Questions on the topic of poetry. Literature test “Silver Age of Russian Poetry”
Rimma Khramtsova,
Irina CHERNYSHEVA
Poetry questions and assignments 18th century
The topic “Russian poetry of the 18th century” is traditionally difficult for both schoolchildren and teachers. For the children, these are the initial steps in studying the historical and literary process, works that rarely find a response in the hearts of young readers. This is precisely what causes difficulties in the work of a teacher: he is faced with the question of how to make works from a time far removed from schoolchildren, when Russian literature was just beginning, become interesting. Here we have to structure lessons in a special way, selecting texts that could somehow “touch” the students. The era of classicism was the era of the kingdom of reason, so you can try to interest the children by giving them independent work analytical tasks related to the poetry (and poetics) of classicism. We offer several such tasks varying degrees difficulties that can be used in different ways: as summary questions during test work, for writing essays, for organizing independent work in class in the process of studying the topic. They all contain a creative element, therefore, it seems to us, they can help make work in the classroom more interesting and fruitful.
1. Poet X once entered into a kind of literary duel with contemporary poet Y. This is what the former wrote, accusing the latter of using “low” words: “The people’s row in the letter to him is a model, // in the square he takes his outfit”. Who are these two poets? What does the term “low” mean in the phrase “low words”? Remember what the theory of poet Y was called, one of the elements of which was “low”?
A comment. We are talking about Lomonosov, whom Trediakovsky accused of “mean use” of “low calm” words. The author of the doctrine of the “three calms,” Lomonosov distinguished three types of “sayings” (words): those that are used in both Church Slavonic and Russian; those Church Slavonic ones that are little used, but “are understandable to all literate people”; those that are not in church books (words of the living Russian language). At the same time, Lomonosov did not agree with Trediakovsky that it was necessary to get rid of words of the “low”, “third” kind in poetry.
2. In 1735, this poet published “A New and Brief Method for Composing Russian Poems with Definitions of Previously Appropriate Titles.” He writes that good poems are those that “will have the number of syllables characteristic of our language, and will contain the measure of feet with a fall that is pleasing to the ear, from which a verse is called a verse.” Read two poems by the poet mentioned above and determine which are the “good” poems and which are not, and explain your answer.
Some sober drinking for me
Does the word give for a glorious reason?
Pure Parnassus decoration,
Musa! Is it not you that I see from now on?Some strange pianism
Does singing invigorate my spirit?
You, Parnassian decoration,
Muses, is it not your mind that sees you?A comment. This is V.K. Trediakovsky. The new verse, according to Trediakovsky, should have been formed in uniform two-syllable feet, built on the correct alternation of percussion and unstressed syllables
3. - “smooth and pleasant to the ear, walking through the entire verse with your feet until the very end.” This principle of versification was called “tonic” (although in fact it would be more correct to call it syllabic-tonic).
The above two excerpts are taken from the ode “On the Capture of Gdansk” (“On the Surrender of Gdansk”, 1734) by Trediakovsky.
The first option is a syllabic verse, written in the “old” manner (“bad”), the second is a syllabic-tonic verse, written in trochaic tetrameter (“good”).
Here are two excerpts: one belongs to the pen of a poet of the 18th century, the other - the 19th century. Which work was written before and why do you think so? Doesn't one of them look like a parody of the other? Name the poets and works from which the excerpts are taken.
Dawn with a crimson handFrom the morning calm waters
Brings the sun behind him
New year to your country.
And with a crimson handA comment. Dawn from the morning valleys Brings the sun behind him Happy name day holiday. The first excerpt is from “Ode to Elizabeth,” written by Lomonosov in 1748, and the second is from Pushkin’s novel “Eugene Onegin.” The solemn style of Lomonosov's ode sounds parody in Pushkin's lines, since the reason for writing these lines is not so solemn. The home holiday - Tatyana Larina's name day - is described in the words of “high calm” (the image of a crimson dawn and the line “Brings the sun behind him” are direct borrowings), which does not correspond to the “low”, everyday theme of the poetic fragment, and the outdated form of endings of the instrumental case -oh instead of the form already accepted in the 19th century
4. One 18th-century poet wrote a mocking poem addressed to the Synod:
I am not a luxurious Venus,
Not the ugly Chimera
In hymns I offer sacrifice:
I sing a song of praise
To the hair, respectable from all,
Widespread across the chest,
That in our old age
They respect our advice.
