do not intentionally harm anyone; but the people around them do not understand them, they consider them strange, maybe even stupid.
Russian righteous people are distinguished by an amazing naivety, an inexhaustible desire to help people, and unselfishly (Matryona always went to her neighbors to dig potatoes, helped on the collective farm, did not take money; Ivan Flyagin, having returned from captivity from the Tatars, helps the peasants choose horses, helps the gypsy Grusha, claims that he “wants to die for the people”).
The righteous are not perfect, they are not saints, and they can also make mistakes in their lives. Righteousness in Russian literature, one might say, is not even connected with faith in God, as one might assume (Matryona observes rituals, goes for holy water, but the author does not write about her sincere faith; Ivan Flyagin was promised to God at birth by his mother, but he committed so many sins in his life that his journey to the monastery lasted for many years, and even there the hero cannot find peace, prophesies, suffers punishment).
It is the righteous who are the basis of Russian life, according to the authors (“A village is not worthwhile without a righteous man” - A.I. Solzhenitsyn), without him there is no Russian Land.
F.M. Dostoevsky
Exercise 1
In the composition of which works of Russian literature, except for the novel by F.M. Dostoevsky, are there dreams as extra-plot elements? Formulate a conclusion about the role of sleep in a work of art.
To answer:
F.M. Dostoevsky "Crime and Punishment"(dreams of Rodion Raskolnikov - characterization of the hero based on memories from childhood, a warning of conscience, leading to purification - dreams reflect the hero’s internal struggle with himself and predict the inevitability of punishment; dreams of Svidrigailov - one might say pangs of conscience for the atrocities he committed during his life)
V.A. Zhukovsky "Svetlana"(the dream is perceived by the reader as reality, we understand that this is a dream only at the end of the ballad; the dream reflects the heroine’s fears, her fears, but also shows the strength of her faith in God, in goodness; the key technique for constructing a dream is antithesis)
N.G. Chernyshevsky “What to do?”(Vera Pavlovna’s dreams are dreams-predictions, the fourth dream is a dream-utopia; dreams reflect the heroine’s dreams, her hopes for a better life)
M.E. Saltykov-Shchedrin “The Wise Minnow”(the gudgeon’s dream is like a dream about the life he would like to live: family, his own importance in his small world, as a contrast to what the gudgeon ultimately chooses - seclusion in his own home and a quiet death)
I.A. Goncharov "Oblomov"(Oblomov’s dream as a memory of his childhood years in Oblomovka, an idea of the hero’s upbringing, the reasons for his current state, his laziness and lack of desire for anything in life: excessive care of parents and nannies, no need for work)
M.Yu. Lermontov "Dream"(system of dreams; the lyrical hero’s dream about his homeland, his beloved’s dream about his death)
N.V. Gogol "The Inspector General" (Mayor Skvoznik-Dmukhanovsky talks about his dream to other officials; a dream is a harbinger of trouble, the arrival of an auditor)
N.S. Leskov "Lady Macbeth of Mtsensk"(Ekaterina Lvovna Izmailova tells her dreams to her lover Sergei and her aunt, these are warning dreams after the crimes she committed)
Task 2
Find similarities between the main characters of the novel “Fathers and Sons” by I.S. Turgenev and the novel by F. M. Dostoevsky “Crime and Punishment”.
To answer: both are students, not of noble rank, the heroes have a theory that does not pass the test of life (for Bazarov - with love, for Raskolnikov - with conscience)
Task 3
In which works of Russian literature, except the novel by F.M. Dostoevsky’s “Crime and Punishment”, the problem of crime and punishment for it (legal, moral catharsis, God’s judgment, etc.) is considered.
To answer:
F.I. Tyutchev. A series of poems dedicated to Maria Lazic(lyrical crime and punishment)
A.N. Ostrovsky "Thunderstorm"(crime is a sin, retribution is moral punishment)
(a parable about two great sinners, the fate of Kudeyar, the suddenness of retribution - “suddenly... the Lord awakened the conscience”, the problem - can a new crime wash away past sins)
N.S. Leskov "Lady Macbeth of Mtsensk"(retribution, everything came back to Katerina, her lover turned away from her, began to openly despise her, you can’t build your own on someone else’s misfortune)
L.N. Tolstoy
Exercise 1
“The mirror of the soul is its deeds” W. Shakespeare. What are the similarities and differences in the disclosure of the theme of passion (forbidden love) in works of Russian literature?
