The above scene conveys a lively conversation. Genre originality
1. Entrance test programs for applicants for bachelor's (specialist) programs at the Federal State Budgetary Educational Institution of Higher Professional Education "PSU" in 2012.
Program of entrance examinations in the Russian language.
Entrance tests in the Russian language for applicants to PSUTU are carried out in test form. The applicant is offered a test, for which it is necessary to know general information about the Russian language, definitions of the main studied language units and categories, spelling and punctuation rules. At the entrance exam, a test with similar tasks will be offered: - Insert the desired letter into the word contact...fell asleep a) – o b) – a - What is the suffix in the word banner in the genitive case? a) – en- b) – in- c) – yan- - A participial phrase is a) a participle with qualifying words b) a participle with dependent words c) two participles - Find a one-part sentence a) An elegant sea terminal. b) A large city grew up near the bay. c) Factories were built. d) A museum has been organized. - Find a complex sentence a) The snowfall stopped suddenly, as if some kind of heavenly hatch had slammed shut. b) The wind blew from the river, tore off the young snow from the bridge and drove it towards the walls of the monastery. c) The moon either ran behind the clouds or jumped out from behind them onto the transparent surface of the sky. - Determine the type of offer: They were ordered to lie in bed. a) definite-personal b) impersonal c) indefinite-personal d) nominative - In which sentence are punctuation marks placed correctly a) I approached the stop where there was no one, because the bus had just left. b) I approached the stop, where there was no one because the bus had just left. c) I went to a stop where there was no one because the bus had just left.
Sections of the Russian language, knowledge of which is necessary
to prepare for the entrance exam
Phonetics
Speech sounds: vowels and consonants.
Vowels are stressed and unstressed.
Consonants are soft and hard; voiced and voiceless.
Lexicology and phraseology
Characteristics of Russian vocabulary (from the point of view of origin, use, active and passive stock, stylistic coloring).
Synonyms. Antonyms. Homonyms. Paronyms.
Borrowings in the Russian language.
Phraseologisms, their differences in grammatical structure. Syntactic role of phraseological units.
Word formation
Morphemic composition of the word: stem and ending; parts of the base (root, prefix, suffix).
Variants of morphemes. Alternation of vowels and consonants in morphemes.
Ways to form words.
Difficult words. Compound words.
Morphology
Parts of speech in Russian. Independent and auxiliary parts of speech.
Interjection.
Noun: meaning, constant and inconstant features, syntactic role. Nouns, animate and inanimate, proper and common nouns. Genus. Types of declension. Number. Case.
Methods of forming nouns.
Adjective: meaning, constant and inconstant features, syntactic role. Places of numerals by meaning.
Full and short forms of qualitative adjectives. Degrees of comparison of qualitative adjectives. Declension of adjectives.
Methods of forming adjectives.
Numeral: meaning, constant and inconstant features, syntactic role.
Numerals are quantitative and ordinal. Places of cardinal numbers.
Declension of numerals.
Pronoun. The meaning of pronouns. Discharges. Declension of pronouns.
Verb: meaning. Constant and non-constant features, syntactic role. Infinitive. Types of verbs. Transitive and intransitive verbs.
Verb conjugations. Verb moods. Verb tenses. Person and number (present and future tense); gender and number (past tense).
Methods of forming verbs.
Participle.
Participle.
Adverb. The meaning of adverbs and their categories. Methods of forming adverbs.
Pretext. The concept of preposition. Functions of prepositions. Classes of prepositions.
Union. The concept of union. Functions of unions. Places of conjunctions by meaning.
Particle. The concept of a particle. Functions of particles. Particle ranks by value.
Interjection. Meanings of interjections.
Syntax
Phrase. The structure of the phrase. Types of connections in phrases (coordination, control, adjacency).
Simple sentence.
Grammar basis. Types of simple sentences according to the purpose of the statement, according to intonation. One-part and two-part sentences.
Types of one-part sentences (definitely personal, indefinitely personal, impersonal, nominal).
Members of the sentence: main and secondary members; ways of expressing sentence members. Common and non-common offers; complete and incomplete sentences.
Homogeneous members of the sentence.
Isolated members of a sentence.
Applications.
Appeals. Introductory words and introductory sentences.
Difficult sentence.
Types of complex sentences.
Union and non-union complex sentences.
Conjunctive complex sentences: compound and complex sentences.
Compound sentences with various types coordinating conjunctions.
Complex sentences with various means of communication.
Types of complex sentences.
Non-union complex sentences.
Complex syntactic structures.
Direct and indirect speech.
Spelling and punctuation
Spelling. Spelling of vowels: a) in prefixes; b) in the roots; c) in suffixes of various parts of speech; d) at the endings of various parts of speech.
Spelling of consonants: a) in prefixes; b) in the root of the word and in the suffixes of various parts of speech.
Use of separating signs ъ and ь. Use of non-separating sign.
Use of lowercase and capital letters.
Merged, separate and hyphenated spellings in words.
Not with different parts of speech.
Punctuation.
Punctuation marks at the end of sentences. Dash between sentence parts. Punctuation marks in sentences with homogeneous members.
Punctuation marks for addresses, introductory words and introductory sentences.
Punctuation marks in sentences with isolated members.
Punctuation marks in compound and complex sentences. Punctuation marks in complex syntactic structures.
Punctuation marks for direct speech and dialogue.
- Functional styles of speech (official business, scientific, journalistic, artistic, everyday). Text. Types of speech (narration, description, reasoning).
Entrance test program in literature.
The entrance exam in literature is conducted in test form and is a test, the completion of which requires mastery of the following types of activities: - conscious, creative reading works of art of different genres (from the course high school on Russian literature of the 8th-20th centuries); - determining whether a literary text belongs to a particular type and genre; - analysis of the text, revealing the author’s intention and various means of its implementation, determining the motives of the heroes’ actions and the essence of the conflict; - written interpretations work of art; - identifying linguistic means of artistic imagery and determining their role in revealing the ideological and thematic content of the work; - independent search for an answer to a question, commenting on a literary text; - writing detailed answers based on a work of art.
Sample questions:
Read the text fragment below and complete the taskania after the text.
Ms. Prostakova (Trishka). Get out, you bastard. (Eremeevna.) Go ahead, Eremeevna, let the child have breakfast. Vit, I’m having tea, the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, you devil? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, 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, I don’t remember, five slices, I don’t remember, six.
Eremeevna. Every now and then he asked for a drink at night. He deigned to eat a whole jug of kvass.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What kind of rubbish, Mitrofa-nushka?
Mitrofan. Yes, either you, mother, or father.
Mrs. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, deign to beat father.
Prostakov (Vside). Well, my bad! Sleep in hand!
Mitrofan (softening up). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofa-nushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka, I see you are mother’s son, not father’s son!
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him and with joy I truly do not believe that he is my son.
Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for the doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka.
Mitrofan and Eremeevna leave.
(D. I. Fonvizin “Minor”)
The answer to tasks 1-7 is a word, or a phrase, or a sequence foodiness of numbers. Write the answers in the text of the work. An answer containing a set of numbers is considered correct if all the numbers are given in the required sequence.
1. Indicate the genre to which D. I. Fonvizin’s play “The Minor” belongs.
2. Name the literary movement that received
its development in
literature of the 18th century, the principles of which
horns found their embodiment in the play by D. I. Fonvizin.
Answer: _____________________.
3. The above scene conveys a lively conversation between the characters. What is this form of communication between characters in a work of art called?
Answer: _______________________.
Answer: ______________________.
5. The speech of the heroes is replete with words and expressions,
violating literary norms (“such rubbish”,
“surround me”, etc.). Indicate this type of speech.
Answer: _____________________.
6. The names and surnames of the characters in this episode are
carries a certain semantic load. What do they call
Are there such names and surnames?
Answer: _____________________.
7. The above scene contains information about the first
characters, place and time of action, the circumstances are described
actions that took place before it began. Specify the stage in
development of the plot, which is characterized by the above-mentioned
signs.
Answer: _____________________.