Members of the Synod wrote a complaint to the Empress. Which poet had such an unpleasant story happen to? What is the genre of this poem, why does it look like a parody and what is it dedicated to?
A comment. We are talking about Lomonosov and his “Hymn to the Beard” (1756–1757). The name itself sounds parodic and looks like an oxymoron. The word “beard” does not correspond to such a form as a hymn, and it is not at all possible to praise this subject with the words of “high calm,” which Lomonosov deliberately uses here.
5. The satirical effect is enhanced by the author’s detailed explanations that he will not sing a “song” to “luxurious Venus,” which was natural within the framework of classic poetry. Thus, Lomonosov chooses an unnatural genre for a story about a beard, and as a result, a comic, parody effect arises.
Find in the excerpts below from the poem by A.S. Pushkin’s “Memoirs in Tsarskoe Selo” features of Russian classic poetry of the 18th century, characterize them. Why do you think there are so many features of the “past century” in a poem from the 19th century? What do you know about the circumstances surrounding the creation of this poem?
And they rushed with a fast stream
Enemies on Russian fields.
Before them the gloomy steppe lies in a deep sleep,
The earth is smoking with blood;
And the villages are peaceful, and the cities are burning in the darkness,
And the sky covered itself with a glow,
Dense forests shelter those running,And the idle man in the field rusts the plow...
...The zealous horses are full of abuse,
The valley is dotted with warriors,
The system flows behind the line, everyone breathes revenge and glory,
Delight spread into their chests.
They fly to a terrible feast; swords are looking for prey,
And lo - the battle is blazing, thunder is thundering on the hills,
In the thick air with swords, arrows whistle,
A comment. And blood splashes on the shield...
6. In his wonderful book “Prose about Poems” (chapter “Metaphor”) E. Etkind writes: “The system of classicism has its own figurative code - a set of traditionally conventional figurative signs, and each has a meaning assigned to it... All these conventional signs and periphrases , which in themselves are not distinguished by vivid imagery, form a complete picture, which, of course, is also conventional, but has its own completed composition, its own internal plot... The poetry of classicism is the art of allegories. In it we always encounter figures that embody certain abstract ideas, and these allegorical figures form... whole groups, living pictures.”
Give examples of “allegorical figures” from works of Russian classic poetry. Draw an illustration for one of these examples.
A comment. To answer this question, you can invite students to turn to the texts of M.V.’s poems. Lomonosov - “Ode on the day of the accession of... Elisaveta Petrovna” (1746–1748), “Goddess, daughter of the deities who founded the sciences...”;
7. G.R. Derzhavin - “For the birth of a porphyry-born youth in the north”, “To the first neighbor”, “Felitsa”, “Autumn during the siege of Ochakov”, “For happiness”, “For an art lover”. Here are two fables with the same plot, created by V.K. Trediakovsky and A.P. Sumarokov at approximately the same time. By analyzing these texts, one can clearly trace the evolution literary language
, genre, style. When comparing the fables, one discovers “the movement of classicism from “scientific” rationalism (in the form of author’s explanations) to a more organic rationalism, endowing characters with the ability to explain their own actions and showing the decision-making process,” as V. Kaplenko notes in his article dedicated to these fables. Give examples to illustrate this “movement”.
VC. Trediakovsky
Raven and fox
There was nowhere for the Crow to take away some of the cheese;
He flew up into a tree with something he liked.
This Fox wanted to eat;
In order to get the hang of it, I would think of the following flattery:
Raven's beauty, feathers honoring the color,
And also praising his stuff,
“Straight away,” she said, “I’ll send you a bird’s eye
Zeus's ancestors, be your voice for yourself
And I will hear the song, I will be worthy of all your kindnesses.”
The raven is arrogant with his praise, I think I am decent to myself,
He began to scream and scream as loudly as possible,
So that the latter can receive a seal of praise;
But thereby dissolved from his nose
That cheese fell to the ground. Fox, encouraged
With this selfishness, he says to him to laugh:
“You are kind to everyone, my Raven; only you are fur without a heart.”
A.P. Sumarokov
And the birds stick to human craft.
A crow once carried away a piece of cheese
And she sat down on an oak tree.
sat down,
But I just haven’t eaten a tiny bit yet.
The Fox saw a piece in her mouth,
And she thinks: “I’ll give Crow juice!
Although I won’t get up there,
I'll get this piece
The oak tree is as tall as it is.”
“Great,” says the Fox, “
My friend, Voronushka, my sworn sister!
You are a beautiful bird!