To answer:
L.N. Tolstoy "Anna Karenina"(the heroine submits to her feelings, destroys her family, is unable to make a choice between love and duty, commits suicide)
A.N. Ostrovsky "Dowry"(naive faith in possible happiness, the death of the heroine, chooses her own path),
A.N. Ostrovsky "Thunderstorm"(Katerina is pushed by Vera, the heroine resists her own feelings, realizing that she is committing a sin by cheating on her husband; being a believer, she will not be able to survive her sin, sees signs of God’s judgment over her and commits suicide)
N.S. Leskov "Lady Macbeth of Mtsensk"(the heroine completely submits to her own passion, cheating on her husband and not hiding her relationship with Sergei, for the sake of love she commits 4 murders, including the murder of a child; she does not recognize the signs that fate gives her; in the end, she commits suicide)
I. Bunin cycle “Dark Alleys” (love is passion, love is sunstroke, love is for a moment; heroes do not have long-term happiness)
Task 2
In the novel L.N. Tolstoy's "War and Peace" Platon Karataev tells a parable. In what other works of Russian classics is the parable form of presentation found (a parable as an extra-plot element)? What role does it play in the structure of the work?
To answer:
L. N. Tolstoy “War and Peace”(parable by Platon Karataev)
A.S. Pushkin "The Captain's Daughter"(Pugachev's fairy tale about the raven and the eagle)
ON THE. Nekrasov “Who Lives Well in Rus'”(parable of two great sinners)
F. M. Dostoevsky “Crime and Punishment”(parable of Lazarus)
A.P. Chekhov
Exercise 1
What tradition in the depiction of the “little man” is continued by A.P. Chekhov? How does this character evolve in the works of Russian classics?
To answer:
A.P. Chekhov "Man in a Case", "Death of an Official"(self-abasement of a little person and fencing him off from the world of people, no interests, no hobbies, no aspirations for anything, continuation of the Gogol tradition, and the achievement of an ideal case - a coffin)
A.S. Pushkin "Station Warden"(offended and humiliated by everyone, but kind, sincere, whom you want to pity; loving his daughter)
N.V. Gogol "The Overcoat"(there are no human connections, only love for a thing, which has replaced all communication; the thing has supplanted man)
F.M. Dostoevsky "Poor people"(the little man is not only offended by life, he thirsts for power - his secret dream)
F.M. Dostoevsky "Crime and Punishment"(echoes the theme of “humiliated and insulted”, drunk Marmeladov, living at the expense of his daughter Sonya, not wanting to change anything in his life, understanding the severity of his situation, thirsting for pity and forgiveness only from God)
Task 2
Find similarities in the worldview of the heroes of A.S.’s comedy. Griboyedov “Woe from Wit” and stories by A.P. Chekhov's "Chameleon" and "Death of an Official".
Answer: the hero’s obsequious attitude towards those in power (Chervyakov, Ochumelov, Molchalin)
Task 4
What theme brings A.P.’s story together? Chekhov's "Gooseberry" and the novel by F.M. Dostoevsky's "Crime and Punishment"?
Answer: the theme of the “well-fed”, satiety with the blessings of life, the same theme is heard in A. Blok’s poem “The Well-Fed”, I. Bunin’s story “The Gentleman from San Francisco”
APPLICATION
Based on the table below, you can formulate a wide variety of tasks for matching, searching for similarities and differences between themes, plots, and figurative systems of works .