When completing tasks 8 and 9, rely on the author’s position, revealing your own vision of the problem. Give a coherent answer to the question in 5-10 sentences. Write down your answers clearly and legibly, following the rules of speech.
8. What can you say about the education system in the Prostakov family?
9. What works of Russian writers satirically depict the morals of the nobles and what brings them closer to the play by D. I. Fonvizin?
Entrance test program in physics.
General instructions
1. Mechanics
Kinematics
Dynamics
Conservation laws in mechanics
Rigid body statics
Mechanics of liquids and gases
Mechanical vibrations and waves. Sound
Entrance test program for persons entering training direction 050100. 68 Pedagogical education (1)
ProgramPersons who have a bachelor's degree or a specialist in philology, when entering a master's program in the field of study 050100.68 Pedagogical education for the program "Russian Literature", take one entrance exam - "Literature
The program of entrance examinations and the rules for their conduct at the Federal State Educational Institution of Higher Education "RGEU (Rinkh)" (11)
ProgramThe program contains characteristics of the general conditions for admission and study in the master's program in the direction of "Economics", with specifications for the master's program "Risk Management of Organizations and Financial Institutions", includes a list
The program of entrance examinations and the rules for their conduct at the Federal State Educational Institution of Higher Education "RGEU (Rinkh)" (9)
ProgramThis manual is intended for persons enrolling for training in a shortened period of time in the basic educational program for preparing a bachelor of the profile “Financial Management” within the framework of the “Management” direction on the basis of secondary vocational education.
The program of entrance examinations and the rules for conducting them at the Federal State Educational Institution of Higher Education "RGEU (Rinkh)" (12)
ProgramThis manual is intended for persons enrolling for training in a shortened period of time in the basic educational program for preparing a bachelor of the profile "Finance and Credit" within the framework of the direction "Economics" on the basis of secondary vocational education.
Rules for conducting entrance (certification) tests conducted by the university independently at the Federal State Educational Institution of Higher Education "Pglu" (in writing) in 2012 Entrance tests at the Federal State Educational Institution of Higher Professional Education "Pglu" are organized for individuals
DocumentHaving an average professional education upon admission to undergraduate programs or specialist training programs of the relevant profile;
Mrs. Prostakova (Trishke). Get out, you bastard. (Eremeevna.) Come on, Eremeevna, let the child have breakfast. After all, I hope the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, mother of God! What happened to you, Mitrofanushka?
Mitrofan. Yes, mother. Yesterday after dinner it hit me.
Skotinin. Yes, apparently, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Mrs. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, deign to beat father.
Prostakov (aside). Well! my misfortune! sleep in hand!
Mitrofan (softened up). So I felt sorry.
Mrs. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka! You, I see, are a mother’s son, not a father’s son.
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him, with joy I truly don’t believe that he is my son, Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. Now I’ll run to the dovecote, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka.
Mitrofan and Eremeevna leave.
IN 1. Indicate the genre to which D.I. Fonvizin’s play “The Minor” belongs.
AT 2. Name the literary movement that was developed in the literature of the 18th century, the principles of which were embodied in the play by D.I. Fonvizina.
AT 3. The above scene conveys a lively conversation between the characters. What is this form of communication between characters in a work of art called?
AT 4. As the play progresses, the author's explanations and comments are given (“to the side,” “softened,” “with annoyance”). What term do they use?
AT 5. The characters’ speech is replete with words and expressions that violate literary norms (“such rubbish,” “take me away,” etc.). Indicate this type of speech.
AT 6. The names and surnames of the characters in this episode carry a certain meaning. What are these first and last names called?
AT 7. The given scene contains information about the characters, the place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by the named features.
C1. What can you say about the education system in the Prostakov family?
C2. What works of Russian writers satirically depict the morals of the nobles and what brings them closer to the play by D.I. Fonvizin?
IN 1. Comedy
AT 2. Classicism
AT 3. Dialogue
AT 4. Remarks
AT 5. Vernacular
AT 6. Speakers
AT 7. Exposition
Starodum and Pravdin
Pravdin. This was the package that the local landlady herself notified me about yesterday in front of you.
Starodum. So, do you now have a way to stop the inhumanity of the evil landowner?
Pravdin. I have been instructed to take charge of the house and villages at the first rabies from which the people under her control could suffer.
Starodum. Thank God that humanity can find protection! Believe me, my friend, where the sovereign thinks, where he knows what his true glory is, there his rights cannot but return to humanity. There everyone will soon feel that everyone must seek their happiness and benefits in the one thing that is legal... and that it is unlawful to oppress their own kind with slavery.
Pravdin. I agree with you on this; Yes, how tricky it is to destroy inveterate prejudices in which low souls find their benefits!
Starodum. Listen, my friend! A great sovereign is a wise sovereign. His job is to show people their direct good. The glory of his wisdom is to rule over people, because there is no wisdom to rule over idols. The peasant, who is worse than everyone else in the village, usually chooses to shepherd the flock, because it takes a little intelligence to graze the cattle. A sovereign worthy of the throne strives to elevate the souls of his subjects. We see this with our own eyes.
Pravdin. The pleasure that princes enjoy in possessing free souls must be so great that I do not understand what motives could distract...
Starodum. A! How great a soul must be in a sovereign in order to take the path of truth and never stray from it! How many nets are laid to catch the soul of a person who has the fate of his own kind in his hands! And firstly, a crowd of stingy flatterers...
Pravdin. Without spiritual contempt it is impossible to imagine what a flatterer is.
Starodum. A flatterer is a creature who does not have a good opinion not only of others, but also of himself. All his desire is to first blind a person’s mind, and then make of him what he needs. He is a night thief who will first put out the candle and then begin to steal.
Pravdin. Human misfortunes, of course, are caused by their own corruption; but ways to make people kind...
Starodum. They are in the hands of the sovereign. How soon everyone sees that without good behavior no one can become a person; that no vile length of service and no amount of money can buy what merit is rewarded with; that people are chosen for places, and not places are kidnapped by people, then everyone finds his advantage in being well-behaved and everyone becomes good.
Pravdin. Fair. The great sovereign gives...
Starodum. Grace and friendship to those whom he pleases; bridge and rank to those who are worthy.
Pravdin. So that in worthy people there was no shortage, special efforts are now being made to educate...
Starodum. It should be the key to the well-being of the state. We see all the unfortunate consequences of bad education. Well, what can come of Mitrofanushka for the fatherland, for whom ignorant parents also pay money to ignorant teachers? How many noble fathers who entrust the moral education of their son to their serf slave! Fifteen years later, instead of one slave, two come out, an old guy and a young master.
Pravdin. But the special highest state enlighten their children...
Starodum. So, my friend; Yes, I would like that, despite all the spiders, the main goal of all human knowledge, good behavior, is not forgotten. Believe me, science in a depraved person is a fierce weapon to do evil. Enlightenment elevates one virtuous soul. I would like, for example, that when raising the son of a noble gentleman, his mentor would unfold History to him every day and show him two places in it: in one, how great people contributed to the good of their fatherland; in another, as an unworthy nobleman, who used his trust and power for evil, from the height of his magnificent nobility fell into the abyss of contempt and reproach.
IN 1. Within what literary direction was D.I. Fonvizin’s play “The Minor” created?
AT 2. What era ideas are promoted in this fragment of D.I. Fonvizin’s play “The Minor”?
AT 3. Indicate the name of the genre of drama to which D.I. Fonvizin’s play “The Minor” belongs?
AT 4. What term refers to the form of speech of characters that represents an exchange of remarks:
“Starodum. Grace and friendship to those whom he pleases; bridge and rank to those who are worthy.
Pravdin. So that there is no shortage of worthy people, special efforts are now being made to educate..."?
AT 5. What is the name of sayings that express complete and generalized thoughts in a laconic form: “The great sovereign is a wise sovereign,” “everyone should seek his happiness and benefits in the one thing that is lawful,” “science in a corrupt person is a fierce weapon to do evil,” and etc.?
AT 6. Indicate the surname of the heroine of D.I. Fonvizin’s play “The Minor,” in which in this fragment of the play she is called the evil landowner.”
C1. Why does D.I. Fonvizin devote so much space in this fragment to discussions about the “great sovereign”?
