Materials for the school stage of the Olympiad in Literature. Literature Olympiad

Select from the presented works only those five that fit the genre definition of "poem". Write down their numbers, indicate the authors.

1. "Boris Godunov"
2. "House in Kolomna"
3. "Romeo and Juliet"
4. "Volga and Mikula Selyaninovich"
5. « The Snow Queen»
6. "Vasily Terkin"
7. "Svetlana"
8. "Song ... about the merchant Kalashnikov"
9. "May Night, or the Drowned Woman"
10. "Lefty"
11. "Glove"
12. « Bronze Horseman»
13. "Mozart and Salieri"
14. "French lessons"
15. "Jack Frost"

Answer

poems : № 2, 6, 8, 12, 15.

• "House in Kolomna" (A.S. Pushkin)
• "Vasily Terkin" (A.T. Tvardovsky)
• "The Bronze Horseman" (A.S. Pushkin)
• "Song ... about the merchant Kalashnikov" (M.Yu. Lermontov)
• "Frost, Red Nose" (N.A. Nekrasov)

Evaluation criteria

For correctly identified numbers - by 0.5 points(Total 2.5 points).

If the work is not assigned or incorrectly assigned to the genre of the poem, but the author is indicated correctly - 0.5 points for the position.

Other works:

• "Boris Godunov" (A.S. Pushkin)
• "Romeo and Juliet" (W. Shakespeare)
• "Volga and Mikula Selyaninovich" (folk epic)
• "The Snow Queen" (G.H. Andersen)
• "Svetlana" (V.A. Zhukovsky)
• "Mozart and Salieri" (A.S. Pushkin)
• "May Night, or the Drowned Woman" (N.V. Gogol)
• "Lefty" (N.S. Leskov)
• The Glove (F. Schiller, translation by V.A. Zhukovsky/M.Yu. Lermontov)
• "French Lessons" (V. G. Rasputin)

Task 2. "CREATIVE TASK"

Fragment in front of you artwork A containing a description of a location. Imagine the people inhabiting the hut. Write an essay about the inhabitants of this place. lean on artistic details in the given snippet. Give the characters names, describe their appearance and character. Write competently, coherently, fluently. The recommended length is 150–200 words. It is not necessary to imitate the style of the author.

Finally, I got over this swamp, climbed up a small hillock and now I could have a good look at the hut. It wasn't even a house, but fairy hut on chicken legs. It did not touch the floor with the ground, but was built on piles, probably due to the flood that floods the entire Irinovsky forest in spring. But one side of it sagged from time to time, and this gave the hut a lame and sad look. Several panes were missing from the windows; they were replaced by some dirty rags, sticking out like a hump. I pressed the latch and opened the door. It was very dark in the hut, and after I had looked at the snow for a long time, purple circles went before my eyes; so I could not make out for a long time whether there was anyone in the hut.

(A.I. Kuprin. "Olesya")

From schoolchildren not required recognize these fragments and restore the names of the heroes. It is important that they can describe the possible characters that can inhabit this space, create an image of a person through the details of the interior or landscape.

Task 3. "WORK WITH TEXT"

Read. Write an essay about this story, answering the questions. Write in a coherent text, freely, clearly, convincingly and competently. The recommended length is 250–300 words.

Vladimir Osipovich Bogomolov (1924–2003)

PEOPLE AROUND

She is dozing in the train, lying on a bench with her hand under her head. Poorly dressed, in a red-haired short-haired coat and warm, out-of-season cats; on his head is a gray shabby scarf. Suddenly picked up: “Is this not Ramen yet?” - sits down and, seeing that it is raining outside the window, he exclaims sadly, with angry concern:

- Here is the enemy! .. Well, it’s necessary!

- Mushroom rain - what did it do to you?

She looks bewildered and, realizing that in front of her are the townspeople, she explains:

- He is no longer needed for bread. Not at all necessary. - And with soft reproach, cheerfully:

- Tea, we feed on bread, not mushrooms! ..

Short, tanned, wrinkled. Old, old - about eighty, but still quite alive. And hardened, strong hands. Two yellow teeth stick out in front of the mouth, thin and long.

He straightens the handkerchief and, smiling affably, willingly talks and talks about himself.

Itself from near Irkutsk. The son died, and the daughter died, and there were no relatives.

I went to Moscow about the "pension", and, as it turns out, both there and back - without a ticket.

And no luggage, not even a tiny bundle ...

How is it without a ticket? And they didn’t put them down? .. - they are surprised around. – What about control?.. Was there any control?

- He came twice. And what about control? .. - she smiles weakly. Control is people too. There are people around! .. - she says with conviction and joy, and, as if justifying herself, adds: - I'm not like that, I'm on business ...

In this, her “Around people!” so much faith in a person and optimism that everything becomes somehow better, brighter ...

Traveling half of Russia without a ticket and without money, more than five thousand kilometers, and returning in the same way is incomprehensible to the mind. But they believe her.

There is something very good, sincere, wise in it; her face, eyes and smile are so radiant with friendliness, and she is so sincere - all outward - it is simply impossible not to believe her.

One of the passengers treated her to a pie, she took it, thanked with dignity, and willingly sucks and slurps, snipes lightly with her two teeth.

Meanwhile, outside the window, after the rain, the sun peeped through and sparkles dazzlingly with millions of dewdrops on the grass, on the leaves and on the roofs.

And, leaving the pie, she, joyful, radiant, screwing up her faded old eyes, looks out the window as if spellbound and says enthusiastically:

- Father, what a beauty! .. No, you look ...

1. With what means was the portrait of the heroine created?
2. What can be said about inner world heroines? In what words is it reflected?
3. What is author's attitude to the heroine?
4. Can you explain the title of the story?

Evaluation criteria	Points
The presence / absence of direct coherent answers to questions and the presence / absence of errors in understanding the text. Grading scale: 0 - 5 - 10 - 15	15
The general logic of the text and the consistency of the evidence. Grading scale: 0 - 3 - 7 - 10	10
Referring to the text for evidence. Grading scale: 0 - 2 - 3 - 5	5
The presence / absence of stylistic, speech and grammatical errors. Grading scale: 0 - 2 - 3 - 5	5
Presence/absence of spelling and punctuation errors (within the limits of the material studied in Russian). Grading scale: 0 - 2 - 3 - 5	5
Maximum score	40

For ease of assessment, we suggest focusing on the school four-point system. So, when assessing according to the first criterion, 0 points correspond to a “two”, 5 points to a “three”, 10 points to a “four” and 15 points to a “five”. Of course, intermediate options are possible (for example, 8 points correspond to a “four with a minus”).

The maximum score for all completed tasks is 70.

2011-2012 academic year

I.Knowledge of literary texts.

1. Before you dreams literary heroes. To whom do they dream? List the work and its author.

1.1 I seemed to have a presentiment: today I dreamed all night about some two unusual rats. Really, I have never seen such things: black, unnatural size! They came, sniffed - and went away.

1.2 It seemed to me that the storm was still raging and we were still wandering through the snowy desert ... Suddenly I saw the gate and drove into the manor yard of our estate. My first thought was the fear that the priest would not be angry with me for my involuntary return to my parent's roof and would not consider it a deliberate disobedience. With anxiety, I jumped out of the wagon and saw: mother meets me on the porch with an air of deep chagrin. “Hush,” she says to me, “father is ill at death and wants to say goodbye to you.” Stricken with fear, I follow her into the bedroom. I see the room is dimly lit; people with sad faces are standing by the bed. I quietly approach the bed; mother lifts the curtain and says: "Andrei Petrovich, Petrusha has arrived; he came back, having learned about your illness; bless him." I knelt down and fixed my eyes on the patient. Well? .. Instead of my father, I see a man with a black beard lying in bed, looking at me cheerfully. In bewilderment, I turned to my mother, saying to her: "What does this mean? This is not a father. And why should I ask a peasant for a blessing?" “It doesn’t matter, Petrusha,” my mother answered me, “this is your imprisoned father; kiss his hand and let him bless you ...” I did not agree. Then the peasant jumped out of bed, grabbed the ax from behind his back and began to swing in all directions. I wanted to run... and I couldn't; the room filled with dead bodies; I stumbled over bodies and slid in bloody puddles... A terrible peasant called me affectionately, saying: "Don't be afraid, come under my blessing..." Horror and bewilderment seized me... And at that moment I woke up.

1.3 Fell into the snow; bear nimble

She grabs and carries;

She is insensitively submissive;

Does not move, does not die;

He rushes her along the forest road;

Suddenly, between the trees, a miserable hut;

All around the wilderness, everywhere he

Covered with desert snow

And shines brightly in the window,

And in the hut and scream and noise;

The bear said: here is my godfather.

