Presents itself to the reader. ON

“On the Road” was created in 1845. Nekrasov at that time was only 25 years old, and for his young age he showed a surprisingly subtle understanding of the Russian soul and knowledge of the peculiarities of Russian life.

It is worth noting that 1845 was the heyday of the era of serfdom, when, on the one hand, rumors about “freedom” had already begun to circulate among farmers, on the other hand, there were still more than 15 years before the abolition of serfdom. The peasants suffered under the yoke of landowners who treated them like property, and they themselves did not always realize it.

The main theme of the poem

The central theme of the work, which has become one of the best examples of civil lyricism, is serfdom, or rather, his denunciation. Not directly, of course - in the middle of the 19th century, only underground workers could afford to write directly, openly and completely honestly. But, nevertheless, in the story of the peasant woman, which is revealed to the reader, the horrors of serfdom appear in full. Nekrasov also touched on intra-family relationships, hard work in the fields, and domestic violence - then, however, it was considered the perfect norm.

The poem is written in the form of a dialogue. A master, riding somewhere with a coachman, asks the coachman to entertain him with a conversation, and he retells the story of his wife, Grusha. She was a “companion” in the manor’s house, did not work in the fields, and was “white-handed, white-faced.” Pear was taught to read and play the piano, and one teacher even wooed her. But after the lady, whose companion was Grusha, got married, and a new owner appeared on the estate, he sent Grusha back to the village.

Like any other woman of childbearing age, she was married off to the first person who turned out to be a more or less suitable candidate - the coachman-storyteller. He, in turn, appears before the reader as a kindly man, compassionate in his own way, he feels sorry for his wife, although she turned out to be almost useless in peasant labor. Pear is not lazy, not at all - she simply does not have the physical strength to “follow a cow” or do unusual housework. According to the coachman, she reads a book all day long and tries to raise her son like a little baron.

The coachman does not understand the sorrows and problems of Grusha, he tells the master - and this is where he interrupts him - that he even beat his wife only when he was drunk. There is an abyss between him and Grusha, they are completely different people by level of education, by worldview. But Grushin’s trouble also lies in education. She knows that she could live differently, but her life is not her own. The owner of the estate disposes of the pear; for him it is property that can be kept with him or can be redirected somewhere else.

The pronounced anti-serfdom character of the verse is noticeable from the very first lines. The coachman's story, told even without complaints, only with surprise, like: you see, master, it turns out that this happens in life, shocks the modern reader. It is impossible to even imagine such a plight for women - and men too, who were torn out of their usual lives, married off, rearranged like dolls on a game board. With his poetry, Nekrasov protests against serfdom and inhumane treatment of people.

Structural analysis of the poem

For greater similarity with traditional songs of complaint of the Russian people, Nekrasov used a 3-foot anapest. Alternating types of rhyme (female - with male, cross, ring and paired rhymes replace each other) emphasize the liveliness of speech.

The work uses a large number of colloquial expressions - this makes the driver’s speech real, not artificial. The peasant's condition and the sadness and melancholy consuming his wife are conveyed through epithets and comparisons.

In the work “On the Road,” Nekrasov raises the difficult issue of serfdom, emphasizing that owning people as things often breaks their destinies.

Nikolai Vasilyevich Gogol established himself as a magnificent artist who expressed beauty in words. Nature appears before the reader like a living organism that fits well into the plot narrative. The work “Taras Bulba” tells about brave warriors, difficult choices and the personal drama of three Cossacks. The steppe in the story “Taras Bulba” becomes not just a background against which the main events unfold, but represents something more.

To begin with, it should be said that Gogol’s creative consciousness was formed under the influence of the romantic tradition. Having adopted the methods of reflecting spiritual experiences using landscape from the sentimentalists, romantic writers significantly expanded the use of this technique. The element in romanticism was understood as something powerful and great, something that must necessarily evoke a response in the human soul. There were different types of landscape-mood, which reflected the fluidity of life and changeability of emotions, landscape-ruins, awakening fantasy, landscape-element, which shows the crushing nature of natural forces, and landscape-mirage, which takes you into the realm of the unreal, mysteriously sublime. In the text of the work “Taras Bulba” the steppe is rather represented by the first subspecies: landscape-mood, but with some reservations (we must not forget that the work of N. Gogol, like the works of other writers of that time, reflects the change from the romantic paradigm to the realistic).