C1. What is main topic of this fragment and how it relates to the general issues of the play.
C2. Which Russian writers tried to create the image of an ideal ruler on the pages of their works?
IN 1. Classicism
AT 2. Education
AT 3. Comedy
AT 4. Dialogue
AT 5. Aphorism
AT 6. Prostakov
Pravdin. Aren't you ashamed, Kuteikin?
Kuteikin (downing his head). Shame on you, damned one.
Starodum (to Tsyfirkin). Here's to you, my friend, for your kind soul.
Tsyfirkin. Thank you, Your Highness. Thankful. You are free to give me. I myself, without deserving it, will not demand a century.
Milon (giving him money). Here's more for you, my friend!
Tsyfirkin. And thanks again.
Pravdin also gives him money.
Tsyfirkin. Why, your honor, are you complaining?
Pravdin. Because you are not like Kuteikin.
Tsyfirkin. AND! Your Honor. I'm a soldier.
Pravdin (to Tsyfirkin). Go ahead, my friend, with God.
Tsyfirkin leaves.
Pravdin. And you, Kuteikin, perhaps come here tomorrow and take the trouble to settle accounts with the lady herself.
Kuteikin (running out). With myself! I'm giving up on everything.
Vralman (to Starodum). Starofa hearing is not ostafte, fashe fysokorotie. Take me back to the sepa.
Starodum. Yes, Vralman, I guess, have you fallen behind the horses?
Vralman. Hey, no, my dad! Shiuchi with great hospotam, it concerned me that I was with horses.
Ms. Prostakova, Starodum, Milon, Sofya, Pravdin, Mitrofan, Eremeevna.
Starodum (to Pravdin, holding the hands of Sophia and Milan). Well, my friend! We go. Wish us...
Pravdin. All the happiness to which honest hearts are entitled.
Mrs. Prostakova (rushing to hug her son). You are the only one left with me, my dear friend, Mitrofanushka!
Mitrofan. Let go, mother, how you imposed yourself...
Mrs. Prostakova. And you! And you leave me! A! ungrateful! (She fainted.)
Sophia (running up to her). My God! She has no memory.
Starodum (Sofya). Help her, help her.
Sofya and Eremeevna are helping.
Pravdin (to Mitrofan). Scoundrel! Should you be rude to your mother? It was her crazy love for you that brought her the most misfortune.
Mitrofan. It's like she doesn't know...
Pravdin. Rude!
Starodum (Eremeevne). What is she now? What?
Eremeevna (looking intently at Mrs. Prostakova and clasping her hands). He will wake up, my father, he will wake up.
Pravdin (to Mitrofan). With you, my friend, I know what to do. I went to serve...
Mitrofan (waving his hand). For me, where they tell me to go.
Mrs. Prostakova (waking up in despair). I'm completely lost! My power has been taken away! You can’t show your eyes anywhere out of shame! I don't have a son!
Starodum (pointing to Mrs. Prostakova) These are the worthy fruits of evil!
IN 1. What element in the development of the plot of the work is this fragment?
AT 2. Determine the genre of D.I. Fonvizin’s work “The Minor”?
AT 3. Which of the characters at the end of the play expresses the author's assessment of events?
AT 4. The text of the fragment is an alternation of short statements by different persons. What is this type of verbal communication called in a dramatic work?
AT 5. Find and write down a word from Prostakova’s last remark that belongs to the vernacular.
AT 6. One of the characteristic techniques of classicism is to reveal the character of the hero through his surname. What are these surnames called?
C1. What does the author of “Undergrowth” mean by the concept of “evil morality”?
C2. In which works of Russian classics are the “worthy fruits of evil” revealed?
IN 1. Denouement
AT 2. Comedy
AT 3. Starodum
AT 4. Dialogue
AT 5. Nowhere
AT 6. Speakers
Option No. 22351
When completing tasks with a short answer, enter in the answer field the number that corresponds to the number of the correct answer, or a number, a word, a sequence of letters (words) or numbers. The answer should be written without spaces or any additional characters. The answer to tasks 1-7 is a word, or a phrase, or a sequence of numbers. Write your answers without spaces, commas or other additional characters. For tasks 8-9, give a coherent answer in 5-10 sentences. When completing task 9, select two works of different authors for comparison (in one of the examples, it is permissible to refer to the work of the author who owns original text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in a given direction of analysis.
Performing tasks 10-14 is a word, or phrase, or sequence of numbers. When completing task 15-16, rely on author's position, if necessary, state your point of view. Justify your answer based on the text of the work. When completing task 16, select two works by different authors for comparison (in one of the examples, it is permissible to refer to the work of the author who owns the source text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in a given direction of analysis.
For task 17, give a detailed, reasoned answer in the genre of an essay of at least 200 words (an essay of less than 150 words is scored zero points). Analyze literary work, relying on the author’s position, drawing on the necessary theoretical and literary concepts. When giving an answer, follow the norms of speech.
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Version for printing and copying in MS Word
Indicate the genre to which D. I. Fonvizin’s play “The Minor” belongs.
Ms. Prostakova (Trishka). Get out, you bastard. (Eremeevna.)
Mrs. Prostakova. How is this possible?
Prostakov (to the side). Well, my bad! Sleep in hand!
Mitrofan (loosen up). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofanushka?
D. I. Fonvizin “Minor”
Answer:
Name a literary movement that was developed in the literature of the 18th century, the principles of which were embodied in the play by D. I. Fonvizin.
Read the text fragment below and complete tasks B1-B7; C1-C2.
Ms. Prostakova (Trishka). Get out, you bastard. (Eremeevna.) Go ahead, Eremeevna, let the child have breakfast. Vit, I’m having tea, the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan.
Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Mrs. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, are trying to beat the priest.
Prostakov (to the side). Well, my bad! Sleep in hand!
Mitrofan (loosen up). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka, I see you are a mother’s son, not a father’s son!
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him and with joy I truly do not believe that he is my son.
Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka. Mitrofan and Eremeevna leave.
D. I. Fonvizin “Minor”
Answer:
The above scene conveys a lively conversation between the characters. What is this form of communication between characters in a work of art called?
Read the text fragment below and complete tasks B1-B7; C1-C2.
Ms. Prostakova (Trishka). Get out, you bastard. (Eremeevna.) Go ahead, Eremeevna, let the child have breakfast. Vit, I’m having tea, the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan.
Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Mrs. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, are trying to beat the priest.
Prostakov (to the side). Well, my bad! Sleep in hand!
Mitrofan (loosen up). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka, I see you are a mother’s son, not a father’s son!
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him and with joy I truly do not believe that he is my son.
Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka. Mitrofan and Eremeevna leave.
D. I. Fonvizin “Minor”
Answer:
As the play progresses, the author's explanations and comments are given (“to the side,” “softened,” “with annoyance”). What term are they used to denote them?
Read the text fragment below and complete tasks B1-B7; C1-C2.
Ms. Prostakova (Trishka). Get out, you bastard. (Eremeevna.) Go ahead, Eremeevna, let the child have breakfast. Vit, I’m having tea, the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan.
Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Mrs. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, are trying to beat the priest.
Prostakov (to the side). Well, my bad! Sleep in hand!
Mitrofan (loosen up). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka, I see you are a mother’s son, not a father’s son!
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him and with joy I truly do not believe that he is my son.
Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka. Mitrofan and Eremeevna leave.
D. I. Fonvizin “Minor”
Answer:
The speech of the characters is replete with words and expressions that violate the literary norm (“such rubbish,” “take me away,” etc.). Indicate this type of speech.
Read the text fragment below and complete tasks B1-B7; C1-C2.
Ms. Prostakova (Trishka). Get out, you bastard. (Eremeevna.) Go ahead, Eremeevna, let the child have breakfast. Vit, I’m having tea, the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan.
Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Mrs. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, are trying to beat the priest.
Prostakov (to the side). Well, my bad! Sleep in hand!
Mitrofan (loosen up). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka, I see you are a mother’s son, not a father’s son!
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him and with joy I truly do not believe that he is my son.
Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka. Mitrofan and Eremeevna leave.
D. I. Fonvizin “Minor”
Answer:
The names and surnames of the characters in this episode carry a certain meaning. What are these first and last names called?
Read the text fragment below and complete tasks B1-B7; C1-C2.
Ms. Prostakova (Trishka). Get out, you bastard. (Eremeevna.) Go ahead, Eremeevna, let the child have breakfast. Vit, I’m having tea, the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan.
Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Mrs. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, are trying to beat the priest.
Prostakov (to the side). Well, my bad! Sleep in hand!
Mitrofan (loosen up). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka, I see you are a mother’s son, not a father’s son!
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him and with joy I truly do not believe that he is my son.
Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka. Mitrofan and Eremeevna leave.
D. I. Fonvizin “Minor”
Answer:
The given scene contains information about the characters, the place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by the named features.
Read the text fragment below and complete tasks B1-B7; C1-C2.
Ms. Prostakova (Trishka). Get out, you bastard. (Eremeevna.) Go ahead, Eremeevna, let the child have breakfast. Vit, I’m having tea, the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan.
Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Mrs. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, are trying to beat the priest.
Prostakov (to the side). Well, my bad! Sleep in hand!
Mitrofan (loosen up). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka, I see you are a mother’s son, not a father’s son!
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him and with joy I truly do not believe that he is my son.
Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka. Mitrofan and Eremeevna leave.
D. I. Fonvizin “Minor”
Answer:
What can you say about the education system in the Prostakov family?
Read the text fragment below and complete tasks B1-B7; C1-C2.
Ms. Prostakova (Trishka). Get out, you bastard. (Eremeevna.) Go ahead, Eremeevna, let the child have breakfast. Vit, I’m having tea, the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan.
Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Mrs. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, are trying to beat the priest.
Prostakov (to the side). Well, my bad! Sleep in hand!
Mitrofan (loosen up). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka, I see you are a mother’s son, not a father’s son!
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him and with joy I truly do not believe that he is my son.
Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka. Mitrofan and Eremeevna leave.
D. I. Fonvizin “Minor”
What works of Russian writers satirically depict the morals of the nobles and what brings them closer to the play by D. I. Fonvizin?
Read the text fragment below and complete tasks B1-B7; C1-C2.
Ms. Prostakova (Trishka). Get out, you bastard. (Eremeevna.) Go ahead, Eremeevna, let the child have breakfast. Vit, I’m having tea, the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan.
Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Mrs. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, are trying to beat the priest.
Prostakov (to the side). Well, my bad! Sleep in hand!
Mitrofan (loosen up). So I felt sorry.
Ms. Prostakova (with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka, I see you are a mother’s son, not a father’s son!
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him and with joy I truly do not believe that he is my son.
Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. I’ll run to the dovecote now, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka. Mitrofan and Eremeevna leave.
D. I. Fonvizin “Minor”
Solutions to long-answer tasks are not automatically checked.
The next page will ask you to check them yourself.
“Being famous is ugly,” “The purpose of creativity is dedication.” What are such laconic sayings called, containing philosophical or worldly wisdom, an instructive conclusion? Give your answer in the singular.
* * * It's not nice to be famous This is not what lifts you up. No need to create an archive, Shake over manuscripts. The goal of creativity is dedication, Not hype, not success. Shameful, meaningless Be the talk of everyone. Hear the call of the future. And you have to leave spaces In fate, and not among papers, Places and chapters of a whole life Marking in the margins. And plunge into the unknown And hide your steps in it, When you can't see a thing in it. Others on the trail But defeat comes from victory You don't have to differentiate yourself. And should not a single slice Don't give up on your face Alive and only until the end. |
B. L. Pasternak, 1956
Answer:
Name the stylistic figure associated with the repetition of a word at the beginning of poetic lines:
And plunge into the unknown, And hide your steps in it...
Read the poem below and complete tasks B8-B12; SZ-S4.
* * * It's not nice to be famous This is not what lifts you up. No need to create an archive, Shake over manuscripts. The goal of creativity is dedication, Not hype, not success. Shameful, meaningless Be the talk of everyone. But we must live without imposture, To live in such a way that in the end How the area hides in the fog...")? Read the poem below and complete tasks B8-B12; SZ-S4.
B. L. Pasternak, 1956 Answer: Read the poem below and complete tasks B8-B12; SZ-S4.
B. L. Pasternak, 1956 Solutions to long-answer tasks are not automatically checked. To complete the assignment, choose only ONE of the four proposed essay topics (17.1-17.4). Write an essay on this topic in a volume of at least 200 words (if the volume is less than 150 words, the essay is scored 0 points). Reveal the topic of the essay fully and multifacetedly. Justify your theses by analyzing the elements of the text of the work (in an essay on lyrics, you need to analyze at least three poems). Identify the role artistic means, important for revealing the topic of the essay. Think over the composition of your essay. Avoid factual, logical, and speech errors. Write your essay clearly and legibly, observing the norms of writing. C17.1. Why was Sonya Marmeladova able to lead Raskolnikov to confess to the crime? C17.2. In what works of Russian literature do natural phenomena appear as signs of future events? C17.3. In which works of Russian literature are reflected the fate of ordinary soldiers and how can the heroes of A. T. Tvardovsky be compared with them? C17.4. How is the theme of the artist and the era revealed in poetry of the 20th century? (Using the example of 2-3 works by one of the poets.) Solutions to long-answer tasks are not automatically checked. Complete testing, check answers, see solutions. |
Denis Ivanovich Fonvizin
Comedy "The Minor" (1782)
Meaning of the name
In the 18th century minors were the children of the nobility who had not reached 15 years of age, i.e., the age appointed by Peter I for entering the service. Fonvizin gave this word a mocking, ironic meaning. |
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Mitrofan |
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Mental immaturity respect: knows neither arithmetic nor geography, can't tell the difference adjective from noun |
Moral inferiority respect: does not know how to respect dignity other people |
Minor in civilian clothes sense: has not matured enough to understand his duty to state: " Well, what can come out of it for the fatherland? Mitrofanushki?..» (Starodum) |
Comedy character system
Three groups are clearly distinguished: in each there are three males and one female image |
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Positive heroes |
Negative heroes |
Educators |
Starodum; |
Prostakova; Prostakov; Skotinin; Mitrofan |
Eremeevna; Tsyfirkin; Kuteikin; Vralman |
Negative heroes
Prostakova
Meaning of the name |
From “simple, simpleton.” In the 18th century The word “simple” meant “empty, unoccupied” |
Character traits |
Despotic, unprincipled. When confronted with a stronger person, he begins to please and ingratiate himself. He robs and punishes peasants, considering them inferior beings. Rude, grumpy, selfish, cares only about her own benefit. Sees the meaning of his life in his son, loves him blindly |
Upbringing and education Prostakova |
Prostakova inherited her lack of moral principles from her parents. She grew up in a family with eighteen children, of whom only two survived, the rest died due to parental neglect. Prostakova's father, having served as a governor for fifteen years, remained illiterate, but managed to get rich, and died of hunger, lying on a chest of money. |
Ambiguity of the image |
At the end of Prostakova’s comedy, when her beloved son abandons her, she evokes pity among the heroes and the audience. Prostakova’s character and life attitudes are not her fault, but the result of a bad upbringing |
Functions in plot development |
Before the comedy begins: taking advantage of Sophia’s orphanhood, he takes possession of her estate. The comedy takes place in Prostakova's house. Prostakova decides to marry Sophia without her consent, first to her brother Skotinin, then to her son Mitrofan. Tries to organize the kidnapping of Sophia and marry her to Mitrofan |
Prostakova |