Warm up a little!

And he goes straight into the canopy,

And puts it on the threshold.

2. Find out the piece by the end. Name the author.(Maximum points - 3 points)

2.1 The ghost, however, was much taller, wore an enormous mustache, and, directing his steps, as it seemed, to the Obukhov bridge, disappeared completely into the darkness of the night.

2.2 A bell is filled with a wonderful ringing; the air torn to pieces rumbles and becomes the wind; everything that is on earth flies by, and, looking sideways, step aside and give it way to other peoples and states.

2.3 Good for you, Katya! And why am I left to live in the world and suffer!

II.Historical and literary assignments

1. A dictionary was created for the plays of which Russian playwright, and includes the following articles: grand - delicate; something - nothing; electricity - electricity; frishtykat - have breakfast; hypocrite - a pretended virtuous person, a hypocrite ( The maximum number of points is 1 point)

2. The publication of two parts of the collection of essays "Physiology of St. Petersburg" in March - April 1845 marks First stage development critical realism in Russian literature. What is the conventional name for this literary phenomenon? (1 point). Name the main authors. (One point for each correct answer - maximum 2 points)

3. This literary magazine published sequentially, yov, from 1836 to 1866. It was printed with " Captain's daughter”,“ Notes of a hunter ”,“ Mumu ”. Name the journal. (Maximum points - 1 point)

III. Knowledge of literary theory

1. What means artistic expressiveness used in an excerpt from the novel "Eugene Onegin":(Maximum points - 3 points)

Friends of Lyudmila and Ruslan!

With the hero of my novel

Without preamble, this very hour

Let me introduce you!

2. Before you are fragments of lyrical works and the names of genres. Compare them to each other. Write down the answer using the letter and number designation (for example: m - 9). ( The maximum number of points is 4).

1. He plays chess with one hand With the other hand he conquers the nations, With one foot he strikes friend and foe, With another he tramples the universe on the shore. (A. Suvorov) 2. The day is already paler, hiding behind the mountain; Noisy herds crowd over the river; A tired peasant with a slow foot He goes, thinking, to his calm hut. (V. Zhukovsky) 3. Crowd gloomy and soon forgotten We will pass over the world without noise or trace, Not throwing for centuries a fruitful thought, Nor the genius of the work begun. And our ashes, with the severity of a judge and a citizen, A descendant will offend with a contemptuous verse, The mockery of the bitter deceived son Over the squandered father. (M. Lermontov) 4. The calm of the ashes. The cat is playing with wool. All will pass. (M. Lemaire) 5. Love, hope, quiet glory The deceit did not live long for us, Gone are the funs of youth Like a dream, like a morning mist; But desire still burns in us; Under the yoke of fatal power With an impatient soul Fatherland heed the invocation. (A. Pushkin)

6. Poet! do not value the love of the people. Enthusiastic praise will pass a moment's noise; Hear the judgment of a fool and the laughter of the cold crowd, But you remain firm, calm and gloomy. You are a king: live alone. By the road of the free Go where your free mind takes you, Improving the fruits of your favorite thoughts, Not demanding rewards for a noble feat. They are in you. You are your own highest court; You know how to appreciate your work more strictly. Are you satisfied with it, demanding artist? Satisfied? So let the crowd scold him And spits on the altar where your fire burns, And in childish playfulness your tripod shakes. (A. Pushkin) 7. Time verb! metal ringing! Your terrible voice confuses me, Calls me, calls your moan, He calls - and brings him closer to the coffin. As soon as I saw this light, Death is already gnashing its teeth Like lightning, oblique shines And my days, like cereal, cuts. (G. Derzhavin) 8. Shepherds, I will forget Hours, how I was sad, groaning, Again I will jump into my flute, You will see me again in your circles. (A. Sumarokov)

IV. Literature and other arts

1. In what works of Russian classics are gypsies the characters?(One point for each correctly named piece)

V. Analysis of a poetic text

Give an interpretation of the poem “What is in my name to you? ...”, using the following questions and tasks:

What's in a name?

It will die like a sad noise

Waves splashing on the distant shore,

Like the sound of the night in a deaf forest.

It's on the memo

Leave a dead trail like

Tombstone lettering pattern

In an unknown language.

What's in it? long forgotten

In new and rebellious unrest,

It won't give your soul

Memories pure, tender.

But on the day of sorrow, in silence,

Say it, yearning;

Say: there is a memory of me,

There is a heart in the world where I live.

Describe the appearance of the lyrical "I" in this poem.

Does it change as the text progresses?

How is the mood of the poem created?

What is the poetic meaning key images poems?

· How artistic structure text helps to understand its content?

Total 20 points (4 points per answer for each question)

The All-Russian Olympiad for Schoolchildren in Literature is held for students in grades 5-11. As a rule, schoolchildren are given tasks related to the knowledge of the texts of Russian classics, literary terms, and the history of literature. In addition, students need to be able to analyze texts. They also have a creative challenge. At the school, municipal and regional stages, all tasks of the competition are written.

"LIT 10 cells ShE-17"

SCHOOL STAGE. GRADE 10

Read three statements famous writers about poetry ( verbal art) and painting, as well as three sentences that theoretically explain the difference between these two types of art. Below is a picture of a Russian artist - as a kind of stopped moment, as a space frozen in time. Your task is to revive the picture with the help of words, that is, to give a description of the events (or the process of ov, emotional experiences) that happened to the hero (heroes) of the picture before and after the moment captured in the picture. You can, in addition to the description, if necessary, compose a dialogue (monologue) of the characters (hero). Pay attention to the details of the picture. Include in your narrative also the moment depicted in the picture.

Additional task

Stop, moment! (I. -V. Goethe)

Painting is silent poetry, and poetry is speaking painting. In poetry, action as a process, as an event or lyrical experience unfolding in time and space, is what constitutes the basis of the poetic world.

V.G. Perov. "Angler" (1871)

SCULPTURE, PAINTING AND MUSIC

Where did you fly to us, divine maidens? was not the sky your cradle? and why did you exchange the abode of beauty and pleasure for the valley of desires and efforts? Your fiery eyes burn with unearthly fire. You lavish your caresses on mortals; but the features of your face, as if destined for eternal youth, have retained all the charm of virgin beauty. Who are you, heavenly ones, open up. You already know me; are not your magical images flew before me in those happy hours in which I dreamed about better world? Aren't my imagination looking for you everywhere?

“We are sisters,” answered the first goddess, “and all three reign in the universe; but we do not own the crown of immortal glory, it will forever shine on the head of our mother. O mortal! you often admired this world, looked with delight at everything around you; we have decorated everything you see. I am the eldest of the sisters, and my mother sent me first in order to revive the universe in your eyes; I showed you this round ball that floats in the air; I lifted up your eyes to this sky, which, like a vault, embraces him; I scattered these mountains with cliffs, which, like giants, rise above the valleys; my skillful chisel formed every tree, every leaf, every pearl hidden in the depths of the shell.

“Charming,” exclaimed the second goddess, “charming was the work of my sister when I flew down from heaven; but the gaze searched in vain for diversity on the colorless earth. Everything was cold, lifeless, like those images that gray clouds represent on a cloudy day. I waved my belt, and rainbows fell on the ground from all sides, a clear star lit up in the air, pure azure spilled across the sky and the sea reflected the sky; valleys and forests clothed in green and I, satisfied with the new world, returned to our mother's throne.

“Then I also flew down to earth,” said the third goddess; lovely were the works of my sisters; but I looked in vain for life in them; nothing smiled at me in nature, dead silence reigned on earth and hampered my feelings; I sighed, and my sigh was repeated in the universe; the feeling of life has spread everywhere; everything resounded with the sounds of joy, and all these sounds merged

into a common magical harmony.

“Since then,” continued the first goddess, “since then three altars have been erected on the earth; I was the first to meet a mortal, and he was the first to bring his gifts to me. He was still a wanderer in the new earth; everything struck him with surprise; everything nourished in him that feeling of pride which the first meeting with a stranger involuntarily awakens. Where will I find, he said, the satisfaction of my endless desires, where will I find an object worthy of my efforts? I heard the lamentations of a mortal and was the first to inspire him with the bold idea of ​​stealing from the immortals the fire that gives life. I handed him the chisel, and soon the marble came to life under his hands, and the man surrounded himself. own world. They are still alive sacred monuments his efforts are his glory. They were not touched by the erasing scythe of time. O mortal! strive to where, on the ruins of the capital of the world, the genius of the past has established his dominion and, evoking the past centuries from the ashes, it seems, chuckles at the present. Enter this immortal temple, where the heroes of antiquity, pale as the works of a dream, in eloquent silence and rise near the walls; enter this temple when the morning ray of the sun illuminates this majestic host and glides on white marble; then you will know my dominion and the presence of the secret deity will strike you with reverence.