The first description of the steppe appears in the second chapter, when two young men and an old Cossack go to the Sich. Each of the characters is overcome by their own thoughts. Taras thought about his past, about his lost youth, about who he would meet in the Sich, whether his comrades were alive. In the same chapter, the reader learns about the two sons of Taras. Ostap was kind and straightforward, he was considered the best comrade. Farewell to his mother and her tears touched the young man to the depths of his soul, somewhat confusing him. Andriy “had feelings a little more vividly.” On the way to the Sich, he thought about the beautiful Polish woman he had once met in Kyiv. Seeing the beauty of the steppe, the heroes forget about all those thoughts that haunted them.

For clarity, it is worth placing here an excerpt from “Taras Bulba” about the steppe:

“The further the steppe went, the more beautiful it became... Nothing in nature could be better. The entire surface of the earth seemed like a green-golden ocean, over which millions of different colors. Blue, blue and purple hairs showed through the thin, tall stems of grass; white porridge dotted the surface with umbrella-shaped caps; the ear of wheat brought from God knows where was pouring into the thicket... Damn you, steppes, how good you are!
How subtly and sensually every detail of the landscape is described. One gets the impression that it is not the Sich that should accept new Cossacks, but the steppe itself: “the steppe has long accepted them into its green embrace...”. This phrase was not used for the sake of beauty of the syllable. The image of the steppe turns out to be a symbolic embodiment of freedom, strength, power, and faith in purity. The homeland in the story is associated, first of all, with the beauty of nature and the steppe. The free steppes are identical to the freedom-loving character of the Cossacks. In the steppe everything breathes freedom and space. The author says that the travelers stopped only for lunch and sleep, and the rest of the time they galloped towards the wind. It is no coincidence that in the text of the story there is no description of any buildings on the territory of Ukraine, there are only smoking areas that can be easily removed and reinstalled. In other words, there are no fetters that could limit or kill nature. In this vein, it is necessary to say about the military campaigns of the Cossacks: it is known that they burned cities to the ground and razed villages to the ground. This fact can also be understood as a kind of struggle against the limitations of nature, the proclamation of freedom and the absence of conventions. At the same time, the Cossacks do not appear to the reader as some kind of masters of the elements; on the contrary, they organically fit into nature, live by it and in it.

In the story “Taras Bulba” the descriptions of the steppe are distinguished by a richness of bright colors. The text turns out to be extremely visualized, that is, the picture being described immediately appears in the reader’s imagination. The pictures replace each other, the accents move to the amazing sound accompaniment:

“Across the blue-dark sky, as if with a gigantic brush, wide stripes of rose gold were painted; From time to time, light and transparent clouds appeared in white tufts, and the freshest, seductive, like sea waves, breeze barely swayed across the tops of the grass and barely touched the cheeks. All the music that sounded during the day died down and was replaced by something else. The motley gophers crawled out of their holes, stood on their hind legs and filled the steppe with their whistles. The chattering of grasshoppers became more audible. Sometimes the cry of a swan was heard from some secluded lake and echoed in the air like silver.”

Only a person who truly loved it and understood its wealth could paint the steppe so lyrically.

Landscape sketches also appear in the episode of the siege of Dubno: Andriy walks across the field, looking at the endless expanses, but feels stuffy in his heart. The July heat is connected with the hero’s internal state, a feeling of powerlessness and fatigue. A similar technique is used in the first chapter of the work. The travelers had just left their home, and other Cossacks took away Ostap and Andriy’s mother, who did not want to come to terms with their departure. This scene confused Taras Bulba himself, but, nevertheless, the internal state of the heroes is again described through natural world: “It was a gray day... the birds were chirping somehow discordantly.” It is the last word that sets the general mood: Ostap and Andriy do not yet feel that unity with their father and the steppe, as if the heroes have not yet gained integrity. Here the character’s subjective perception of nature is combined with the author’s objective word about the hero’s internal state.