- “I love that strangers listen to me.” - “From morning to evening I’m hanging by the tongue, I don’t lay down my hands: I scold, I fight; This is how the house holds together.” - “Since we took away everything the peasants had, we can’t take anything back.” - “A nobleman is not free to whip his servants when he wants! But why have we been given a decree on the freedom of the nobility?” - “My only concern, my only joy is Mitrofanushka. My age is passing. I’m preparing him to become a people.” Prostakova about her father: “It happened that he deigned to shout: I will curse the child who learns something from the infidels, and be it not Skotinin who wants to learn something.” |
Pravdin about Prostakova |
- “I found a landowner who is a countless fool, and a wife who is a despicable fury, whose hellish disposition brings misfortune to their entire house.” - “Should you be rude to your mother? It was her crazy love for you that brought her the most misfortune.”(Mitrofan) |
Sofia about Prostakova |
“Hearing that my uncle was making me an heir, I suddenly went from being rude and scolding to being affectionate to the point of being mean.” |
Skotinin
Meaning of the name |
Derived from “cattle”, “cattle”. On the one hand, it reflects the hero’s love for farm animals (pigs), on the other on the other hand, characterizes him as a rude, mean person |
Character traits |
Rude, ignorant, tyrannical ( “Isn’t a nobleman free to beat servant whenever he wants? "Any loss Instead of going after him, I’ll rip off my own peasants and end up in the water.”). Narcissistic ( “I’ll say, without boasting, what I am, really, there are few of them”). Mentally undeveloped. The main passion is the love for pigs ( “I love pigs, sis.”) |
Upbringing |
He was brought up in the same environment as Prostakova. Flaunts his lack of education |
Functions in plot development |
First he wants to marry Sophia in order to get her estate, famous for pigs, and “have his own piglets”; then - to use Sophia’s inheritance to buy back “all the pigs in the world.” At the end of the comedy, he is instructed to notify “all the Skotinins” (i.e., all the landowners, of whom Skotinin is a typical representative) that they will be punished for their rude attitude towards the servants |
Mitrofan
Meaning of the name |
Translated from Greek, “representing the mother,” “given by the mother.” The hero's name emphasizes that his mother had the most destructive influence on him. Mitrofan became what he is as a result of improper upbringing |
Character traits |
Spoiled, capricious, selfish. Incapable of love: he curries favor with his mother while he feels her strength, but when Prostakova is deprived of power in the house, she pushes her away. Selfish, cunning - threatens suicide, pretends to be sick. Lazy, loves to eat, has an aversion to any work - he spends all his time in the dovecote. In dealing with people he is rude and impudent, as he feels the protection of his mother. Cowardly (hides behind Eremeevna's back when Skotinin attacks him) |
Upbringing and education |
Completely ignorant, despite the fact that teachers teach him. " Tsyfirkin. God gave me a student, a boyar's son. I’ve been fighting him for three years now: I can’t count three can not. - Kuteikin. So we have one problem. I have been tormenting my stomach for four years now. To sit for an hour, except for the butts, he won’t be able to make out a new line; Yes, and he mumbles his behinds, God forgive me, without a warehouse in warehouses, to no avail in his talk». Mitrofan’s phrase “I don’t want to study, I want to get married” became popular |
Functions in plot development |
Concern for Mitrofan is the reason for Prostakova’s desire to marry Sophia to him. Does not take a direct part in the development of the comedy, but is the cause of many conflicts |
Prostakov
Positive heroes
Starodum
Meaning of the name |
Means “thinking in the old way”, indicates that his ideals belong to the previous, Petrine, era |
Character traits |
Honest, noble. Pravdin says about Starodum: “From birth he did not speak the language “yes” when his soul felt “no.” Inertia and inhumanity evoke in him indignation and contempt ( "Nothing like this tormented my heart like innocence in the nets deceit. I've never been like this pleased with himself, as if he had vomited spoils from the hands of vice"). He achieves everything through honest work ( “I retired for several years to the land where money is obtained without exchanging it for conscience, without vile seniority, without robbing the fatherland.”). People are assessed by the benefit they bring to the fatherland, and not by their rank and position in society |
Criticism of the court and monarch |
- “Almost no one drives along the big straight road, but everyone takes a detour, hoping to get there as quickly as possible.” - “One knocks down the other, and the one who is on his feet never again raises the one who is on the ground.” - “I left the court without villages, without a ribbon, without ranks, but I brought mine home intact, my soul, my honor, my rules.” - “The great sovereign is the wise sovereign. His job is to show people their direct good... A sovereign worthy of the throne strives to elevate the souls of his subjects.” Starodum’s very commitment to Peter’s “antiquity” was a peculiar form of rejection of Catherine’s “newness” |
Starodum's instructions to Sophia |
- “Everyone will find enough strength in himself to be virtuous. You have to want it decisively, and then the easiest thing will be not to do something for which your conscience would prick you.” - “I will calculate the degree of nobility by the number of deeds that the great gentleman did for the fatherland, and not by the number of deeds that he took upon himself out of arrogance; not by the number of people hanging around in his hallway, but by the number of people satisfied with his behavior and deeds.” - “According to my calculation, the rich man is not the one who counts out money in order to hide it in a chest, but the one who counts out what he has in excess in order to help someone who does not have what he needs.” - “With runaway minds we see bad husbands, bad fathers, bad citizens. Good behavior gives him a direct price. Without him clever man- a monster." - “The dignity of the heart is indivisible. An honest person must be a completely honest person." |
Upbringing and education |
- “The education given to me by my father was the best in that century. At that time there were few ways to learn, and they still didn’t know how to fill an empty head with someone else’s mind.” - “My father constantly repeated the same thing to me: have a heart, have a soul, and you will be a man at all times.” |
Functions in plot development |
With the arrival of Starodum, the main events of the comedy begin: the matchmaking of Skotinin and Mitrofan, the refusal to marry Sophia, Prostakova’s organization of Sophia’s kidnapping. The inheritance he left to Sophia makes her independent and causes ingratiation from negative characters The desire to marry Sophia to someone young man with the mutual love of Sophia and Milon and at the same time the readiness to obey their uncle in everything, it creates an intrigue until it becomes clear that the young man whom Starodum reads as the husband of his niece and Milon are one person. Through the mouth of Starodum, the thoughts and views of Fonvizin himself are expressed; this is a hero expressing the ideological content of comedy |
Pravdin
Meaning of the name |
Derived from “truth”, it is truth, i.e. justice, that this hero serves. Attention is focused on the hero’s surname, which gives it special significance: “Skotinin. What about your last name? I didn't hear enough. Pravdin. I call myself Pravdin so that you heard enough" |
Activities Pravdin |
Serves as an official in the viceroyalty - an institution created in 1775 by Catherine II in each province to oversee the implementation of government decrees locally. Pravdin considers his main task, not only by virtue of his position, but also “out of his own feat of heart,” to be the suppression of the willfulness of the landowners, who, "having over their people use full power her for evil inhumanely" |
Functions in plot development |
In the finale of the comedy, Pravdin, on behalf of the government, takes custody of Prostakova’s estate, depriving her of the right to arbitrarily dispose of the peasants |
Milo
Characteristic |
An exemplary officer, brave and selfless. He sincerely loves Sophia and does not seek benefits from marrying her. - “And what is the difference between the fearlessness of a soldier who, in an attack, risks his life along with others, and between the fearlessness of a statesman who speaks the truth to the sovereign, daring to anger him. The judge who, fearing neither vengeance nor the threats of the strong, gave justice to the helpless, is a hero in my eyes.” |
Functions in plot development |
Claims for Sophia's hand, being the antipode of unworthy contenders - Skotinin and Mitrofan. He becomes Sophia's fiancé, thereby causing Prostakova's indignation. Saves Sophia from kidnapping |
Sophia
Meaning of the name |
Translated from Greek it means “wisdom” (the highest value of the Enlightenment era) |
Characteristic |
Modest, prudent, virtuous. He is the embodiment of “virtue in the hands of vice.” Thirsts for knowledge, seeks moral guidelines (“Your instructions, uncle, will make up my entire well-being. Give me rules that I must follow. Guide my heart. It is ready to obey you"). Respects elders |
Functions in plot development |