What kind of legs, what kind of sock,
And I can tell you this without hypocrisy,
That above all you are, my little light, good!
And the parrot is nothing in front of you, soul,
More beautiful than your peacock feathers a hundred times!”
(We are pleased to endure unflattering praise.)
“Oh, if only you could sing,
There wouldn’t be a bird like you in the world!”
The crow opened its throat wider,
To be a nightingale,
“And some cheese,” he thinks, “and then I’ll eat.”
At this moment I have nothing to do with the feast here!”
She opened her mouth
And I waited for the post.
He can barely see the end of Lisitsyn’s tail.
I wanted to sing, but I didn’t sing,
I wanted to eat, but I didn’t eat.
The reason is that there is no more cheese.
The cheese fell out of the mouth - for the fox's lunch.
The similarity of creative destiny gave rise to the similarity of motives and images in the poems of A. Tarkovsky, B. Chichibabin, V. Kornilov.
What examples from their poems could you confirm this? I. Brodsky’s last lifetime collection of poems is called “In the Vicinity of Atlantis.” Which
real facts
Are the biographies of I. Brodsky reflected in this poem?
New reading of the biblical tradition in the works of I. Brodsky (holistic analysis of “The Christmas Star”).
Theme of Language in the poetic metaphysics of I. Brodsky.
“Roman” theme in the poetry of I. Brodsky.
Which modern poets (1990s-2000s) – representatives of the art song can you name? Describe the work of one of them.
Creativity of A. Galich. The originality of the lyrical hero.
Creativity of B. Okudzhava. A holistic analysis of one poem.
Creativity of V. Vysotsky. A holistic analysis of one poem.
The work of A. Kushner: motives, plots, images.
Holistic analysis of the poem.
The work of E. Rein: motifs, images, artistic evolution.
Motives and images of Inna Lisnyanskaya’s lyrics.
The image of the Garden in the lyrics of I. Lisnyanskaya. Motives and images of T. Beck's lyrics. Motives and images of Vladimir Kornilov's lyrics.
Originality
lyrical hero
O. Chukhontseva.
Religious, philosophical and mythopoetic imagery in the poetry of A. Tarkovsky.
The lyrical hero of the late work of E. Yevtushenko.
Reflection of tradition in the late work of B. Akhmadulina.
Historical theme in the works of B. Chichibabin.
The theme of freedom in the works of V. Kornilov.
Love lyrics in the late works of I. Lisnyanskaya.
Motives and images of poetry by T. Beck.
Images of space in the cycle of poems by O. Chukhontsev “Fifia”.
The poetics of the “material world” in the works of E. Rein.
“Petersburg text” in verses by A. Kushner.
An ancient theme in the works of poets of the “St. Petersburg school” (A. Kushner, E. Rein, A. Naiman, I. Brodsky - to choose from).
Literary traditions in rock poetry (using the example of the work of one of the authors).
Conceptualism and its “overcoming” (D. Prigov, L. Rubinstein, T. Kibirov, S. Gandlevsky - to choose from).
Literary and folklore traditions in the works of T. Kibirov.
The function of the language of the Soviet era in the poetry of D. Prigov.
Literature for prose texts.
Zaitsev V.A., Gerasimenko A.P. History of Russian literature of the second half of the twentieth century.
Textbook manual for universities. M.: Higher school. 2006.
Leiderman N., Lipovetsky M. Russian literature of the 20th century. (1950-1990s): in 2 volumes, M.: Academia. 2008. Or another edition. Russian literature of the twentieth century: in 2 volumes. Textbook. manual for students of higher pedagogical
educational institutions
/ ed. L.P. Krementsova.
Ed. 3rd, corrected, supplemented, M.: “Flinta”. 2005.
Modern Russian literature: Textbook. allowance / Ed. B.A. Lanina. – M.: Ventana-Graf, 2005. Modern domestic literary process: Textbook. allowance/under. Ed. T.G. Kuchina. M.: Bustard.2008. Modern Russian literature (1990s-beginning of the 21st century) / S.I. Timina. St. Petersburg-M., 2005.
Russian literature of the twentieth century: Schools, directions, methods
creative work
/ V.N. Alfonsov et al. M.-SPb., 2002.
Nefagina G.L. Russian prose of the late twentieth century. M., 2003.
Kuritsyn V. Russian literary postmodernism.
M., 2001.