“And a mortal obeyed me,” exclaimed the second goddess, “and I was his companion. When love shed its charming moisture in his heart, he tried in vain with my sister's chisel to depict the object of his desires. His eyes searched in vain for the image of the same sky that lurked under the eyelashes of his beautiful girlfriend; in vain he searched for the colors of modesty on the dead cheeks of marble; In vain did he want to surround the image of his beloved with the charm of the infinite, to which his soul aspired, and in which the ideal of the beautiful appeared to him. So what? I gave him a brush, and his feelings completely poured out onto a dead canvas, and the thought of the infinite became comprehensible to him. O mortal! do you want to see heaven on earth? Look at this picture - look, when the bright ray of noon sheds its light on it - you will involuntarily fall on your knees and then you will know my dominion.

“My reign has also come,” said the last goddess. – Have you ever heard magic sounds in the silence of the night, which by secret power captivate the soul, comfort it with hope and make it forget everything around? This is my celebration. You are then transported to new world, you think to be far from the earth, and you are in yourself. I have put a mysterious harp into you, whose strings tremble at every impression, and serve as a complement to everything that you feel in nature. It is not fiery joy, not a smile of pride that expresses my dominion; No! tears of quiet delight remind a mortal that his heart is subdued to me.

“My ears are riveted to your lips, immortal goddesses; but where is she for whom you are preparing a crown of glory - where is the temple in which her throne rises, from which she prescribes her laws to the universe?

- O mortal! the whole world is our mother's throne. She was depicted both by marble and canvas on the ground; she was glorified by the lyres of song-singers; but it will remain beyond the reach of the mortal senses; our mother is poetry; eternity is its glory, the universe is its image.

Alexey Vasilyevich Koltsov (1809 -1842)

STENKA RAZIN

I'm not afraid, good fellow,

Mother Volga is wide,

The forests are dark, dense,

Blizzards winter-Epiphany ...

As it was: through the dark forests

I feasted round winters;

To foreign lands, to your talent,

I took a walk, I hung out.

And along the Volga, my mother,

By birth, by nurse,

Together with brothers for prey

Flew a falcon to the ends of the world.

But not the Volga, the forests are dark,

Blizzards winter-Epiphany

Ruined my head

They crushed the might of iron ...

In the unbaptized, glorious city,

On a steep, high island

A beautiful girl lives

Daughter of a guest from Novgorod...

She is in the tower, like a dawn,

Under the window sits dissolved,

The dog sings neither sincerely,

Our fraternal fathers.

"Oh, my soul, my dear!

What are you sitting? What do you think?

Ali speeches are not to my heart?

Ali father is arrogant? ..

Don't sit, don't cry; you throw your father;

You run to me from the tower;

We are with you, free birds,

Let's go to live in Red Moscow.

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"LIT 11 class ShE-17"

ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN

ON LITERATURE. 2017–2018 academic year G.

SCHOOL STAGE. GRADE 11

1. (30 points) CREATIVE TASK

Read three sayings of famous writers about poetry (verbal art) and painting, as well as three sentences that theoretically explain the difference between these two types of art. Below is a picture of a Russian artist - as a kind of stopped moment, as a space frozen in time. Your task is to revive the picture with the help of words, that is, to give a description of the events (or processes, emotional experiences) that happened to the hero (heroes) of the picture before and after the moment captured in the picture. You can, in addition to the description, if necessary, compose a dialogue (monologue) of the characters (hero). Pay attention to the details of the picture. Include in your narrative also the moment depicted in the picture.

Additional task

Find and indicate the episodes (or characters) from the works of Russian literature similar to those depicted in the picture. Name the work, the author and the characters.

Stop, moment! (I. -W. Goethe)

Painting depicts bodies and indirectly with the help of bodies of movement ... (G.E. Lessing)

It seems to me that it is actually impossible to describe a person; but you can describe how it affected me. (L.N. Tolstoy)

Painting is silent poetry, and poetry is speaking painting.

In poetry, action as a process, as an event or lyrical experience unfolding in time and space, is what constitutes the basis of the poetic world.

Painting is the opposite of poetry, because in painting it is not time that dominates, but space, not action, but statuary.

V.V. Pukirev. " Unequal marriage» (1863)

Note: the artist in this picture painted a self-portrait with crossed arms (behind the bride).

2. (40 points) HOLISTIC TEXT ANALYSIS

Choose for analytical work OR prose, OR poetic text. Write coherently, freely, clearly, convincingly and competently. The recommended length is 300–400 words.

Vasily Makarovich Shukshin (1929–1974)

SUNDAY LONGING

My bed is in the corner, his is opposite. Between us is a table, on the table is a manuscript, thick and stupid. My manuscript. Novel. Just re-read last chapter and it became sad: such a burden that the ears wither. Now I lie and think: on what basis does a person sit down to write at all? I, for example. Nobody asks me.

Yes, so on what basis does a person give up all other business and sit down to write? Why do you want to write? Why do you want to write so much - to the point of pain and anxiety? I remembered my friend Vanka Ermolaev, a locksmith. A man lived to be thirty years old - he did not write. Then he fell in love (apparently, deeply) and began to write poetry.

“Throw matches,” Seryoga asked.

I put the box of matches on the table, on the edge. Seryoga grunted in displeasure and, without getting up, reached for the box.

- Torment of the word, or what? - he asked.

I am silent, I continue to think. So, I want to write. And what do I know that others do not know, and what gives me the right to tell? I know how it happens in the steppe in the early summer morning: a green, quiet dawn. In the lowlands, light as breath, fog. Quiet. You can lie face down in the fragrant wet grass, hug the earth and listen to how a huge heart moves deeply in her chest. You understand a lot in such moments, and you really want to live. I know it.

- Shake off the ashes on the floor again! Seryoga remarked sternly.

I leaned out of bed and blew the ashes under the bed. Seryoga sat on his horse. Sometimes I feel like I hate him. First, it is very long. I don't understand this in people. Secondly, he is truthful to the point of nausea and loves to slap my back with his long arms. Thirdly - this is the main thing - he is stubborn, like a file. He believes that he is a very practical person, and calls himself nothing else - a realist.

“We, the realists…” he always begins, and at the same time he looks condescendingly and stupidly from above, and his massive lower jaw moves forward. At times like these, I know I hate him.

- Why such melancholy happens, romantic? You do not know? - Seryoga asks in an indifferent tone (he does not really hope that I will talk to him). Now he will sit on the bed, break in half and stare blankly at the floor. We need to talk to him.

- Yearning? From stupidity mostly. From underdevelopment. - I really want to somehow hurt this telegraph pole. He is not at all practical, and not cold, and not sober. And he has no sadness. I know everything about him.

“That’s not true,” Seryoga said, sitting up on the bunk and folding himself in half. “I noticed that stupid people never get bored.

- Are you very sad?

- That is ... on White light look sickening.

So you are smart.

“Twenty kopecks from me,” Seryoga says and looks at me with gray truthful eyes, in which there is not a hint of some cold, prudent wisdom. The eyes are smart, they constantly glow with a soft, even light. It may be true that he is sad now, but he cherishes her, and sours somehow emphasized. It's embarrassing to look at now. He is probably asking for an argument, and if he gets involved in this argument, he will prove until he's blue in the face that art, poetry, especially ballet - nobody needs all this. Cinema is nothing, cinema can be left, and the rest of the “bodyagi” should be banned, because it confuses people, “discourages” them. Communism is being built! They are counting on this place (tapping a finger on the forehead) and building! I don’t want to tell Seryoga now that he invented his longing, I don’t want to argue with him. I want to think about the steppe and about my novel.

- Oh, and sadness! Seryoga whined again.

- Stop, listen.

- Nothing. It's disgusting.

- In your novel, people do not yearn? Not?

“I won't argue. Lord, give me patience."

- You probably have positive heroes who speak in verse. And in the morning everything

doing exercise. Are they charging?

“I will not swear. I won't."

“Songs are probably sung about satellites,” Seryoga continues, looking at me with angry, cheerful eyes. - I would for these songs, by the way, quartered. Got the mod! "I'm making an appointment on the Moon-e! .." - he mimicked someone. - I've already made an appointment! O! Yes, you get there! Someone breaks his head - counts, and he is already there. Cretins!