Genre |
|
Poetry cycles | “Panaevsky cycle” (N.A. Nekrasov) “Denisevsky cycle” (F.I. Tyutchev) A cycle of poems by Maria Lazich (A. A. Fet) A cycle of poems about Blok (M. Tsvetaeva) |
Epic novels | L.N. Tolstoy "War and Peace" M. Sholokhov “Quiet Don” |
Fantastic form of narration | N.S. Leskov "The Enchanted Wanderer" M. Sholokhov “The Fate of Man” |
Utopias and dystopias | S.-Shchedrin “The History of a City” N.G. Chernyshevsky “What to do?” (4th dream of Vera Pavlovna) E. Zamyatin “We” O. Huxley “Brave New World” D. Orwell "1984" |
Artistic images |
|
Romantic image of the sea | V. A. Zhukovsky “Sea”, A. S. Pushkin “To the Sea” |
The image of the talented Russian people | N.V. Gogol “Dead Souls” (peasants sold by Sobakevich) M.E. Saltykov-Shchedrin “Wild Landowner”, “The Tale of How a Man Fed Two Generals” N.S. Leskov “The Enchanted Wanderer” (“You are a Russian man. A Russian man can do anything”) |
The image of doubles in literature | F.M. Dostoevsky "Crime and Punishment" S. Yesenin “Black Man” R. L. Stevenson "Dr. Jekyll and Mr. Hyde" |
Heroes-dreamers | N.V. Gogol "Dead Souls" F.M. Dostoevsky "White Nights" ON THE. Nekrasov “Who Lives Well in Rus'” |
Subjects |
|
Friendship theme | A.S. Pushkin “In the depths of Siberian ores”, “To Pushchin”, “To Chaadaev” A.S. Pushkin "Eugene Onegin" I.S. Turgenev "Fathers and Sons" EM. Remarque "Three Comrades" |
Man (people) and history (who makes history) | L.N. Tolstoy “War and Peace” (swarm life, history as a process independent of one person), A.S. Pushkin “The Captain’s Daughter”, “Boris Godunov” (history is created by the people, acting or remaining silent) M.Yu. Lermontov “Borodino” (Russian soldier-hero makes history) |
Nature as an unknown world standing above man | F.I. Tyutchev “Not what you think, nature”, “Nature is a sphinx. And the more true it is...” A.A. Fet “Learn from them, from the oak, from the birch” |
“Strange” love for Russia | F.I. Tyutchev “You can’t understand Russia with your mind” M.Yu. Lermontov "Motherland" M.Yu. Lermontov "Farewell, unwashed Russia..." |
Clash of generations | M.Yu. Lermontov "Duma" I.S. Turgenev "Fathers and Sons" A.P. Chekhov "The Cherry Orchard" |
Human attitude towards art | N.V. Gogol "Portrait", O. Wilde “The Picture of Dorian Gray” I.S. Turgenev “Fathers and Sons” (dispute between Bazarov and Kirsanov about art) |
Attitude to education and enlightenment | DI. Fonvizin "Nedorosl" A.S. Griboyedov "Woe from Wit" I.S. Turgenev "Fathers and Sons" |
Plot and composition |
|
Ring composition in a literary text | A.S. Pushkin “Eugene Onegin”, “K***” M.Yu. Lermontov "Dream" F.I. Tyutchev “Oh, how murderously we love” N.V. Gogol "Dead Souls" A. Blok “About valor, about exploits, about glory...” |
Inserted episodes as an important structural element (stories, dreams, legends, parables) | A.S. Pushkin "The Captain's Daughter", "The Queen of Spades" N.V. Gogol "Dead Souls" F.M. Dostoevsky "Crime and Punishment", "The Brothers Karamazov" ON THE. Nekrasov “Who Lives Well in Rus'” |
Lyrical digressions as a form of the author’s presence in the text | A.S. Pushkin "Eugene Onegin" N.V. Gogol "Dead Souls" |
Antithesis as a key device for depicting heroes | A.S. Pushkin "Eugene Onegin" L.N. Tolstoy "War and Peace" |
Internal monologues of heroes | F.M. Dostoevsky "Crime and Punishment" L.N. Tolstoy "War and Peace" M. Sholokhov “The Fate of Man” Some stories by I. Bunin from the series “Dark Alleys” are included in the 9th grade curriculum, so you can also attract the work of this writer.  (No ratings yet)  Loading...Share with friends:
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