Thanks to detailed descriptions and melodic artistic language, Gogol creates a living image of the steppe, permeated with freedom, beauty and strength.

Work test

The Jesuit father faces a serious test in the novel. Yes, the course of tragic events “humanized” Panelu: together with Tarrou he participated in the activities of the sanitary squads, together with Rie he suffered at the bedside of a dying boy.

The death of an innocent child who, throughout his entire life, short life He only encountered the dry stupidity of his father - and there is that “borderline situation” for a priest that awakens him to “being.” It turned out to be a difficult test for faith in the rationality of the world and the justice of the Creator. Now it is no longer possible to adhere to stereotyped beliefs about the sinfulness of the world and the justice of some higher substance. Father Panelu found himself face to face with the well-known Christian problem - how to relieve God of responsibility for the evil that reigns in the world. And this problem ceased to be a problem of abstract armchair reason for the Jesuit father. Father Panelu's second sermon is very different from the first sermon that Father Panelu delivered almost immediately after the outbreak of the epidemic. If the first sermon is quite traditional, in which the priest speaks in a moralizing tone from the position of a sinless and impartial judge, then the second sermon is the result of lengthy reflection. The very process of these reflections is not shown in the novel and the reader has to guess about it for himself: whether the Jesuit father even allowed the idea that the world was completely devoid of a reasonable guiding will from above.

Initially, Panelu appears before the reader in the rather repulsive form of a preacher who almost rejoices over the epidemic. In it he sees God's punishment for the sins of the Orans. This train of thought, which is quite typical for Christianity, indicates that the priest continues to exist by inertia - he has not yet begun to “be.” Panelu wants to use the fear of his parishioners to strengthen their weakened and lackluster faith. The harshness of the intonations of Panelu's first sermon, sometimes reaching the point of grotesquery, reveals the hostile attitude towards it on the part of the author. However, Paneloux's sermon, no matter how grotesque it may be, does not develop into Camus's indirect condemnation of Christianity. Analyzing the sermon, Dr. Rie defines it rather as the fruit of abstract, armchair thinking: “Palin is an armchair scientist. He has not seen enough deaths and therefore speaks in the name of truth.” But “Christians are better than they seem at first glance,” says Rie, “for any village priest who absolves the sins of his parishioners and hears the last groan of a dying man thinks the same as I do. First of all, he will try to help the misfortune, and only then will he prove its beneficial properties.” (4.205) A serious test awaits the Jesuit father in the novel. Yes, the course of tragic events “humanized” Panelu: together with Tarrou he participated in the activities of the sanitary squads, together with Rie he suffered at the bedside of a dying boy. The death of an innocent child, who in his entire short life has only encountered the dry stupidity of his father, is that “borderline situation” for a priest that awakens him to “being.” It turned out to be a difficult test for faith in the rationality of the world and the justice of the Creator. Now it is no longer possible to adhere to stereotyped beliefs about the sinfulness of the world and the justice of some higher substance. Father Panelu found himself