I am silent. By the way, about the songs - he is right, perhaps. Seryoga also fell silent. A little, probably, it became easier. For a while, our room is very quiet. I tune in again to the steppe and the dawn.

- You went...

– Are you afraid of criticism?

- Just not yours.

- I'm a reader.

- Are you a reader? You are a robot, not a reader. you at least one art book read to the end?

- It's you in vain - offended Seryoga. – You need to write smarter, then they will read. And then your positive characters are so good that you can sleep.

- Why?

“Because you’ll never be that good anyway.” Seryoga got up and went to the exit. - Go for a walk, a little.

When he left, I got up from my bunk and sat down to the manuscript. One positive hero did the same for me in the morning exercises. I re-read this place, and again it became sad. I write badly.

Not only with physical exercises is bad - everything is bad. Some endless “crazy breezes”, some tinny words about the sunset, about the rustling of leaves, about the honey smell from the fields ... And only yesterday a beautiful comparison came to mind, and I even wrote it down: “You need to write in such a way that words burst like cartridges in a fire.

What the hell ammo! Some buttons, not words.

There was a knock on the room.

A small neat head peeked through the door. A pair of clear eyes with eyelids swollen from sleep (it's still only ten o'clock sunday).

– Seryozha... Hello! No Serezha?

- There is no serezha. He just went out somewhere.

- Excuse me, please.

– He will come soon.

- Good.

Now Seryozha will start a holiday. His phony melancholy will be blown away by the wind. He loves this little neat head, loves quietly, stubbornly and faithfully. And he doesn't tell her about it. And she is kind of strange: she does not understand this. They sit together for hours, do the calculation of some engine assembly internal combustion. Seryozha breaks a sweat - he is worried, such a shaft. He does not look at the girl - her name is Lena - yells, knocks with a huge fist on the abstract.

- What is the efficiency here ?!

Lenochka shudders in fright.

- Don't cry, Seryozha.

- How can you not scream? How can one not shout when they don’t understand elementary things here!

- Seryozha, don't scream.

Seryoga will be a talented engineer. In moments of despair, I envy him. By the age of forty, he will be a strong, intelligent production commander. He will have good wife, this is the same Lenochka with a neat head. I suspect that she understands everything for a long time and she also loves Seryoga. She, so pretty, so sweet and weak, cannot help but love Seryoga. They will be all right. I have ... It seems that these “crazy grassroots winds” will drive me into the coffin ahead of time. I will definitely miss something good in life.

Seryoga entered.

- Walked a little.

This one came to you. She asked you to visit her.

- Lena. Who!

Seryoga turned purple from neck to forehead.

- Why come?

- I do not know.

- It's okay to shake. - He calmly (calmly!) Went to the bed, lay down.

I also calmly say:

- As you wish. - And I'm leaning towards the notebook. Anger smothers me. Still, you can't be such a hopeless idiot. This is no longer shyness, but a disease.

It became quiet.

- It must have been just as quiet when Jesus said to his disciples: “Brothers, one of you betrayed me.” - When Seryoga has nothing to say, he jokes. As a rule, out of place and out of place.

- Let me smoke anyway.

- You wait, Seryoga: some creeper with a guitar will turn up - he only saw his Lenochka. Call later.

Seryoga sat down, wrapped his arms around himself. He was silent for a long time, looking at the floor.

Do you recommend going to her? he asked quietly.

- Of course, Seryoga! “I am directly touched by his helplessness. - Of course,

go. Come on, smoke and go.

Seryoga got up, lit a cigarette and began to walk around the room.

It's always easy to give advice from the outside...

- Baba! Coward! You will perish like this, Seryoga.

- Nothing.

- Go to her.

“Now I’ll go, what are you addicted to!” I'll smoke and go.

- Go straight with the cigarette. Women like it when people smoke in front of them. I know... I'm a writer, after all.

“Don't talk to me like I'm a fool. Let them smoke in front of women in your novels. Wit!

“Go to her, fool!” After all, you will miss the girl. Today is Sunday... There's nothing like that if you went to the girl. Came and went and that's it.

“So she didn’t ask me to come in?”

- She asked.

Seryoga looked at me with a suspicious, sad look.

- I know I'll go.

Seryoga left.

I started looking out the window. Good guy Seryoga. And she's good too. She, of course, is not a talented engineer, but ... in the end, someone needs to help talented engineers. If she turned out to be a talented woman, she would untie his tongue ... I imagine how Seryoga will enter their room now. Say hello... and say something like that joke with Jesus.

Then they will go outside and go to the garden. If I were describing this scene, I would, of course, slap here both the “stray breeze” and the rustling of the leaves. There is none of this! There is, of course, but that's not the point. Two people are just walking along the alley: a guy and a girl. The guy is unusually long and awkward. He is silent. She, too, is silent, because he is silent. And he is silent. Silent as hell. He is silent, because his logarithms, efficiency were taken away from him ... He is silent, that's all. Then the girl says:

Let's go to the river, Seryozha.

- Mm. - Means yes.

We came to the river and stopped. And again they are silent. The river flows along the sand, different birds chirp ... Warm. In the grove near the water, a strong poplar spirit was infused. And the two happiest people on earth stand and languish. They are waiting for something.

Then the girl looked into the guy's eyes, into the very heart, hugged his neck ... clung ...

- Let me kiss you! There is no patience, you are my wordless pole.

This picture is starting to worry me. I walk around the room with my hands in my pockets, rejoicing. I see how Seryoga went wild with happiness, clumsily, awkwardly hugged a thin, warm dear person with a neat head and holds him - he does not believe that this is true. Happy for him, for the fool. Eh ... let my favorite novel with "crazy breezes" forgive me, let him forgive me! I will write a story about Seryoga and Lena, about two good people, about their good love.

A stupid, strange glee seizes me (as I know this treacherous glee). I write. Time flies unnoticed. Writing! Maybe tomorrow I will weep bitterly over these lines, having discovered their shameful helplessness, but today I am happy no less than Seryoga.

When he arrives in the evening, I am already finishing the last page of the story, where "he", happy and tired, returns home.

- Seryozha, I wrote a story about you. Do you want to read?

– Hm... Come on!

I have no time to look at Seryoga, I do not pay attention to his mood. I put an end to my story and start reading.

While I was reading, Seryoga did not utter a single word - he sat on the bed with his head bowed. Looked at the floor.

I finished reading the story, put down my notebook and began to smoke. My fingers trembled slightly. I was waiting for Seryoga to say. I didn't look at him. I looked closely at the box of matches. I liked the story. I was waiting for what to say

Seryoga. I believe him. And he remained silent. I looked at him and met his cheerful, thoughtful gaze.

“Nothing,” he said.

I was relieved from the heart. I rambled:

- Didn't guess a lot? Where were you? On the river?

We haven't been anywhere.

- Have you been to her?

- Oh! And where have you been?

- And I went to the planetarium ... - Seryoga, in order not to see my stupid face, lay down on the pillow, threw his hands behind his head. “Nothing is a story,” he said again. "Don't you dare read it to her."

- Seryozha, why didn’t you go to her?

- Well, why, why! .. Poto ... Let me smoke.

- On the! Donkey you, Seryoga!

Seryoga lit up a cigarette, took out the Science and Life magazine from under his pillow and went deep into reading - he reads these magazines like a good detective novel, like Sherlock Holmes.

Zinaida Nikolaevna Gippius (1869–1945)

Not bad at all and the descent from the mountain:

Who knew the storm, he appreciates wisdom.

I only regret one thing: games ...

Wisdom will not replace her.

The most mysterious game

And more disinterested in the world.

She's always for nothing

The way children laugh at nothing.

The kitten is fiddling with a ball,

The sea plays in constancy ...

And everyone knew - at the wheel -

Mindless game with space.

The poet plays with rhymes

And foam - around the edges of the glass ...

And here, on the descent, is there a trace -

There was little trace of the game.

The maximum score for all completed tasks is 70.

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"LIT 5 cells ShE-17"

ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN

ON LITERATURE. 2017–2018 academic year G.

SCHOOL STAGE. 5th class

1. (15 points) LIBRARIAN

Select from the submitted works only those five that fit the definition of " folk fairy tale» . Write out the names. Add two of your examples to them. Credit the authors literary tales if there are any among those listed.

1. "Black chicken, or Underground inhabitants»

2. "Seven Simeons"

3. "Soldier and devil"

4. "The Tale of a Daring Darling, rejuvenating apples and living water

5. "Porridge from an ax"

6. "Ivan Tsarevich and the White Glade"

7. "Marya Morevna"

8. "Ruslan and Lyudmila"

9. Fox and Crane

10. "Old Street light»

11. "Humpbacked Horse"

12. "Geese-swans"

13. Vazuza and Volga

14. "Silver Hoof"

15. "Terem flies"

Hint 2: The rhyme in the poem is a steam room.