Rudnev V.B. Dictionary of 20th century culture. – M., 1999. Zaitsev V.A. Russian poetry of the twentieth century: 1940 – 1990s: Textbook. allowance. – M.: Moscow State University Publishing House, 2001.Skoropanova I.S. Russian postmodern literature.
Equipment:
reproductions of portraits of poets of the Silver Age, exhibition of books by poets of the Silver AgeProgress of the training meeting.
- , read it expressively - up to 7 points).
- Quiz for fans: questions on knowledge of the works of poets of the Silver Age, the history of this period of literature, literary terminology. Describe in sequence the emergence of modernist trends in poetry at the turn of the century ().
- symbolism, acmeism, futurism The concept of “Silver Age” arose by analogy with the concept of “Golden Age”. Choose synonymous expressions for the first of these concepts ().
- Name the fourth extra surname: Gumilyov, Mandelstam, Akhmatova, Gorodetsky ( Akhmatova - pseudonym).
- Which wordsmith was awarded Nobel Prize in 1933? ( I. Bunin).
- What was the name of the association, the organization of acmeist poets? ( “Workshop of Poets”).
- Which of the Silver Age poets traveled to Africa? ( N. Gumilev).
- What do Akhmatov’s lines mean:
- How is A. Akhmatova’s life connected with Tsarskoe Selo? ( there she lived until she was 16 and studied at a girls’ gymnasium).
- In the poems of which poet does the image of the “gray little thing” appear? ( F. Sologuba).
- Who owns this comparison: “Poems grow like stars and like roses”? ( M. Tsvetaeva).
- Music, according to representatives of this literary movement, was the primary art ( Symbolists).
- About which great poet I. Severyanin wrote:
- Continue the famous words of A. Akhmatova: “I taught women to speak...” ( Oh, how to silence them).
- Name the manifestos of the futurists ( “A Slap in the Face of Public Taste”, “Tank of Judges”, “Dead Moon”, etc.).
- Which of the poets (guess the last name from the text) wrote the following lines:
- Representatives of which literary trends belongs to the poems:
- Name the poet who introduced M. Tsvetaeva and S. Efron ( M. Voloshin).
- This poet attended lectures at the Sorbonne, at the University of Heidelberg, and studied at St. Petersburg ( O. Mandelstam).
“Husband in the grave, son in prison,
Pray for me”?
(in 1921 N. Gumilev was shot in 1934. - arrest of son, Lev Gumilyov, and husband, Punin).
He is this wonderful moment,
Captured for centuries!
He is the embodiment of inspiration
And the dust is powerless before him... ( about A.S. Pushkin).
My biographer will be very happy
He will be surprised for two hours,
Like a donkey facing a manger
Fresh oats poured in
Now the monograph is ready,
A tome of venerable venerable thickness:
“"About unhappy love...
In the fourth year of the World War.”
Hello, proud grimy man,
So that a heavyweight becomes a stone
He chose without being deceived by the diamond.
Hello, cobblestone thunder!
He yawned, saluted - and again
The shaft rows - with its wing
Archangel Dray.
a) How I love the Flemish panel,
Where are the vegetables, and fish, and wine,
And rich game on a flat platter -
It has an amber-yellow gloss.
And the fight painted with an ancient brush -
I love. Soldier with a shining pipe
Powder clubs, dead piles,
And rearing horses from everywhere!
(Acmeism)
b) How often do I want to express my love,
But I can't say anything
I only rejoice, suffer and remain silent:
It’s as if I’m ashamed – I don’t dare speak.
But close to me is your living soul
As everything is mysterious, so everything is extraordinary, -
What is too terrible a divine secret
It seems to me that love is too much to talk about.
(Symbolism)
c) There are no people.
You see
the cry of a thousand days of torment?
The soul does not want to go dumb,
and tell whom?
I'll throw myself on the ground
stone bark
I bleed my face, washing the asphalt with tears.
With lips yearning for caresses, a thousand kisses
I'll cover the smart face of the tram.
(Futurism)
d) I am the free wind, I blow forever,
I wave the waves, I caress the willows,
In the branches I sigh, sighing dumbly,
I cherish the grass, I cherish the fields.
In spring bright, like the messenger of May,
I kiss the lily of the valley, in love with a dream,
And the silent azure listens to the wind, -
I am blown away, thrilled, airy, sleepy.
(Symbolism)
Literary quiz for grades 10-11. Russian literature of the 20th century
Sokolovskaya Inna Vladislavovna, teacher - librarian MBOU Tatsinskaya secondary school No. 3. Rostov regionDescription of material: I offer you a literary quiz: Russian literature of the 20th century. Material for compilation literary quiz served as books on school curriculum recommended for extracurricular reading in 10 – 11 grades.