Prostakova's attitude towards Sophia reveals the thirst for profit and the tyranny of the landowner. The matchmaking of Skotinin, Mitrofan and Milon to Sophia forms the main storyline of the comedy. In the finale of the comedy, an attempt to kidnap Sophia leads to the collapse of Prostakova’s power, whose estate Pravdin takes under his guardianship. |
Educators
Eremeevna |
- “Mama”, i.e. Mitrofan’s nurse. She is attached to the house and owners, protects and protects Mitrofan. For forty years of service I received “ five rubles per year, and five slaps per day». Slave nature, has no self-esteem |
Pafnutich Tsyfirkin |
Math teacher, former soldier. He doesn’t like to “live idlely”, he’s used to work, but he doesn’t take on his own business. Refuses money for Mitrofan’s education, since the student has not learned anything: “I served the sovereign for more than twenty years. I took money for service, I didn’t take it empty-handed, and I won’t take it.” This earns respect from the goodies, and they reward him beyond expectations. |
Sidorich Kuteikin |
Teacher of Russian and Church Slavonic languages. Having not completed his studies at the seminary, he asked to be excused from studying, fearing the “abyss of wisdom,” to which he received the answer: “Such and such a seminarian should be dismissed from all teaching: it is written, do not throw pearls before swine, lest they trample him underfoot.” Cunning, greedy, for which he is punished in the final |
Vralman |
History teacher, German. It turns out that he was a former coachman who, unable to find a job, became a teacher. The fact that Vralman became a teacher respected by the owners of the house speaks of the Prostakovs’ ignorance, of their stupid adherence to the fashion for foreign teachers |
Features of the creative method in comedy
Features of classicism |
The principle of the highest assessment of a person: serving the state, fulfilling his civic duty; The opposition of two eras, characteristic of Russian classicism: Peter’s and the one to which the author belongs; The rule of “three unities” is observed: time, place, action (the action takes place during the day on Prostakova’s estate); The plot is built on a traditional classicist basis - the rivalry between worthy and unworthy suitors for the heroine's hand; A strict system of images, dividing characters into positive and negative; Speaking names and surnames; Static characters (their characters do not change) |
Genre originality
The comic takes on a darkly tragic character, farcical brawls are no longer perceived as traditional funny sideshows |
Fonvizin was the creator of social comedy in Russia. Through the educational opposition of the world of evil to the world of reason, the content of the everyday satirical comedy received a philosophical interpretation |
The function of the sounding board of classical drama has changed. Starodum Fonvizin acts as a political speaker, and his speeches are a form of presentation of a political program |
For the first time in Russian drama, the love affair of comedy was completely relegated to the background and acquired auxiliary significance. |
Ms. Prostakova(Trishka). Get out, you bastard. (Eremeevna.) Come on, Eremeevna, let the child have breakfast. After all, I hope the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, mother of God! What happened to you, Mitrofanushka?
Mitrofan. Yes, mother. Yesterday after dinner it hit me.
Skotinin. Yes, apparently, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Ms. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, deign to beat father.
Prostakov(to the side). Well! my misfortune! sleep in hand!
Mitrofan(softening up). So I felt sorry.
Ms. Prostakova(with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka! You, I see, are a mother’s son, not a father’s son.
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him, with joy I truly don’t believe that he is my son, Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. Now I’ll run to the dovecote, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka.
Mitrofan and Eremeevna leave.
IN 1. Indicate the genre to which D.I. Fonvizin’s play “The Minor” belongs.
AT 2. Name the literary movement that was developed in the literature of the 18th century, the principles of which were embodied in the play by D.I. Fonvizina.
AT 3. The above scene conveys a lively conversation between the characters. What is this form of communication between characters in a work of art called?
AT 4. As the play progresses, the author's explanations and comments are given (“to the side,” “softened,” “with annoyance”). What term do they use?
AT 5. The characters’ speech is replete with words and expressions that violate literary norms (“such rubbish,” “take me away,” etc.). Indicate this type of speech.
AT 6. The names and surnames of the characters in this episode carry a certain meaning. What are these first and last names called?
AT 7. The given scene contains information about the characters, the place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by the named features.
C1. What can you say about the education system in the Prostakov family?
C2. What works of Russian writers satirically depict the morals of the nobles and what brings them closer to the play by D.I. Fonvizin?
TESTS ON THE COMEDY “UNDERGROUND”.
Ms. Prostakova(Trishka). Get out, you bastard. (Eremeevna.) Come on, Eremeevna, let the child have breakfast. After all, I hope the teachers will come soon.
Eremeevna. He already, mother, deigned to eat five buns.
Mrs. Prostakova. So you feel sorry for the sixth one, beast? What zeal! Please take a look.
Eremeevna. Cheers, mother. I said this for Mitrofan Terentyevich. I grieved until the morning.
Mrs. Prostakova. Oh, mother of God! What happened to you, Mitrofanushka?
Mitrofan. Yes, mother. Yesterday after dinner it hit me.
Skotinin. Yes, apparently, 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.
Mitrofan. And now I’m walking around like crazy. All night such rubbish was in my eyes.
Mrs. Prostakova. What rubbish, Mitrofanushka?
Mitrofan. Yes, either you, mother, or father.
Ms. Prostakova. How is this possible?
Mitrofan. As soon as I start to fall asleep, I see that you, mother, deign to beat father.
Prostakov(to the side). Well! my misfortune! sleep in hand!
Mitrofan(softening up). So I felt sorry.
Ms. Prostakova(with annoyance). Who, Mitrofanushka?
Mitrofan. You, mother: you are so tired, beating your father.
Mrs. Prostakova. Surround me, my dear friend! Here, son, is my only consolation.
Skotinin. Well, Mitrofanushka! You, I see, are a mother’s son, not a father’s son.
Prostakov. At least I love him, as a parent should, he’s a smart child, he’s a sensible child, he’s funny, he’s an entertainer; sometimes I am beside myself with him, with joy I truly don’t believe that he is my son, Skotinin. Only now our funny man is standing there, frowning.
Mrs. Prostakova. Shouldn't we send for a doctor to the city?
Mitrofan. No, no, mother. I'd rather get better on my own. Now I’ll run to the dovecote, maybe...
Mrs. Prostakova. So maybe God is merciful. Go and have some fun, Mitrofanushka.
Mitrofan and Eremeevna leave.
IN 1. Indicate the genre to which the play “Minor” belongs.
AT 2. Name a literary movement that was developed in the literature of the 18th century, the principles of which were embodied in the play.
AT 3. The above scene conveys a lively conversation between the characters. What is this form of communication between characters in a work of art called?
AT 4. As the play progresses, the author's explanations and comments are given (“to the side,” “softened,” “with annoyance”). What term do they use?
AT 5. The characters’ speech is replete with words and expressions that violate literary norms (“such rubbish,” “take me away,” etc.). Indicate this type of speech.
AT 6. The names and surnames of the characters in this episode carry a certain meaning. What are these first and last names called?
AT 7. The given scene contains information about the characters, the place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by the named features.
C1. What can you say about the education system in the Prostakov family?
C2. What works of Russian writers satirically depict the morals of the nobles and what brings them closer to the play?
IN 1. Comedy
AT 2. Classicism
AT 3. Dialogue
AT 4. Remarks
AT 5. Vernacular
AT 6. Speakers
AT 7. Exposition
Starodum and Pravdin |
Pravdin. This was the package that the local landlady herself notified me about yesterday in front of you.
Starodum. So, do you now have a way to stop the inhumanity of the evil landowner?
Pravdin. I have been instructed to take custody of the house and villages at the first rabies, from which the people under her control could suffer.
Starodum. Thank God that humanity can find protection! Believe me, my friend, where the sovereign thinks, where he knows what his true glory is, there his rights cannot but return to humanity. There everyone will soon feel that everyone must seek their happiness and benefits in the one thing that is legal... and that it is unlawful to oppress their own kind with slavery.
Pravdin. I agree with you on this; Yes, how tricky it is to destroy inveterate prejudices in which low souls find their benefits!
Starodum. Listen, my friend! A great sovereign is a wise sovereign. His job is to show people their direct good. The glory of his wisdom is to rule over people, because there is no wisdom to rule over idols. The peasant, who is worse than everyone else in the village, usually chooses to shepherd the flock, because it takes a little intelligence to graze the cattle. A sovereign worthy of the throne strives to elevate the souls of his subjects. We see this with our own eyes.