face to face with the well-known Christian problem - how to relieve God of responsibility for the evil that reigns in the world. And this problem ceased to be a problem of abstract armchair reason for the Jesuit father. Father Panelu's second sermon is very different from the first sermon that Father Panelu delivered almost immediately after the outbreak of the epidemic. If the first sermon is quite traditional, in which the priest speaks in a moralizing tone from the position of a sinless and impartial judge, then the second sermon is the result of lengthy reflection. The very process of these reflections is not shown in the novel and the reader has to guess about it for himself: whether the Jesuit father even allowed the idea that the world was completely devoid of a reasonable guiding will from above. The second sermon by Father Panelu is devoid of a moralizing tone and is more reminiscent of a confession in matters of faith: “He spoke in a more meek and more thoughtful voice than the first time, and the worshipers noted to themselves that he did not get down to business without some hesitation. And one more curious detail: now he spoke not “you” but “we.” (4.276) The sermon itself is sincere, although overly verbose. The key moment of the sermon comes after the mention of the death of an innocent child. The priest admits that God, who allowed this death, which defies logical understanding, “backs us to the wall.” (4.277) The question of faith or unbelief arises with all its severity. It is not difficult to imagine - and the preacher undoubtedly did so - what an abyss opens up before a person who believed in the rationality and justice of the existing world, who admitted the absence of both reason and justice in the world. Apparently, having looked into this abyss, the priest completely abandoned reason as a guide. Father Panelu admits that he has made his choice and “he will fearlessly say to those who listen to him now: “Brothers, the hour has come. Either you have to believe in everything, or deny everything.... And which of you will dare to deny everything?” (4.278) The construction of another theodicy did not follow - Paneloux chooses faith or, as he himself is ready to call it, active fatalism. In fact, the preacher just confirmed that. what was his first reaction: “This (the death of an innocent child) really causes protest, because it exceeds all our human standards. But perhaps we are obliged to love what we cannot comprehend with our minds.” (4.273) No less a test for the Jesuit father is his own illness: accepting the help of doctors means admitting the weakness and inconsistency of his own convictions. The priest, moreover, understands perfectly well that this help will not help him be saved. Judging by the original version of the novel, Camus led Panelu, who fell ill with the plague, to a religious catastrophe. But in the final version of the novel, Panelu remains true to his own choice. There is something respectable about this choice. Perhaps respect for the behavior of the Jesuit father arises because, having gone through a “borderline situation,” Panelu ceased to resemble the fanatic that he appeared to the reader of the novel during his first sermon. The behavior of a priest in the face of a deadly abyss is the behavior of a mere mortal who has made his choice. The reader does not receive any hint from the author about the correctness of this choice, because the face of the deceased with the crucifix in the hands of Father Panelu does not leave hope for transcendental existence. Death brings with it only neutral emptiness: “His gaze expressed nothing. On the card they wrote “Dubious case.”