News is flying in through this door

Not for the spring tenant,

Blue house at the gate.

Not for a squirrel, not for a mouse,

Talkative starling.

The door is narrow under the roof -

Flying in all directions!

They spend half an hour together.

The news does not stay for a long time -

Guess who lives in it.

b) Indicate the genre of the poem that you have restored. What is the name of this genre?

c) What is the theme of the poem?

Read. Write an essay about this story, answering the questions. Write in a coherent text, freely, clearly, convincingly and competently. The recommended length is 100-150 words.

Sergei Grigorievich Kozlov (1939–2010)

YORHIKINA MOUNTAIN

For a long time the Hedgehog had not seen such a big sky. It's been a long time since he stopped and froze like that. And if someone asked him why he stops, why he freezes. The hedgehog wouldn't be able to answer anyway.

- Where are you looking, Hedgehog? Belka asked.

“Ah,” said the Hedgehog. And waved his paw.

- What did you see there? Ant asked.

“Silence,” Belka said.

“Thinking about it,” grumbled the Ant and ran about his business.

And it suddenly seemed to the Hedgehog that he saw this forest, this hill, this clearing for the first time. That he had never seen anything like it before. "How so? thought the Hedgehog. “After all, I have run along this path so many times, I have stood on this hill so many times.” And the trees were so unusual - light, translucent, as if lilac, and full of such inner peace and quiet that the Hedgehog did not recognize the places familiar from childhood.

- What is this? - muttered the Hedgehog. Haven't seen everything before?

And the birds, those few birds that remained in the forest, now seemed unusual to the Hedgehog. “This is not a Crow, this is some kind of Eagle circling over the forest,” thought the Hedgehog. “I have never seen such a huge bird.”

- Are you still standing? Ant asked. “I’ve already dragged out some straw, but he’s still standing.

"Don't disturb him," said Squirrel. - He thinks.

“Thinks, thinks,” grumbled the Ant. What would happen in the forest if everyone thought.

“Think about it, that’s all,” said Squirrel. - Don't interfere.

“You are all loafers,” said the Ant. - You are all for each other. - And running.

And the Hedgehog thanked Belka to himself, because he heard a conversation somewhere far, far away, as if they were talking in the clouds, and he was at the bottom of the sea.

“How kind she is,” thought the Hedgehog about Squirrel. “Why have I never met her before?”

The little bear has arrived.

- Well? - he said. - What we are going to do?

The hedgehog looked at the forest, at the hill, at the Crow circling beyond the river, and suddenly realized that he didn’t want to answer so much, he didn’t want to go down from his mountain ... And he began to think gratefully about whose kindness on this mountain turned out.

2. Features of what genre are reflected in this text? How can this be justified?

3. What words, phrases, sentences are used to describe the appearance of the characters? Why does the author use artistic techniques?

4. How can you characterize the main character? What is his inner world like? What does he think, what does he feel?

5. Can you explain the title of the story?

6. How can you formulate the main idea of ​​the story?

The maximum score for all completed tasks is 70.

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"LIT 6 cells ShE-17"

ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN

ON LITERATURE. 2017–2018 academic year G.

SCHOOL STAGE. 6TH GRADE

1. (15 points) LIBRARY

Select from the presented works only those five stories and novels that can be called fantastic. Write down their numbers, indicate the authors. Then, if possible, indicate the authors of the remaining works.

1. "Iliad"

2. "Girl from Earth"

3. "Snowstorm"

4. "Fifteen-year-old captain"

5. "Silver Chair"

6. Three Musketeers

7. "Man-amphibian"

8. Fahrenheit 451

9. Biter

ten. " Prisoner of the Caucasus»

11. "Pantry of the sun"

12. "Thick and thin"

13. "Konduit and Shvambrania"

14. "White silence"

15. "War of the Worlds"

2. (15 points) MIXED LINES

The lines in the poem are mixed up.

a) Restore the poem: rewrite the lines in right order.

Hint 1: punctuation at the end of lines.

Hint 2: The first line is in place.

WOLF AND CRANE

That wolves are greedy, everyone knows;

"Are you kidding! - the beast cried out insidious, -

Wolf, eat, never

And asks grief to help.

For that, one of them got in trouble:

The Wolf cannot gasp or breathe;

Doesn't understand bones

I put it in the Wolf's mouth and with more difficulty

Somehow, the Wolf began to beckon him with signs

Fortunately, the Crane happened to be close here.

Crane your nose up to your neck

He pulled out the bone and began to ask for labor.

And with a stupid head from his throat he took the whole!

To you for work? Oh you ungrateful!

But beware: you don’t get ahead of me.”

And it's nothing that you're your long nose

He nearly choked on a bone.

Come on, buddy, get out

It's time to stretch your legs!

b) Determine the genre of the restored text.

c) Give 2-3 examples of works of the same genre. Specify their author and title.

3. (40 points) WORK WITH TEXT. Read. Write an essay about this story, answering the questions. Write in a coherent text, fluently, clearly, convincingly and competently. The recommended length is 150–200 words.

Sergei Alekseevich Baruzdin (1926–1991)

COLD Hedgehog

It was late autumn Last year wars. There were battles on Polish soil.

One night we settled in the forest. They lit a fire and warmed up tea. Everyone went to bed, and I stayed on duty. Two hours later I was to be relieved at the post by another soldier.

I sat with a machine gun by the dying fire, looked at the coals, listened to the rustles of the forest. The wind rustles the dry leaves and whistles in the bare branches.

Suddenly I hear a rustle. As if someone is crawling on the ground. I wake up. I have my machine ready. I listen - the rustle is silent. Sat down again. It rustles again. Somewhere very close to me.

What an opportunity! I looked down at my feet. I see - a bunch of dry foliage, but as if alive: it moves by itself. And inside, in the leaves, something snorts, sneezes. Good sneezes!

I took a closer look: a hedgehog. A muzzle with small black eyes, upright ears, leaves are pricked on dirty yellow needles. The hedgehog dragged the leaves closer to the warm place where the fire was, moved his nose along the ground, sneezed several times. Apparently, he caught a cold.

It's time for my shift. He took over the post of soldier - Kazakh Akhmetvaliev. He saw a hedgehog, heard how he sneezes, and well, scold me:

- Oh, it's not good! Hey, not good! Sit and watch calmly. Maybe he has the flu or inflammation. Look, everything is trembling. And the temperature is probably too high. You need to take him into the car, treat him, and then release him into the wild ...

So we did. They put the hedgehog along with a bunch of leaves in our camping "gazik". And Akhmetvaliev got warm milk somewhere the next day. The hedgehog drank milk, got warm and fell asleep again. Throughout the journey, he sneezed several times and stopped - he got better. So all winter in our car and lived!

And when spring came, we released him into the wild. For fresh grass. And what a day it was! Bright, sunny! A real spring day! Only it was already in Czechoslovakia. After all, we met spring and victory there.

1. Why can this text be called artistic?

2. How is the hedgehog described? With what help artistic means the author creates his image?

3. What does Akhmetvaliev's act say?

4. Why does the action of the story begin at night and in autumn, and does it end with spring and victory?

5. What can you say about the language of this work?

The maximum score for all completed tasks is 70.

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"LIT 7 cells ShE-17"

ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN

ON LITERATURE. 2017–2018 academic year G.

SCHOOL STAGE. 7TH GRADE

1. (10 points) LIBRARY

Select from the submitted works only those five that fit the definition of " adventure novel". Write down their numbers, indicate the authors. Then, if possible, indicate the authors of the remaining works.

1. "Children of Captain Grant"

2. "In bad company" ("Children of the Underground")

3. "Childhood of Bagrov-grandson"

4. "Childhood"

5. The Count of Monte Cristo

6. "Taras Bulba"

7. Scarecrow

8. "Two captains"

9. "White Fang"

10. Catcher in the Rye

eleven. " Scarlet Sails»

12. Ivanhoe

13. "Shot"

14. "Gold bug"

15. Captain Blood's Odyssey

Before you is a fragment of a work of art containing a description of a certain place. Imagine the people inhabiting this space (room, apartment, house, etc.). Write an essay about the inhabitants of this place. Give the characters names, describe their appearance and character. Rely on the artistic details in the proposed fragment. Write competently, coherently, fluently. The recommended length is 150–200 words. It is not necessary to imitate the style of the author.