Pravdin. The pleasure that princes enjoy in possessing free souls must be so great that I do not understand what motives could distract...
Starodum. A! How great a soul must be in a sovereign in order to take the path of truth and never stray from it! How many nets are laid to catch the soul of a person who has the fate of his own kind in his hands! And firstly, a crowd of stingy flatterers...
Pravdin. Without spiritual contempt it is impossible to imagine what a flatterer is.
Starodum. A flatterer is a creature who does not have a good opinion not only of others, but also of himself. All his desire is to first blind a person’s mind, and then make of him what he needs. He is a night thief who will first put out the candle and then begin to steal.
Pravdin. Human misfortunes, of course, are caused by their own corruption; but ways to make people kind...
Starodum. They are in the hands of the sovereign. How soon everyone sees that without good behavior no one can become a person; that no vile length of service and no amount of money can buy what merit is rewarded with; that people are chosen for places, and not places are stolen by people - then everyone finds his advantage in being well-behaved and everyone becomes good.
Pravdin. Fair. The great sovereign gives...
Starodum.
Pravdin. So that there is no shortage of worthy people, special efforts are now being made to educate...
Starodum. It should be the key to the well-being of the state. We see all the unfortunate consequences of bad education. Well, what can come of Mitrofanushka for the fatherland, for whom ignorant parents also pay money to ignorant teachers? How many noble fathers who entrust the moral education of their son to their serf slave! Fifteen years later, instead of one slave, two come out, an old guy and a young master.
Pravdin. But persons of the highest status enlighten their children...
Starodum. So, my friend; Yes, I would like that, despite all the spiders, the main goal of all human knowledge, good behavior, is not forgotten. Believe me, science in a depraved person is a fierce weapon to do evil. Enlightenment elevates one virtuous soul. I would like, for example, that when raising the son of a noble gentleman, his mentor would unfold History to him every day and show him two places in it: in one, how great people contributed to the good of their fatherland; in another, as an unworthy nobleman, who used his trust and power for evil, from the height of his magnificent nobility fell into the abyss of contempt and reproach.
IN 1. Within what literary movement was the play “The Minor” created?
AT 2. What era ideas are propagated in this fragment of the play “The Minor”?
AT 3. Indicate the name of the genre of drama to which the play “Minor” belongs?
AT 4. What term refers to the form of speech of characters that represents an exchange of remarks:
« Starodum. Grace and friendship to those whom he pleases; bridge and rank to those who are worthy.
Pravdin. So that there is no shortage of worthy people, special efforts are now being made to educate..."?
AT 5. What is the name of the sayings that express complete and generalized thoughts in a laconic form: “The great sovereign is a wise sovereign,” “everyone should seek his happiness and benefits in the one thing that is lawful...”, “science in a depraved person is a fierce weapon to do evil.” and etc.?
AT 6. Indicate the surname of the heroine of the play “Minor”, in which in this fragment of the play the evil landowner is called.”
C1. Why is so much space in this fragment devoted to discussions about the “great sovereign”?
C1. What is the main theme of this fragment and how does it relate to the general themes of the play?
C2. Which Russian writers tried to create the image of an ideal ruler on the pages of their works?
IN 1. Classicism
AT 2. Education
AT 3. Comedy
AT 4. Dialogue
AT 5. Aphorism
AT 6. Prostakov
Pravdin. Aren't you ashamed, Kuteikin?
Kuteikin(lowering his head). Shame on you, damned one.
Starodum(To Tsyfirkin). Here's to you, my friend, for your kind soul.
Tsyfirkin. Thank you, Your Highness. Thankful. You are free to give me. I myself, without deserving it, will not demand a century.
Milo(giving him money). Here's more for you, my friend!
Tsyfirkin. And thanks again.
Pravdin also gives him money.
Tsyfirkin. Why, your honor, are you complaining?
Pravdin. Because you are not like Kuteikin.
Tsyfirkin. AND! Your Honor. I'm a soldier.
Pravdin (To Tsyfirkin). Go ahead, my friend, with God.
Tsyfirkin leaves.
Pravdin. And you, Kuteikin, perhaps come here tomorrow and take the trouble to settle accounts with the lady herself.
Kuteikin (running out). With myself! I'm giving up on everything.
Vralman (To Starodum). Starofa hearing is not ostafte, fashe fysokorotie. Take me back to the sepa.
Starodum. Yes, Vralman, I guess, have you fallen behind the horses?
Vralman. Hey, no, my dad! Shiuchi with great hospotam, it concerned me that I was with horses.
Ms. Prostakova, Starodum, Milon, Sofya, Pravdin, Mitrofan, Eremeevna.
Starodum (to Pravdin, holding the hands of Sophia and Milan). Well, my friend! We go. Wish us...
Pravdin. All the happiness to which honest hearts are entitled.
Ms. Prostakova (rushing to hug his son). You are the only one left with me, my dear friend, Mitrofanushka!
Mitrofan. Let go, mother, how you imposed yourself...
Ms. Prostakova. And you! And you leave me! A! ungrateful! (She fainted.)
Sophia(running up to her). My God! She has no memory.
Starodum (Sofya). Help her, help her.
Sofya and Eremeevna are helping.
Pravdin (To Mitrofan). Scoundrel! Should you be rude to your mother? It was her crazy love for you that brought her the most misfortune.
Mitrofan. It's like she doesn't know...
Pravdin. Rude!
Starodum(Eremeevna). What is she now? What?
Eremeevna(looking intently at Ms. Prostakova and clasping her hands). He will wake up, my father, he will wake up.
Pravdin (To Mitrofan). WITH you, my friend, I know what to do. I went to serve...
Mitrofan (waving his hand). For me, where they tell me to go.
Ms. Prostakova (waking up in despair). I'm completely lost! My power has been taken away! You can’t show your eyes anywhere out of shame! I don't have a son!
Starodum (pointing to Ms. Prostakova) These are the fruits worthy of evil!
IN 1. What element in the development of the plot of the work is this fragment?
AT 2. Determine the genre of the work “Minor”?
AT 3. Which of the characters at the end of the play expresses the author's assessment of events?
AT 4. The text of the fragment is an alternation of short statements by different persons. What is this type of verbal communication called in a dramatic work?
AT 5. Find and write down a word from Prostakova’s last remark that belongs to the vernacular.
AT 6. One of the characteristic techniques of classicism is to reveal the character of the hero through his surname. What are these surnames called?
C2. In which works of Russian classics are the “worthy fruits of evil” revealed?
IN 1. Denouement
AT 2. Comedy
AT 3. Starodum
AT 4. Dialogue
AT 5. Nowhere
AT 6. Speakers
. "Undergrown"
1. Read the text fragment below and complete tasks B1-B4
Act two, appearanceVI
Ms. Prostakova. Well, now at least read your backs in Russian, Mitrofanushka.
Mitrofan. Yes, butts, why not?
Ms. Prostakova. Live and learn, my dear friend! Such a thing.
Mitrofan. How could it not be! Study will come to mind. You should also bring your uncles here!
Ms. Prostakov a. What? What's happened?
Mitrofan. Yes! Look at the melancholy from your uncle; and there from his fists and for the book of hours. No, thank you, I’m already done with myself!
Ms. Prostakova (frightened). What, what do you want to do? Come to your senses, darling!
Mitrofan. Vit is here and the river is close. I’ll dive, so remember my name.
Ms. Prostakova (beside myself). Killed me! Killed me! God be with you!
Eremeevna. The uncle scared everything. I almost grabbed him by the hairs. And for nothing... about nothing...
Ms. Prostakova (angrily). Well...
Eremeevna. I pestered him: do you want to get married?..
Mrs. Prostakova. Well...
Eremeevna. The child didn’t hide it, it’s been a long time since he started hunting, uncle. How he will become furious, my mother, how he will throw himself up!..
Ms. Prostakova (trembling). Well... and you, beast, were dumbfounded, and you didn’t dig into your brother’s mug, and you didn’t tear his snout over the ears...
Eremeevna. I accepted it! Oh, I accepted, yes... Ms. Prostakova. Yes... yes what... not your child, beast! For you, at least kill the little kid to death.