Target:
1. Arouse students’ interest in literature, develop cognitive interest in reading, and instill a strong interest in books.
2. To form general cultural literary competence through the perception of literature as an integral part of national culture, to form the communicative competence of students.
Tasks:
1. Educational: expand the understanding of books, deepen students’ knowledge;
2. Developmental: develop individual Creative skills students, figurative and logical thinking, imagination, ability to think outside the box;
3. Educational: instill an interest in books and systematic reading.
Equipment: Book exhibition.
And the silver moon is bright
There was a chill over the Silver Age
Anna Akhmatova
Literary quiz Russian literature of the 20th century.
1. Who is the author of the fragment?
“One day in the market square in the middle of Cambridge, I found Homers and Horatii on a used bookstall Dictionary Dahl in four volumes. I bought it for half a crown and read it, several pages every night, noting the charming words and expressions.
- Fragment from Vladimir Nabokov’s memoir book “Other Shores”
2. Which poets are dedicated to the poems of Marina Tsvetaeva, fragments of which are given below?
a) Your name is a bird in your hand,
Your name is like a piece of ice on the tongue.
One - a single movement of the lips.
Your name is five letters.
A ball caught on the fly
Silver bell in mouth.
- Alexander Blok.
B) Distance: miles, miles...
We were set up, seated,
To behave quietly,
At two different ends of the earth.
- Boris Pasternak
3. Determine whose portraits are given in the following passages.
a) Thin, thin, with a large forehead and a jutting chin, always throwing his head back a little, he also didn’t seem to walk along the Arbat, but “fly.” Truly “Kitten Letaev” in a halo of delicate light curls.
- It's about: about Andrei Bely (memoirs of B. Zaitsev). Long-term resident of Arbat, author of the novel “Kotik Letaev”.
B) He was small, frail; He threw his tufted head back. He loved the image of a rooster, which breaks the night with its singing at the walls of the acropolis, and he himself, when he sang his solemn odes in a bass voice, looked like a young cockerel. He sat on the end of his chair, suddenly ran away somewhere, dreamed of a good dinner, made fantastic plans, talked publishers into words.
- We are talking about Osip Mandelstam (memoirs of I. Ehrenburg), in whose poem “Tristia” there are the following lines:
“What does the cock’s crow promise us?
When the fire in the acropolis burns"
4. The names of which poets are listed in the following lines of G. Shengeli’s 1955 poem? Which of these poets was Shengeli's sworn enemy at one time?
He knew them all and saw almost all of them:
Valeria, Andrey, Konstantin,
Maximilian, Osip, Boris,
Ivan, Igor, Sergei, Anna,
Vladimir, Marina, Vyacheslav,
And Alexandra is an unprecedented choir,
Fourteen star constellation!
- The names are listed: Valery Bely, Andrei Bely, Konstantin Balmont, Maximilian Voloshin, Osip Mandelstam, Boris Pasternak, Ivan Bunin, Igor Severyanin, Sergei Yesenin, Anna Akhmatova, Vladimir Mayakovsky, Marina Tsvetaeva, Vyacheslav Ivanov, Alexander Blok. Mayakovsky was Shengeli’s doctor for many years. In 1927, Shengeli wrote and published the pamphlet book “Mayakovsky in Full Length”.
5. What judgment can the reader make about symbolism after reading this poem by the symbolist Andrei Bely?
Preaching a quick end,
I appeared like a new Christ,
having laid the crown of thorns,
decorated with flames of roses.
A golden fire was dying in the sky.
I laughed at the lantern lights.
Blocking the sidewalk around me,
listened to the speeches in surprise.
They laughed at me
over the insanely funny false Christ.
A drop of blood is a fiery tear
froze, trembling over her forehead.
The thunder of the carriages and the shouts and knocking,
silent running of rubber tires...
Suddenly drenched in sticky mud,
the pale harlequin calmed down.
Filled with a bright gas beam,
I drooped and sobbed like a child
They dragged me to a restraining house,
kicking me around.
- The main task of symbolism was not only the aesthetic, but also the religious transformation of the surrounding world. Penetration into the essence of the symbol should have entailed new era in the history of mankind.
The above poem by Andrei Bely reflects the feeling of the utopianism of this task of symbolism, which intensified by the beginning of the 1910s.