A kerosene lamp burned on the box. On the walls hung hoops covered with tissue paper, white and pink, long striped whips with shiny metal handles, costumes strewn with golden circles, embroidered with flowers, stars, multi-colored patches. Masks peeked from the walls. Some had horns sticking out; in others, the nose resembled a Turkish shoe; still others had a mouth from ear to ear. One mask featured huge ears. The funny thing was that the ears were human, only very large.

In the corner, in a cage, sat a small strange animal.

A long wooden table stood against one wall. Mirrors hung over it. Ten pieces. Near each mirror was a candle, glued to the table with its own juice - stearin. The candles were not lit.

3. (40 points) WORK WITH TEXT. Read. Write an essay about this story, answering the questions. Write in a coherent text, freely, clearly, convincingly and competently. The recommended length is 200–250 words.

Victor Petrovich Astafiev (1924–2001)

GREEN STARS

We walk with a friend along the banks of the Koiva, a tributary of the Chusovaya. The forests are still green, thick sedges are still bristling along the banks, the green palms of water lilies have not closed on the coastal lakes, just yesterday cobwebs were stretching in long threads in the air - and snow is on you!

Through the quiet, snowy veil, the world seems timid, and flashes of greenery flash, flash. And ahead, in the motionless white realm, lights blazed. We come closer and see a flamed mountain ash. A shy tree is a mountain ash, it felt the approach of snow earlier than others and hastened to turn into autumn color. With a sad rustle, crimson rosettes fall from mountain ash and lonely, sadly glow on white, but not yet dazzling snow. There is no real cold yet, and the snow is not silvery.

But now the snow has thinned. More greenery before our eyes, and finally we see a forest, a sky, a gloomy sky in shaggy clouds, between which only a pale blue is visible in some places. It is white on the banks, and that is why the river seems dark, inhospitable. The shadows of the rocks are not reflected in it, as in summer.

The ducks set off. They fly low over the river in large flocks. They sit down on bare patches, hide their heads under the wing.

The snow melts quickly, tubercles are exposed before our eyes, with green leaves thick, loud drops fall from birches and soft paws of a fir. The whole forest is filled with rustling, clicking and crackling.

But what is it? Before us are huge green stars. Such stars can only be seen in the forest and only after early snowfall. And even such stars can be seen in the frost on the window, fabulous fern stars, only those stars are smaller and white.

And here they are sprawling, green.

The fern grew in a loose bunch. Heavy snow fell on the carved leaves, glued them to the ground. Jagged, huge stars of a mysterious, fabulous fern spread out. I once heard, as a child: if you find the color of a fern and take it in your hand, you will become invisible. Now, looking at the magic stars, I believe it. I believe in everything related to the forest.

1. Why can this text be called artistic?

2. With the help of what artistic means was the image of the forest created?

3. What role does the forest play in the picture being drawn? green color?

4. Why is the fern called "fabulous" and "magical"?

5. What can you say about the character of the narrator?

The maximum score for all completed tasks is 70.

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"LIT 8 cells ShE-17"

ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN

ON LITERATURE. 2017–2018 academic year G.

SCHOOL STAGE. 8TH GRADE

1. (10 points) LIBRARY

Select from the presented works only those five that fit the genre definition of "poem". Write down their numbers, indicate the authors. Then, if possible, indicate the authors of the remaining works.

1. "Boris Godunov"

2. "House in Kolomna"

3. "Romeo and Juliet"

4. "Volga and Mikula Selyaninovich"

5. "Snow Queen"

6. "Vasily Terkin"

7. "Svetlana"

8. "Song ... about the merchant Kalashnikov"

10. "Lefty"

11. "Glove"

12. "The Bronze Horseman"

13. "Mozart and Salieri"

14. "French Lessons"

15. "Frost, Red Nose"

2. (20 points) CREATIVE TASK

Before you is a fragment of a work of art containing a description of a certain place. Imagine the people inhabiting the hut. Write an essay about the inhabitants of this place. Rely on the artistic details in the proposed fragment. Give the characters names, describe their appearance and character. Write competently, coherently, fluently. The recommended length is 150–200 words. It is not necessary to imitate the style of the author.

Finally, I got over this swamp, climbed up a small hillock and now I could have a good look at the hut. It was not even a hut, but a fabulous hut on chicken legs. It did not touch the floor with the ground, but was built on piles, probably due to the flood that floods the entire Irinovsky forest in spring. But one side of it sagged from time to time, and this gave the hut a lame and sad look. Several panes were missing from the windows; they were replaced by some dirty rags, sticking out like a hump. I pressed the latch and opened the door. It was very dark in the hut, and after I had looked at the snow for a long time, purple circles went before my eyes; so I could not make out for a long time whether there was anyone in the hut.

3. (40 points) WORK WITH TEXT

Read. Write an essay about this story, answering the questions. Write in a coherent text, fluently, clearly, convincingly and competently. The recommended length is 250–300 words.

Vladimir Osipovich Bogomolov (1924-2003)

PEOPLE AROUND

She is dozing in the train, lying on a bench with her hand under her head. Poorly dressed, in a red-haired short-haired coat and warm, out-of-season cats; on his head is a gray shabby scarf. Suddenly picked up: “Is this not Ramen yet?” - sits down and, seeing that it is raining outside the window, he exclaims sadly, with angry concern:

- Here is the enemy! .. Well, it’s necessary!

- Mushroom rain - what did it do to you?

She looks bewildered and, realizing that in front of her are the townspeople, she explains:

- He is no longer needed for bread. Not at all necessary. - And with soft reproach, cheerfully:

- Tea, we feed on bread, not mushrooms! ..

Short, tanned, wrinkled. Old, old - about eighty, but still quite alive. And hardened, strong hands. Two yellow teeth stick out in front of the mouth, thin and long. He straightens his handkerchief and, smiling amiably, talks willingly and tells about himself.

Itself from near Irkutsk. The son died, and the daughter died, and there were no relatives. I went to Moscow about the "pension", and, as it turns out, both there and back - without a ticket. And no luggage, not even a tiny bundle ...

How is it without a ticket? And they didn’t put them down? .. - they are surprised around. – What about control?.. Was there any control?

- He came twice. And what about control? .. - she smiles weakly. Control is people too. There are people around!.. - she says with conviction and joy, and, as if justifying herself, she adds: - I'm not like that, I'm on business ...

In this, her “Around people!” so much faith in a person and optimism that everything becomes somehow better, brighter ...

Traveling half of Russia without a ticket and without money, more than five thousand kilometers, and returning in the same way is incomprehensible to the mind. But they believe her. There is something very good, sincere, wise in it; her face, eyes and smile are so radiant with friendliness, and she is so sincere - all outward - it is simply impossible not to believe her.

One of the passengers treated her to a pie, she took it, thanked with dignity, and willingly sucks and slurps, snipes lightly with her two teeth.

Meanwhile, outside the window, after the rain, the sun peeped through and sparkles dazzlingly with millions of dewdrops on the grass, on the leaves and on the roofs.

And, leaving the pie, she, joyful, radiant, screwing up her faded old eyes, looks out the window as if spellbound and says enthusiastically:

- Father, what a beauty! .. No, you look ...

1. With what means was the portrait of the heroine created?

2. What can be said about the inner world of the heroine? In what words is it reflected?

4. Can you explain the title of the story?

The maximum score for all completed tasks is 70.

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"LIT 9 cells ShE-17"

ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN

ON LITERATURE. 2017–2018 academic year G.

SCHOOL STAGE. 9 CLASS

1. (30 points) CREATIVE TASK

Read three sayings of famous writers about poetry (verbal art) and painting, as well as three sentences that theoretically explain the difference between these two types of art. Below is a picture of a Russian artist - as a kind of stopped moment, as a space frozen in time. Your task is to revive the picture with the help of words, that is, to give a description of the events (or processes, emotional experiences) that happened to the hero (heroes) of the picture before and after the moment captured in the picture. You can, in addition to the description, if necessary, compose a dialogue (monologue) of the characters (hero). Pay attention to the details of the picture. Include in your narrative also the moment depicted in the picture.

Additional task

Find and indicate the episodes (or characters) from the works of Russian literature similar to those depicted in the picture. Name the work, the author and the characters.

Stop, moment! (I. -W. Goethe)

Painting depicts bodies and indirectly with the help of bodies of movement ... (G.E. Lessing)

It seems to me that it is actually impossible to describe a person; but you can describe how it affected me. (L.N. Tolstoy)

Painting is silent poetry, and poetry is speaking painting. In poetry, action as a process, as an event or lyrical experience unfolding in time and space, is what constitutes the basis of the poetic world.