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Initially, Panelu appears before the reader in the rather repulsive form of a preacher who almost rejoices over the epidemic. In it he sees God's punishment for the sins of the Orans. This train of thought, which is quite typical for Christianity, indicates that the priest continues to exist by inertia - he has not yet begun to “be.” Panelu wants to use the fear of his parishioners to strengthen their weakened and lackluster faith. The harshness of the intonations of Panelu's first sermon, sometimes reaching the point of grotesquery, reveals the hostile attitude towards it on the part of the author. However, Paneloux's sermon, no matter how grotesque it may be, does not develop into Camus's indirect condemnation of Christianity. Analyzing the sermon, Dr. Rie defines it rather as the fruit of abstract, armchair thinking: “Palin is an armchair scientist. He has not seen enough deaths and therefore speaks in the name of truth.” But “Christians are better than they seem at first glance,” says Rie, “for any village priest who absolves the sins of his parishioners and hears the last groan of a dying man thinks the same as I do. He will first of all try to help the misfortune, and only then will he prove its beneficial properties.” (4.205) A serious test awaits the Jesuit father in the novel. Yes, the course of tragic events “humanized” Panelu: together with Tarrou he participated in the activities of the sanitary squads, together with Rie he suffered at the bedside of a dying boy. The death of an innocent child, who in his entire short life encountered only the dryish stupidity of his father, is that “borderline situation” for the priest that awakens him to “being.” It turned out to be a difficult test for faith in the rationality of the world and the justice of the Creator. Now it is no longer possible to adhere to stereotyped beliefs about the sinfulness of the world and the justice of some higher substance. Father Panelu found himself face to face with the well-known Christian problem - how to relieve God of responsibility for the evil that reigns in the world. And this problem ceased to be a problem of abstract armchair reason for the Jesuit father. Father Panelu's second sermon is very different from the first sermon that Father Panelu delivered almost immediately after the outbreak of the epidemic. If the first sermon is quite traditional, in which the priest speaks in a moralizing tone from the position of a sinless and impartial judge, then the second sermon is the result of lengthy reflection. The very process of these reflections is not shown in the novel and the reader has to guess about it for himself: whether the Jesuit father even allowed the idea that the world was completely devoid of a reasonable guiding will from above.
The second sermon by Father Panelu is devoid of a moralizing tone and is more reminiscent of a confession in matters of faith: “He spoke in a more meek and more thoughtful voice than the first time, and the worshipers noted to themselves that he did not get down to business without some hesitation. And one more curious detail: now he spoke not “you” but “we.” (4.276) The sermon itself is sincere, although overly verbose. The key moment of the sermon comes after the mention of the death of an innocent child. The priest admits that God, who allowed this death, which defies logical understanding, “backs us to the wall.” (4.277) The question of faith or unbelief arises with all its severity. It is not difficult to imagine - and the preacher undoubtedly did so - what an abyss opens up before a person who believed in the rationality and justice of the existing world, who admitted the absence of both reason and justice in the world. Apparently, having looked into this abyss, the priest completely abandoned reason as a guide. Father Panelu admits that he has made his choice and “he will fearlessly say to those who listen to him now: “Brothers, the hour has come. Either you have to believe in everything, or deny everything.... And which of you will dare to deny everything?” (4.278) The construction of another theodicy did not follow - Paneloux chooses faith or, as he himself is ready to call it, active fatalism. In fact, the preacher just confirmed that. what was his first reaction: “This (the death of an innocent child) really causes protest, because it exceeds all our human standards. But perhaps we are obliged to love what we cannot grasp with our minds.” (4.273)