6. To whom is this poem by Nikolai Gumilyov dedicated?
Power and bliss -
Initially!
The cold of the snow
Hell of melancholy.
And beautiful and powerful,
Your Lyra is so sad,
Leading into the sands.
Every traveler
Tired
Knows lutes
Many countries
And a silver cloud
On the chest of his lover
Calms the bitterness of wounds.
- This acrostic (poem, initial letters the lines of which form the name of the one to whom it is addressed) is dedicated to the poet Mikhail Kuzmin.
7. Poems, which poet are quoted? Which two passages are taken from the same work?
a) Lying down on the ground, I looked and listened...
The jackal suddenly howled rather vilely;
In his dreams he probably ate me,
And I didn’t take a stick to him.
B) Oh, how much pure azure you have
And black, black clouds!
How clearly the reflection of God shines above you,
How the evil fire in you is languid and burning.
- An excerpt from his own poem “Oh, how there is so much pure azure in you...”.
Combinations of the high, metaphysical and low, clownish are characteristic of Solovyov’s poetics. In a note to “Three Dates,” he wrote: “The autumn wind and the deep forest inspired me to reproduce in humorous verse the most significant thing that has happened to me in my life so far.”
B) Permeated with golden azure,
Holding a flower of foreign countries in my hand,
You stood with a radiant smile,
She nodded to me and disappeared into the fog.
- The excerpt is taken from the poem by the philosopher and poet, spiritual teacher A. Blok and A. Bely - Vladimir Solovyov “Three Dates”.
8. Who gave these reviews and about whom?
a) Country No., this is some kind of island, somewhere behind the “whirlpools” and “bubbling foam” of the ocean. There are captivating always “night” or eternally evening mountain lakes. There are “groves of palm trees and thickets of aloe” all around, but they are full of “mandrakes, flowers of horror and evil.” Free people roam the country wild animals: “royal leopards”, “wandering panthers”, “desert elephants”, “light wolves”, “gray bears”, “boars”, “monkeys”. From time to time "dragons" are visible, stretched out on a bare cliff. There are also amazing stones that fly at night, shining with lights from their cracks, and crush the chests of their enemies.
- Valery Bryusov about Nikolai Gumilyov
B) No. operates with only two quantities - “I” and “world” and in strict schemes, devoid of anything random, gives various possibilities for their relationship. He opens new horizons for clarifying the issue of accepting the world, transferring events to a higher plane of thought, where the ethical standard loses its power and gives way to an aesthetic standard. At the wave of his hand, the flowers that intoxicated the gaze of the Assyrian kings bloom again in our world, and passion becomes immortal, as in the time of the goddess Astarte.
- Nikolai Gumilyov about Valery Bryusov.
Bryusov and Gumilyov were the most authoritative literary critics of their time among poets.
9. What kind of poem? Who is its author?
You and I will sit in the kitchen,
White kerosene smells sweet;
Our street is covered in snow,
A lilac haze runs across the snow.
A sharp knife and a loaf of bread...
If you want, pump the Primus up tight,
It’s not my long-standing melancholy that you’ll dispel,
Share with me, beloved, yours!”
Otherwise, collect some ropes
Tie the basket before dawn,
So that we can go to the station,
And no one saw us at the stove...
- This poem is composed of lines from Innokenty Annensky’s poem “Lilac Haze” and Osip Mandelstam’s poem “You and I will sit in the kitchen...”. Mandelstam's lines: first, second, fifth, sixth, ninth, tenth, eleventh. Annensky's lines: third, fourth, seventh, eighth, twelfth. Annensky's poem, apparently, served as a rhythmic prototype for Mandelstam’s poem.
10. The first stanza of which poem, which poet is given? What lines served as the rhythmic-syntactic and thematic prototype for this stanza?
What is happiness? Over crazy speech?
One minute on the way
Where with the kiss of a greedy meeting
Has an inaudible forgiveness merged?
- The prototype for the first stanza of Innokenty Annensky’s poem “What is happiness?” served as the following quatrain by A.S. Pushkin:
What is friendship? A slight hangover,
Resentment is a free conversation,
Exchange of vanity, idleness
Or patronage is a shame.
11.What event caused the writing of this poem by Vyacheslav Ivanov, dated August 10?
There's a broken door in a blank wall,
And piles of torn stones,
And the iron scrap thrown at them,
And the depth that opens up behind her,
And white dust scattered all around -
Everything is the voice of God: “Believe in Sunday.”