Eremeevna. Ah, creator, save and have mercy! If my brother hadn’t deigned to leave at that very moment, I would have broken down with him. That's what God wouldn't order. These would become dull (pointing to nails) I wouldn’t even save the fangs.
Mrs. Prostakova. All of you, beasts, are zealous in words alone, and not in action...
Eremeevna (crying). I'm not zealous for you, mother! You don’t know how to serve anymore... I would be glad if nothing else... you don’t regret your stomach... but you don’t want everything.
Kuteikin. Will you command us to go home?
Tsyfirkin. Where should we go, yours (Together.)
honor?
Ms. Prostakova. You, an old witch, burst into tears. Go and feed them with you, and after lunch immediately come back here. (To Mitrofan.) Come with me, Mitrofanushka. I won't let you out of my sight now. As soon as I tell you, little one, you will love to live in the world. It’s not a century for you, my friend, it’s not a century for you to learn. Thank God, you already understand so much that you can raise the kids yourself. (To Eremeevna.) I won’t talk to my brother your way. Let everything good people they will see that it is mother and that mother is dear. (He leaves with Mitrofan.)
Kuteikin. Your life, Eremeevna, is like pitch darkness. Let's go to dinner, and drink a glass of grief first...
Tsyfirkin. And there’s another one, here’s the multiplication
Eremeevna(in tears). The difficult one won't clean me up!
I have been serving for forty years, but the mercy is still the same...
Kuteikin. Is charity great?
Eremeevna. Five rubles per year, and five slaps per day.
Kuteikin and Tsyfirkin take her away under your arms
Tsyfirkin. Let’s figure out at the table what your income is all year round.
IN 1. What is the genre of the play “The Minor”?
AT 2. What literary movement does creativity belong to?
AT 3. What is the name of Uncle Mitrofan?
AT 4. What is the position of former seminarian Kuteikin and retired sergeant Tsyfirkin in the Prostakovs’ house?
2. Tasks with a detailed answer of limited scope (5-10 sentences)C.I., C2
C1.What, according to Mrs. Prostakova, should maternal love and maternal duty be manifested in?
C2. In which works of Russian literature of the 19th century is the theme of the education and upbringing of a young nobleman brought to the fore and in what ways? similarities and differences between their heroes and Mitrofan Prostakov?
Answers:
C1. The maternal love of Mrs. Prostakova is characterized by extreme aggressiveness and rudeness of manifestations. In Prostakova’s view, love should first of all be considered the readiness even for one’s own brother to “dig... into the mug” and “tear off his snout and..... ears,” if Mitrofanushka’s interests are in any way offended. Getting an education should not prevent your beloved son from frolicking, and certainly should not affect his health: the choice between a lesson and a hearty lunch will always be made in favor of lunch. In the finale, out of love for Mitrofanushka, Prostakova is ready to commit both a crime (the kidnapping of Sophia) and ostentatious repentance. But the main thing for her is to raise Mitrofanushka as a real Prostakov: “From our family of Prostakovs, look, lying on your side, ranks fly to you.” Since childhood, Mitrofan was given the opportunity to lie on his side by his mother; All we have to do is wait for the officials...
C2. The topic of education and upbringing of a young nobleman has repeatedly attracted the attention of Russians writers of the 19th century century. Direct references to “The Minor” are contained in “ The captain's daughter": Grinev reports in the first chapter that he “grew up as a teenager,” chasing pigeons and playing leapfrog with the yard boys. In the story about getting an education, Grinev is extremely ironic: Beaupre could not teach him absolutely anything; but Grinev received his main life lesson “underage” from his father - the covenant to “preserve honor from a young age.” Another example is the story of Oblomov’s upbringing in the novel of the same name. To frolic, to have a hearty meal, to listen to a fairy tale from the nanny - all these opportunities are provided to him even in abundance, and it is they that bring the principles of his upbringing closer to those by which Mitrofan Prostakov was raised. However, if Fonvizin’s hero is destined to remain ignorant and ignorant, then Oblomov is shown by the author as a truly kind, sincere person, endowed with “dovelike tenderness” and a heart of gold.
Read an excerpt from the play and complete all the tasks. Option 1.
Act 3, scene 7.
From the words: Ms. Prostakova. While he is resting, my friend, at least for the sake of appearance, learn, so that it reaches his ears how you work, Mitrofanushka.
Before the words: Mitrofan. "Reproaching people."
Kuteikin."And uni..."
IN 1. Why does Mrs. Prostakova advise Mitrofanushka to study?
AT 2. How does the phenomenon you read end?
AT 3. Who is Tsyfirkin in the plot of the drama?
AT 4. What advice does Mrs. Prostakova offer to Mitrofan when he solves a problem about money?
AT 5. What qualities of Mitrofan are manifested in this phenomenon of comedy?
AT 6. What is the main problem of the play “The Minor?”
AT 7. According to the canons of what literary movement was the play “Minor” written?
AT 8. What is the main content of the reading phenomenon?
AT 9. Write the terminological name of the verbal and grammatical forms that give the characters’ speech a rude, stylistically reduced tone: “always toil around with nothing to do,” “and then I got married,” “lured.”
AT 10 O'CLOCK. What role do Mrs. Prostakova’s remarks play in this phenomenon?
AT 11. Can this phenomenon be called the culmination in the development of action?
AT 12. Indicate the genre of the play “The Minor.” Define it.
B13. What is the name in literary criticism for a conversation between two or more characters that takes place during an action?
Control test on the comedy “The Minor.”
Read an excerpt from the play and complete all the tasks. Option 2.
Action 5, phenomenon 1.
In the words of: Pravdin. This was the package that the local owner herself notified me about yesterday in front of you.
Before the words: Starodum What happened?
When completing tasks B1-B7, give answers to questions in the form of a combination of words.
IN 1. What character quality of the landowner Prostakova does Starodum want to get rid of?
AT 2. According to the plot of the drama, who is Starodum?
AT 3. Whose hands contain the ways to make people kind, according to Starodum?
AT 4. What words does Starodum say about the true service of a person?
AT 5. How does this phenomenon end?
AT 6. What does Starodum see as the reason for Mitrofan’s bad upbringing?
AT 7. What, according to Starodum, is science in a corrupt person?
When completing tasks B8-B13, give a detailed answer to the question.
AT 8. What topic in this phenomenon became the main one in the dialogue between Starodum and Pravdin?
AT 9. Which of the participants in this dialogue expresses wiser judgments about human upbringing?
AT 10 O'CLOCK. Which phrase of Starodum about enlightenment can be considered a catchphrase?
AT 12. What famous phrase from Starodum about Mrs. Prostakova ends the comedy “The Minor”?
B13. What meaning does the word “minor” acquire in comedy?
Answers.
Option 1.
IN 1. Just for show.
AT 2. Reading the Book of Hours.
AT 3. Tsyfirkin is a retired sergeant.
AT 4. I found the money and didn’t share it with anyone.
AT 5. Stupidity and lack of culture.
AT 6. Family and household.
AT 7. According to the canons of classicism.
AT 8. The main content of the phenomenon read is Mitrofan’s arithmetic lesson with Tsyfirkin.
AT 9. Common speech.
AT 11. No, this is not the climax.
AT 12. This work belongs to the comedy genre. Comedy (from the Greek “merry crowd”) - dramatic work, which depicts life situations and characters that cause laughter.
B13. Dialogue.
Answers.
Option 2.
IN 1. Inhumanity.
AT 2. A virtuous nobleman.
AT 3. In the hands of the sovereign.
AT 4.“People are chosen for places, not places are stolen by people.”
AT 5. Starodum's surprised question.
AT 6. In the payment of ignorant parents for the education of their son to ignorant teachers.
AT 7. To do evil with fierce weapons.
AT 8. The main topic of the dialogue between Starodum and Pravdin was the topic of human upbringing in society.
AT 9. Starodum.
AT 10 O'CLOCK. Enlightenment elevates one virtuous soul.
AT 11. Yes, you can.
AT 12.“Here are the fruits of evil”
B13. This word becomes synonymous with stupid ignoramus and mother's darling.