No less a test for the Jesuit father is his own illness: accepting the help of doctors means admitting the weakness and inconsistency of his own beliefs. The priest, moreover, understands perfectly well that this help will not help him be saved. Judging by the original version of the novel, Camus led Panelu, who fell ill with the plague, to a religious catastrophe. But in the final version of the novel, Panelu remains true to his own choice.

There is something worthy of respect in this choice. Perhaps respect for the behavior of the Jesuit father arises because, having gone through a “borderline situation,” Panelu ceased to resemble the fanatic that he appeared to the reader of the novel during his first sermon. The behavior of a priest in the face of a deadly abyss is the behavior of a mere mortal who has made his choice.

The reader does not receive any hint from the author about the correctness of this choice, because the face of the deceased with the crucifix in the hands of Father Panelu does not leave hope for transcendental existence. Death brings with it only neutral emptiness: “His gaze expressed nothing. On the card they wrote “Dubious case.”

Now Panel stands in front of the reader with the irritating look of a preacher who is not happy about the outbreak of the epidemic. She gives God's punishment for the sins of the Orans. This is a typical course of thoughts for Christianity to note about those that the priest will continue to follow inertia - “but” has not yet begun. The panel wants to overcome the fear of its paraphals to value their weakened and dark faith. The harshness of the intonation of Panel's first sermon, which reaches the grotesque for an hour, reveals the hostility of the author. However, Panell’s preaching, no matter how grotesque it may be, does not develop into Camus’s indirect invocation of Christianity. Analyzing the sermon, Dr. Rie sees it rather as a plaid of abstract, armchair thought: “Panel - armchair teachings. There is a lack of deaths and this is what is said in the name of truth.” Even if “Christians are better, they appear at first glance,” asserts Rie, “be it some rural priest who absolves the sins of his paraphians and senses the remaining hundred of the dying, I think so myself. “We will first try to help the troubles, and only then will we bring them beneficial powers.” (4.205) The old man believes that the novel has been seriously tested. Thus, the course of the tragic events of the “popular” Panel: at the same time with Tarrou, he took part in the activities of the sanitary squads, at the same time with Rie, he suffered for the death of a dying lad. The death of an innocent child, who throughout her short life has been stuck with the dry stupidity of her father - this is the “cordonny situation” for the priest, which awakens him to the “butt”. It was not easy to try to believe in the wisdom of the world and the justice of the Creator. Now it is no longer possible to go through the clichés about the sinfulness of the world and the justice of any substance. Father Paneloux appeared face to face with a familiar Christian problem - how to take responsibility from God for the evil that is plaguing the world. This problem has ceased to be a problem for the father in the abstract office mind. Another sermon by Father Panel is already similar to this, the first sermon that Father Panel said shortly after the outbreak of the epidemic. If the first sermon is entirely traditional, its priest speaks in a moralizing tone from the position of a sinless and unsided judge, then the other sermon is the result of troubling thoughts. The very process of these thoughts is not indicative of the novel and the reader, but it is up to them to figure it out for themselves: assuming that my father has a burning thought about those who are in the world to get rid of reasonable, careful will. Another sermon, Father Panel, has been reduced to a moralizing tone and is more reminiscent of the sermon of the Christians: “Speaking in a more logical and more thoughtful voice, now and again, the prayer workers said to themselves, that, not without some hesitation, we got to the point. And one more neat detail: now we say “we” instead of “we.” "(4.276) The sermon itself is broad, although it is rich in truth to the world. The key moment of the sermon comes after the revelation of the death of an innocent child. The priest knows that God, who allowed death beyond logical understanding, “backs us to the wall.” (4.277) Food, believe it or not, is always in short supply. It does not matter to recognize oneself - and the preacher, undoubtedly, having done so - how endlessly he reveals himself to people, believing in the rationality and justice of the eternal world, which allowed the existence of the world and reason and rightly sti. Perhaps, having looked into this abyss, the priest began to look upon the mind as a guide. Father Panel says that he has made his choice and “fearlessly says to those who hear him: “Brothers, the time has come.” Because you need to believe everything, because you need to feel everything.... Who among you dares to feel everything? "(4.278) The real theodicy did not follow - Panel chooses faith or, as he himself is ready to call it, active fatalism. In fact, the preacher will tell you everything, confirming those. What was his first reaction: “This (the death of an innocent child) rightly calls out a protest, because it will overturn all our human worlds. But it is possible that we love those who cannot be touched with our minds.” (4.273) No less trying for the father’s illness is growing: to seek help from doctors means to recognize the weakness and inconsistency of the power changes An. The priest, besides, is miraculously understanding. In the first version of the novel, Camus, having fallen ill with the plague before the religious catastrophe, is deprived of his right choice. Which choice is important? Father is to blame for the fact that, having gone through the “borderline situation”, Panel stopped guessing about the fanatic who stood before reading the novel at the hour of his first sermon. like a mere mortal who has made his choice Chitach. does not reject hints from the author about the correctness of his choice, so that Father Panel does not deprive him of the hope for transcendence by exposing someone who died from crucifixion in the hands of Father Panlya. Bringing death with oneself to the neutral empty-handed: “His gaze revealed nothing. On the card they wrote “A fall of doubt.”