- On August 7, 1921, Alexander Blok died (Vyacheslav Ivanov’s poem is called: “Blok Died”)
12. What event caused Anna Akhmatova to write this poem?
The gates are wide open,
The linden trees are beggarly naked,
And the dry gilding is dark
An unbreakable concave wall.
The altars and crypts are full of noise,
And a wide ringing sound flies beyond the Dnieper.
So heavy is Mazepa's bell
There is a buzz above Sophia Square.
It rages more and more menacingly, unyielding,
As if heretics are being executed here,
And in the forests beyond the river, reconciled,
Makes the fluffy little foxes happy.
September 15, 1921
- The reason for writing this poem was the death of Nikolai Gumilyov. The poem is accompanied by an epigraph from his “Drunken Dervish”:
The world is just a ray from the face of a friend,
Everything else is its shadow!
The “simultaneous death” of Blok and Gumilyov amazed contemporaries, as Akhmatova testified in her prose memoirs.
13. Who wrote the poem below and about whom? In what poem did the author of the poem see the predecessor of the one about whom the poem was written?
In his poems there are cheerful drops,
Mountain slopes shining with mica,
And sung by the young birch
Song to the sun. AND spring waters font.
The verse is as transparent as northern April.
Then he runs like running water,
It glows like a cold star,
It has some kind of cheerful, sober hops.
The comfort of the estates during leaf fall.
The good joy of loneliness.
Gun. Dog. Gray Eye.
Soul and air are bound in crystal.
Fireplace. Wine. Soft steel feather.
Longing for the alienated woman.
1925
- Poem by Igor Severyanin about Ivan Bunin. Included in his book “Medallions”, composed of 100 sonnets - characteristics. Bunin, a poet for the Northerner, was primarily the author of the book “Falling Leaves” (1901) and especially the poem “Loneliness” (1903):
I wanted to shout after:
“Come back, I have become close to you!”
But for a woman there is no past:
She fell out of love and became a stranger to her.
Well! I'll light the fireplace and drink...
It would be nice to buy a dog.
Severyanin saw the forerunner of Bunin in I.S. Turgenev and therefore “hid” the title of Turgenev’s story “Cherry Waters” in his sonnet
14. Where did this fragment come from?
They walked and walked and sang" Eternal memory", and when they stopped, it seemed that the legs, the horses, and the blowing wind continued to sing it in the usual way.
- Boris Pasternak “Doctor Zhivago”
They walked and the whole country, joyful, beautiful, sunny, stretched out below them: the rocky humps of the island, which almost entirely lay at their feet, and that fabulous blue in which he swam, and the shining morning steam over the sea to the east, under the dazzling sun, which was already hot it was warm.
- Ivan Bunin “Mr. from San Francisco”
Little people walked between large trees and in the menacing noise of lightning, they walked, and, swaying, the giants - the trees creaked and angry songs hummed.
- A.M. Gorky "Old Woman Izergil".
Others stopped in the fence, behind the white stone walls, under old linden and maple trees, and talked. Everyone's dressed up festive, looked at each other affably, and it seemed that they lived peacefully and amicably in this city. And even fun. But it all just seemed
- Fyodor Sologub, “Little Demon.”
15. Where is the passage below taken from? What government system is the character who utters these words representing? What is the position of the author of the work? Whose side is he on?
There is no abyss! She was invented. We are a form of a single entity - the party state. Our capitalists are not masters. The state gives them a plan and a program. The state takes their products and profits. They have six% of the profit for themselves - this is their salary. Your party state also determines the plan, the program, and takes away the products. Those whom you call masters, the workers, also receive wages from your party state.
- In Vasily Grossmon’s novel “Life and Fate”, SS man Liss addresses the old Bolshevik, one of the founders of the RSDLP Mostovsky, with these words. Liss calls Mostovsky a “teacher,” and this point of view is undoubtedly shared by Grossman, who throughout his novel proves the thesis about the unity of totalitarian government systems fascist Germany and the USSR.
16. What do you know about the writer Maksudov? Why was his play called "Black Snow"?
- Maksudov – main character the largely autobiographical “Theatrical Novel” by Mikhail Bulgakov. The title of Maksudov's play "Black Snow" alludes to the title of Bulgakov's novel "The White Guard", which later became the basis for the play "Days of the Turbins". In the novel “The White Guard,” the motifs of snow and blackness appear already on the first page: “It was abundant in sun in summer, and snow in winter”; “God, flying away into the black, cracked sky, did not give an answer”; “...the black walls of the tower were beating in the dining room” (the clock).