Painting is the opposite of poetry, because in painting it is not time that dominates, but space, not action, but statuary.

V.G. Perov. Boy preparing to fight (1866)

2. (40 points) HOLISTIC TEXT ANALYSIS

Choose for analytical work OR prose, OR poetic text. Write coherently, freely, clearly, convincingly and competently. The recommended length is 300–400 words.

Dmitry Vladimirovich Venevitinov (1805-1827)

If at seventeen you despise fairy tales, dear Sonyushka, then call my slandering a story or think of another name for it. But first of all, let me write this maxim: Tous les contes ne son t pas des fables 2

AT happy side(I don’t know, right, where) a peaceful couple lived. We will not inquire about her rank and surname, especially since genealogical books about her, of course, are silent and that you have no need for that. I only know that a good husband and wife diligently worshiped the gods and annually sacrificed to them two of the best rams from their flock. For this, the gods were not deaf to their prayers for long, and soon rewarded their virtue with the fulfillment of their desires. The happy father enthusiastically pressed his little daughter, a beautiful child, to his chest, and, admiring her lively, blue eyes and the fresh innocent color of her cheeks, called her Pleinira and slaughtered two more rams in honor of the gods, so that they would send down on his daughter everything earthly blessings.

The gods heard his prayer a second time, and three inhabitants, or rather, three inhabitants of heaven, appeared to him with gifts. One resplendent, in bright clothes, seemed to rush through the entire space separating heaven from earth in an instant. If the same charmer suddenly flew to me while I was writing, reading, dreaming or enjoying what the Italians call: il dolce far niente 3, or even in a dream, then by the fire blazing in her eyes and on her on her cheeks, on her magical, light, but majestic figure, on the long light curls fluttering in the speed of striving, on the wondrous voice and fiery speeches, excited by one feeling, I would not remain long in bewilderment and would soon recognize in her the goddess of arts. With a heavenly smile of mercy, she handed the surprised father a precious, sonorous harp for Plenira, said that when his daughter was seventeen years old and when she played this harp for the first time, she would feel the full value of this gift, and suddenly disappeared.

The other, it seemed, concentrated in itself all the rays of the heavenly bodies. Through thin, transparent clothes, the weak eyes of mortals did not dare to look at the fiery color of her body; all the features of her face burned with a fire unknown to us, the fire of truth. In her majestic, swift and bold flight, she seemed to flood the universe, and bright light, spilling from it in all directions, dazzled the eye. She held a mirror in which all objects were reflected as true as in a still pure heart, and, having said that Plenira at the age of seventeen would feel the full value of this gift, she disappeared. After her, it became so dark in the room that you would think, dear Sonyushka, that it was already one in the morning, and you would be surprised when you saw through the window bright sun that rolled into clear sky, at noon.

The third... Oh, how captivating she is! A gentle, indescribable figure, covered with clothes as white as snow, a modest and even unsteady gait, the very indefiniteness of facial features expressing one harmonious feeling of innocence, the mystery of the gaze, overshadowed by long eyelashes, these defenses against probing glances, everything in her filled her soul with a deep, charming , an inexplicable feeling. With scarlet blush and a smile of modesty, she laid a transparent, white veil on the Plenira, said that at seventeen she should experience the price of this gift, and disappeared like a light, pleasant dream, leaving a long memory.

I will not describe to you, my dear, with what care parents tried to bring up Plenira. It is enough that they spared no efforts, no donations for her, kept her like a precious, the only flower shining for them on the field of life, did not leave her a single step, described a circle around her in which she saw and guessed only good, lofty on earth, and from which, at the age of seventeen, a lovely butterfly flew out, with fresh colors, saturated with honey alone.

With what impatience Plenira waited for the decisive day! How she longed to have seventeen years before the time, in order to quickly enjoy the gifts of heaven. Happy! She did not know that hope is the best pleasure on earth.

Finally, the long awaited time has come. In the morning the Plenira was simply dressed up; but all her clothes stuck to her so much that you would take her for some kind of sorceress or goddess who flew down from heaven in order to deceive us with herself. In a light white dress, she seemed to be flying, cutting through the air and not touching the ground; from a beautiful frame of dark-blond long curls, her captivating face spilled from all sides the pleasure that she herself felt, and a transparent veil, a priceless gift, was carelessly lifted on her lilac brow.

On this joyful day, Plenira's parents called together their friends and acquaintances to share their happiness with them. After several amusing games and merry speeches, a rich harp was brought in, on which Plenira had never played before, and everyone formed a silent circle in anticipation. Plenira, breathing with joy, with eyes filled with the fire of impatience, leaned her harp against her, and her tender fingers rolled along the loud strings. Slender, majestic sounds stopped everyone's attention, and everyone was waiting for the magical mystery of the first solo to be resolved. But when, after a gentle, despondent adagio, tears gushed out of his eyes, and when fiery, fast music suddenly rang out, and delight animated everyone, and all desires involuntarily rushed towards something infinite, incomprehensible, and everything, everything was filled with life, then Plenira already could not contain her joy. All the features of her face were intoxicated with delight, a feeling of pleasure burned in her eyes; but that was not self-satisfaction. No. She admired her successes; she rejoiced at the surprise she aroused in all her listeners.

Satisfied with the first gift, she rushed with curiosity into another room to the mirror, in which she had also never looked and from which the veil was pulled off. Oh! What did she see in him? What an inexplicable beauty, in whose features one joy, one delight shone! Plenira could not leave the mirror; she was admiring herself, when suddenly the veil fell inadvertently from her forehead and covered everything before her - both the mirror and the lovely image.

Then she knew the power of the third goddess. A secret reproach replaced in her the former feeling of ecstasy; the purple of modesty lit her cheeks, and in her repentance she wanted to break the mirror and the harp, the culprits of her first indignation at herself; but a gentle hand lifts her veil, and Plenira sees before him an airy, beautiful maiden, with a modest look, with a long eyelash. “You don’t recognize me,” the maiden says quietly. “I gave you this blanket. Know now the full value of my gift. It is a veil of modesty. Always wear it on you, and every time a new feeling, unfamiliar to you, takes possession of your soul, remember me, remember the veil of modesty. The maiden has disappeared.

Plenira vowed never to despise her gift. Ever since she often played the harp, how often she looked in the mirror, and was always pleased with herself.

Here is the end of my story. But now you will ask me with curiosity, who is this Plenira? Dear Sonyushka, ask others; they guessed right.

Pavel Davidovich Kogan (1918–1942)

This night scattered the lights

Unexpected, like a disaster.

Is that how a bird falls down

Spreading sharp wings?

This midnight will drive you crazy

Mix up the days - and away.

Fog was coming from Norway.

Evil night. Baltic night.

You lay on the wet sand

Like hope, hugging the sand.

Whether the ruby ​​burns at the temple,

Either the temple bloomed with a mountain ash.

Oh, how many anxious years

I will save this bitterness!

On a wicked night the poet lay

On an empty, like melancholy, shore.

You get up at night. And again and again

Singing the same song

Oh you are the night, you are my love

What are you circling with evil misfortune?

There is a city of Cairo in the world,

He often dreams of me at night

Like your direct verses,

Like her slanted eyelashes.

But, wheezing, the shadow answers:

“Stop. Stop doing that. No need.

The world is night. There will be a day in the world.

And spring is a reward for snow.

The world is huge. snow braids,

People - the word, and the rustle of grasses.

Are you a son of this earth or not a son?

Are you a son of this earth or a stranger?

Come out. Kolobrod. Ataman.

The grasses are trembling. The roads were waiting for the leader ...

But you've been inhaling the swamp mist for too long.

You don't want to believe in anything but rain."

The maximum score for all completed tasks is 70.

1 DV Venevitinov's sister Sophia was born on August 13, 1808. The sketch was written for her seventeenth birthday.

2 Fairy tales are not fables (fr.).

3 Idleness, pleasant doing nothing (Italian).

The process of working on a work of art.

Primary acquaintance and analysis of the content of the work in unity with its artistic features.

Primary perception of the text, as a rule, is provided by such a technique as reading aloud by the teacher. Children are given a listening setting: for example, before reading N. Nosov’s story “On the Hill”, you can invite children to think whether this work is funny or sad. While the teacher is reading, the children's books are closed, their attention is completely directed to listening to the work and empathizing with the teacher-reader. The choice of such a technique for primary perception is argued by the imperfection of the reading skill of younger children. school age. However, at the later stages of learning to read, other methods can be used: reading the text by specially trained children; reading the text by children in a chain; combined reading - when the teacher and called students read the text alternately. In this case, the teacher for his reading chooses:

1. descriptive passages;

   the beginning of the work;

   the final lines of the work (ending).