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N. L. Leizerov

“Reading books... has become my main occupation and only pleasure,” noted sixteen-year-old Nikolai Aleksandrovich Dobrolyubov, a future Russian critic and thinker, in one of his letters. As a boy, Nikolai Aleksandrovich kept special notebooks, “registers,” where he “entered the names of the books he read, their ratings, and individual critical comments. The choice of books for young Dobrolyubov to read is striking in their breadth and focus. Wanting to experience life and understand his thoughts and feelings, the young man always turned to fiction.
For the best understanding literary work is always necessary take into account its generic and genre signs. There are three main types of literature: lyrics, epic and drama. Works of the first type include mainly different types poems; main species dramatic works- tragedy, drama, comedy, and epic - novel, story, story, essay.
In a lyrical work feelings, moods, thoughts are conveyed, and life appears before the reader exclusively through the experiences of the writer or the hero depicted by him. In every poem, first of all, we must look for these expressions of the inner life of people, conveyed by the poet. The main genres of lyrics: landscape lyrics, which express the poets’ attitude to nature, for example, “The Cliff” by M. Yu. Lermontov, “To the Sea” by A. S. Pushkin, “The Uncompressed Strip” by N. L. Nekrasov, etc.; socio-political lyrics include such poems as “Testament” by T. G. Shevchenko, “Poet and Citizen” by N. A. Nekrasov, “Poems about the Soviet Passport” by V. V. Mayakovsky, etc., in which it is embodied poets' understanding of contemporary public life; love lyrics convey feelings and experiences associated with a person’s personal life, for example, “I remember a wonderful moment” by A. S. Pushkin, “And who knows” by M. V. Isakovsky, etc.; philosophical lyrics convey thoughts about the meaning of human life: “Am I wandering along the noisy streets” by A. S. Pushkin, “Duma” by M. Yu. Lermontov, “To Comrade Nette” by V. V. Mayakovsky, etc.
Poems are recommended to be read aloud. “Just as the beauty of flowers is revealed only in the greenness of the foliage, so poetry acquires its power only in masterful reading” (Rabindranath Tagore).
To the dramatic genre of literature These include works intended, as a rule, to be performed on stage. The author's intention is revealed through words and actions. characters.
In dramatic works, certain individuals (characters) act and react. Depending on the nature of the conflict between them, dramatic works are divided into three types. The conflict of tragedy contains the conditions for the inevitable death of one of the fighting parties (“Hamlet” by W. Shakespeare, “Optimistic Tragedy” by Vs. Vishnevsky, etc.); conflicts in drama cause difficult experiences of clashing forces (“The Thunderstorm” by A. N. Ostrovsky, “Yarovaya Love” by K. Trenev, etc.); in comedy, conflicts contribute to ridiculing what is backward, obsolete, and unnecessary in life (“Tartuffe, or the Deceiver” by Moliere, “Our People, Let Us Be Numbered” by A. N. Ostrovsky, etc.).
The main thing when reading dramatic works is to correctly understand the meaning of the conflict on which the work is built, and for this it is necessary to have at least a general understanding of the features of the composition of plays.
Novels, stories, stories in literary theory are usually called epic works(from the Greek word meaning "story"). In the epic, life is reflected in the narrative about a person and the events in which he participated, about his behavior and experiences in various circumstances, about his attitude towards various phenomena of life and other people.
In stories Most often the story is told about one incident, one event in people’s lives. Using these isolated examples, the authors strive to show clashes of characters, views, and passions. Each story is a new acquaintance, as if an unexpected meeting with different types people, a useful journey through life, material for thought and conclusions. To understand what the author wanted to say with his story, its ending (denouement) is especially important.
The most complex type of narrative works is novel. Here, unlike a story and a story, there are usually many characters whose destinies and interests collide and intertwine. Human life appears before the reader of the novel in all its complexity and contradictions. Such, for example, are the novels of I. S. Turgenev, L. N. Tolstoy, Charles Dickens, V. Hugo and many other writers. Novels are divided according to their themes into social, historical, family and everyday life, philosophical, science fiction, adventure and others, but it is not always easy to fit novels into the framework of the listed types.
From episode to episode, from action to action, the life of the characters in the books appears before the reader. It passes before us in the form of moving, interconnected pictures drawn with the help of words. In order to get a complete impression of what we read, we must carefully look at all the details of the paintings, evaluate and understand them from the point of view of the whole work. Only then will it be clear to us, for example, the inextricable connection of the spring Don landscape with the fate of Andrei Sokolov, the hero of Mikhail Sholokhov’s story “The Fate of a Man”, only then will every word, every action of the hero be understood.