17. Which of the poets and prose writers who worked in the 20th century was professional:
a) a mathematics teacher.
- Alexander Solzhenitsyn
b) an engineer.
- Andrey Platonov
c) a doctor.
- Michael Bulgakov.
d) an aviator.
- Vasily Kamensky (futurist poet)
d) composer.
- Mikhail Kuzmin
e) a shoemaker.
- Mikhail Zoshchenko
CONTROL AND MEASUREMENT MATERIAL
Developer: first category teacher
GBPOU MO "Lukhovitsky Aviation College"
Kamagina I.V.
TEST TASK ON LITERATURE. POETRY OF THE SILVER AGE
1. What time period does the Silver Age of Russian poetry cover?
A) 1880s - 1940s
B) 1890s - 1920s
B) 1900 - 1930s
D) 1890s - 1940s
2. Select the answer option that lists the main directions of modernism
A) Creationism, imagism, acmeism
B) Symbolism, acmeism, vulgarism
B) Pluralism, Acmeism, Futurism
D) Futurism, acmeism, symbolism
3. Opposite the name of each poet, write the movement of Russian modernism, of which he was a representative
A. Akhmatova __________________________________
A. Blok _________________
S. Yesenin _________________
V. Mayakovsky ________________
V. Khlebnikov _________________
V. Bryusov _________________
O. Mandelstam ________________
4. Which of the Silver Age poets did not accept the 1917 revolution, but did not emigrate from the country?
A) A. Blok
B) V. Mayakovsky
B) S. Yesenin
D) A. Akhmatova
5. From which work is this phrase:
The bourgeois stands there like a hungry dog,
It stands silent, like a question.
And the old world is like a rootless dog,
Stands behind him with his tail between his legs
A) M. Gorky, “Song of the Falcon”
B) A. Akhmatova, poem “In the Evening”
B) M. Tsvetaeva, poem “Longing for the Motherland! For a long time…"
D) A. Blok, poem “The Twelve”
6. Match with an arrow (line) the poet’s surname and one of the features of his poetry
A) A. Akhmatova 1) Attention to the form of the verse, the special construction of the rhythmic pattern (“ladder”)
B)B. Mayakovsky 3) Evolution of the image of the Beautiful Lady throughout the entire creative period
D) A. Block 4) Using metaphors when describing small homeland- Russian village
D) S. Yesenin 5) Attention to everyday “talking” details
7. Which of the Silver Age poets was not a representative of any of the movements of modernism?
A) S. Yesenin
B) D. Merezhkovsky
B) A. Akhmatova
D) M. Tsvetaeva
8. Why did Russian literature begin
XX centuries, it was poetry that dominated?A) Many cataclysmic events (wars, revolutions) contributed to emotional intensity, and this led to the dominance of poetry
B) The dominance of poetry is the result of the legacy of the poets of the second half
XIX century (F. Tyutchev, A. Fet, A. Tolstoy, etc.)B) There were no talented prose writers
9. Which poet dedicated most of his lyrical works to the Russian village?
A) N. Gumilyov B) S. Yesenin
B) A. Blok D) A. Akhmatova
10. Here are the features of the three main directions of Russian modernism. Next to each, write the direction corresponding to it.
A) Precision and clarity of language, attention to everyday details - ___________________
B) Nebula, mysticism, use of symbols - ___________________
C) The invention of a new language, rebellion, bold experiments with the form of poetry - _________________
INSTRUCTIONS FOR TASKS
In tasks 1, 2, 4, 5, 7, 8, 9, mark the correct answer by placing any symbol in front of it. ATTENTION! There can only be one correct answer.
In task 3, opposite the poet’s name, write one of the movements of Russian modernism to which his work was related.
In task 6, draw an arrow or line from the poet’s surname to his poetic feature
In task 10 opposite characteristic property write the name of the movement of Russian modernism to which this property belongs.
RIGHT ANSWERS
1 - B
2 - G
3 - A. Akhmatova - acmeism, A. Blok - symbolism, S. Yesenin - imagism, V. Mayakovsky - futurism, V. Khlebnikov - futurism, V. Bryusov - symbolism, O. Mandelstam - acmeism
4 - G
5 - G
6 - A - 5, B - 2, C - 1, D - 3, D - 4
7 - G
8 - A
9 - B
10 - A - acmeism, B - symbolism, C - futurism