Only as a result careful reading the ideological and thematic basis of the work begins to gradually emerge before us, i.e. the circle phenomena of life, selected and evaluated by the author from the perspective of a certain worldview. There is nothing worse than easy, thoughtless reading, when the reader only follows the general development of events in the book. Such a reader, as a rule, does not pay attention to details, to the landscape, to the internal monologues of the characters, to the author’s digressions.
In a literary work, everything is interconnected: words, pictures, characters, events and the author’s thoughts behind them. And if so, then, when analyzing the works, we must understand everything that the author wanted to say, vividly imagine and understand the meaning of the pictures of life reproduced by the artist.
Each of you will read thousands of books in your life. It is difficult to retain impressions of each of them. Therefore, it is recommended that after reading a book, think it over, compare the behavior of the characters with your own, write down your impressions in a special literary diary. You can also write down individual passages from the book that you remember, poems you especially liked, etc.
But knowing how to start reading a work of fiction and how to read it is not enough. Necessary be able to choose a book. The ability to read as the ability to understand what is read is not given immediately, it comes over the years in the process of regular and systematic reading, which has become the most essential human need, comes as a result of studying literature and enriching life experience.
In the essay “How I Learned,” Maxim Gorky writes that reading consciously fiction he started at the age of fourteen. By conscious reading, Gorky understood the ability to understand the development of the events depicted by the author, the character of the characters, the beauty of the descriptions, and most importantly, the ability to understand the writer’s goals and critically compare what the book says with what life suggests.
In order for reading to be meaningful and conscious, the so-called reading culture, requiring compliance with certain rules.
First of all, this is a careful choice of reading range. It's good to plan ahead reading list on a chosen topic, in consultation with a literature teacher or librarian. It goes without saying that the choice of books depends on the topic in which the reader is interested.
When the list of books on the topic is ready, you need to take care of reference and additional literature.
Our reading will only become truly conscious when we have a sufficient understanding of the life reflected in a work of art and receive at least basic information about the author. For these purposes, books contain a preface or afterword, dictionaries of obscure words and commentaries. However, the inquisitive reader is sometimes not satisfied with the reference apparatus of the book, not to mention the fact that it may not appear at all in the publication that we have to use. It is most correct therefore, along with the list works of art outline a list of additional popular science and critical literature.
After reading the book, you need to figure out what the author wanted to say with his work, what artistic media he used it to realize his plan.
Having closed the book, we should always have an idea of our attitude towards reading. Thus, the culture of reading closely leads to the ability to independently analyze a literary work, and the school study of literature also leads to this. When reading independently, you need to use the knowledge acquired in class.
Already studying literature at school, we begin to understand that there is not and cannot be a ready-made scheme for analyzing a literary work. The nature of the analysis, as a rule, is suggested by the characteristics of the work being analyzed, its generic and genre characteristics.
Reading literary works- poems, plays, stories, novels and others - improves our sense of perception of beauty in reality and works of art, enriches us with knowledge human psychology, develops our characters.
The efforts spent on reading and assimilating artistically valuable works bring enormous benefits to the comprehensive spiritual development of a person.

Vralman in “Nedorosl” is one of Mitrofan’s teachers. He appears before the reader as a German, who was hired by Prostakova for a small fee to teach her son the wisdom social manners. However, the woman does not notice Vralman’s obvious lies, his constant reservations and undisguised flattery, while the reader immediately reveals the rogue in the teacher.

The hero’s “speaking” surname, “Vralman,” also indicates deception. In “The Minor”, the characteristics of Vralman and almost all other characters are revealed through their names - for example, “Vralman” comes from the word “to lie” and the ending “mann”, inherent in German surnames. In addition to the fact that the surname indicates a deceitful person, a liar, it also reveals the personality of the character - the “false German”. Even the hero’s seemingly German accent at the end of the play is explained by the man’s congenital speech impediment. At the end of the work, the deception is revealed - Starodum recognizes Vralman as a former coachman and again calls him to his service.

In the comedy, the character is the only teacher who does not try to teach Mitrofan, at the same time receives a decent salary and communicates with Prostakova as an equal. By introducing Vralman into the plot, Fonvizin ironizes the stupidity of ignorant landowners who cannot distinguish a coachman from a foreign teacher. With this, the author touches on pressing issues of education in Russia in the 18th century, emphasizing the need for reform and renewal of the education system throughout the country.