Sometimes, for primary perception, a record of reading the text by the master can be used. artistic word. However, when resorting to this technique, the teacher must keep in mind a number of circumstances: one should not use a recording if the work is completely unfamiliar to children (it is difficult to perceive an unfamiliar text through equipment); it is inappropriate to demonstrate the artist's reading if his understanding of the work of art does not coincide with the understanding of the teacher - this may create additional difficulties in the process of subsequent analysis; the quality of the recording and the condition of the technical means must be impeccable.

Checking the primary perception is the teacher's understanding of the children's emotional reaction to the work and their understanding common sense works. The most convenient method for this is a conversation. However, the number of questions addressed to children should be small: 3-4, no more. At the same time, questions that clarify the subtext of the work should not be included in the conversation. The conversation after the initial perception should first of all clarify and consolidate the primary reading impressions of the children. For example, you can turn to children with questions:

Did you like the work?

What did you especially like?

When was it scary?

What made you laugh?

When did you feel sorry for the hero?

Were you ashamed of the main character? Etc.

The answers should show the teacher the quality of perception of the work by children and be a guideline in the analysis of the work. In some cases, such a conversation may end with a problematic issue. The search for an answer to it will make the analysis of the work a natural and necessary process.

For example, after the initial perception of N. Nosov’s story “On the Hill”, the conversation may sound:

Do you think Kotka changes by the end of the story?

Children's responses to problematic issue may be different, but it is this fact that will entail reading and thinking about the work.

In elementary school, it is very important to teach children to fully perceive a work of art, to understand its ideological content, the position of the author. Express your own attitude towards this position.

The main principles of analysis are as follows:

The purpose of the analysis of a work of art is the awareness of its idea, that is, the attitude of the author to what he depicts, the assessment of what is depicted. Consequently, the text of the work, the image of life material, and not life itself, are subject to analysis. Based on the direct perception of the work by students, the analysis should correct and deepen this perception. The motives, circumstances, consequences of the actions of the characters are subject to discussion in the lesson. Description of the appearance of the characters, their experiences, reflections, features of the composition. All elements of the work are considered not in themselves, but in their relation to the idea. Since the idea is revealed in the choice of visual means of the language, the construction of sentences, the images of heroes. It is very important not to limit ourselves to recreating portraits of characters, ascertaining the motives for the behavior of the characters, drawing up a plan for the work. It is necessary that schoolchildren think about why the portrait is given, how it expresses the attitude of the author to the hero, how the author evaluates the actions of the characters, why the work is constructed in such a way.

School analysis should contribute to the general and literary development of the child, to form in him a system of special skills necessary for the full perception of fiction.

The structural elements of the analysis of a work of art are:

Definition genre variety works (story, poem, fable, epic, fairy tale ...).

establishing the theme of the work.

Plot restoration:

a) prologue, exposition - the introductory part of a literary work, containing motifs that develop further;

b) plot - the beginning, the starting point of any events, actions;

c) the development of actions (the events in question);

d) culmination - a point of higher tension, rise, development of something;

e) denouement - the end, completion of events, situations

f) epilogue (sometimes) - the final part of a literary work.

4. Disclosure of the compositional features of the text. There are the following types of compositions:

Sequential storytelling; an expanded narrative in chronological order includes all the components of the plot, a folded type of such a composition contains most of the components;

Narrative-descriptive composition allows the author to develop individual elements in detail. From his point of view, the most significant components of the plot include descriptions and explanations of phenomena;

Dialogue, dramatic composition. Gives stories as scenes from heroes' lives, the author's text acts as a remark explaining the actions and characters. Suggestive feature of replicas;

Inconsistent narrative with disparate composition, lyrical digressions, inserts.

5. Drawing up a description of the artistic images of the work:

Portrait (image of the main features of the appearance and character of the hero)

Actions (motives of their behavior, feelings and thoughts)

and a hero to others)

Image - landscape

Event - interior

6. Conduct a language analysis (difficult words to read or understand words, figurative expressions, keywords and expressions)

Formation of the ideological conclusions of the work.

Tasks and nature of the generalizing work on the work.

The final lessons are the stage of analysis, its completion, and not a lesson in saying goodbye to the work, therefore, the questions that the class worked on during the analysis should find their final expression in the final lessons. Not an analysis of the text in its details, but a look at the work as a whole - such is the purpose of the final lessons.

In the final lessons, it is necessary to create a situation in which it is required not only to repeat what has been learned, but also to comprehend it anew, to convince others of the validity of the prevailing opinion, to defend the conclusions to which the analysis has led. At the same time, it is important to avoid repeating the course of analysis in the final lessons, you cannot turn them into a miniature model of the analysis just done, a new focus, a new angle of view on the work, new material. In this case, students will come to a new turn of thought, an in-depth understanding of the work as a whole.

The final lessons are aimed not only at summing up and forming generalizations and conclusions. They orient schoolchildren to recreate the integrity of the work, to bring the reader's perception to a deep combination of figurative and conceptual elements of thinking. The conclusion always carries an element of novelty and focus on the most important thing. Of particular importance is the work with the textbook, with supporting notes, tasks of a comparative nature, creative work, the use of illustrations, expressive reading of passages from the text in order to recreate the emotional perception of the literary text.

At the final lessons in the study of lyrical works, competitions of readers, literary and musical compositions are often held. After lessons in drama, dramatizations, discussion of stage and cinematic versions, compilation of various interpretations of roles. The final lessons on the study of epic works include tasks of a creative and research nature, a comparison of the positions of critics, independent work (“testing a pen”, “creating illustrations”, “writing a story”, “composing a fairy tale”).

So, the final lessons on the analysis of the work require, firstly, the need to re-apply to the work and comprehend it as a whole; secondly, the awakening of independent assessments and their protection; thirdly, the introduction of new material, upholding established points of view in a new situation; fourthly, the connection of specific figurative representations with a general conceptual approach to it and, finally, the “opening up” of the concept, the feeling of its well-known conventionality, the motivation for further communication with the text. Having experienced the joy of a holistic view of the work, its general understanding, it is necessary in the final lessons to strive to create a sense of the inexhaustibility of the work by the analysis carried out, the possibility of other interpretations.

Creative work of students in connection with reading works of art.

The creative work of students in the wake of what they have read involves the activity of children with a work that realizes their own artistic attitude to what they have read. Such activity is organized by the teacher both within the lesson (and then it becomes an organic continuation of the work at the stage of rereading), and outside the lesson (then it has its own specifics).

Creative work in the lesson:

Expressive reading of the work, followed by a discussion of reading options;

graphic illustration;

verbal drawing pictures;

Creative retelling;

role reading;

Dramatization.

Let's take a look at some of the tricks.

In no case should verbal drawing turn into a retelling of the work. The purpose of verbal drawing is to bring the images of the work closer to the child, to turn on the child's imagination, to construct the ideas that have arisen. When discussing an imaginary picture, the teacher should ask the children three questions:

what will be drawn? (Content);

how we will position the objects in the picture (what is in the foreground, what is in the distance, what is on the right, what is on the left, what will be shown in the center. What poses will we choose for people, etc.)? (Composition);

what colors use for painting? (Color solution.)

Consider how verbal drawing could proceed on

lesson on the work of N. Nosov "On the Hill".

The teacher invites the children to draw a verbal picture for the 2nd part of the story - the episode "I just climbed the hill - bang my nose!":

What will we draw in the picture? (Gorka, Kotka, residential buildings, a janitor, near her a box of sand.)

How do we arrange these objects in the picture?

In the foreground there is a large hill, it will be in the center of the picture, and on the right is a saran, the sheer part of the hill rests against it; on the left - residential buildings, there will be two of them: one five-story, in the foreground, the other 8-story tower, in the distance. In the background on the right, let's draw a janitor's room: a room without windows, a lock on the door, and next to it is a large box of sand. On a hill, on a flat part of Kotka. He fell, his nose buried in a hill, his face is not visible.

How can we show that he fell sharply, with all his might?

The cap with earflaps moved to one side, one ear of the cap was along the back, the other along the hill. The hands are thrown forward, one in a mitten, the other mitten lies next to the hand: it flew off when it fell. The scarf flutters on the vegra. Legs are pulled up, they are in boots, and skates are casually tied to them (the text says put on skates).

What colors do we use for the painting?

The slide is white, with blue stains, we will paint the barn dark gray, at home: we will make one light pink, the other blue. The doorkeeper will be yellow and the door will be brown. Nearby is a gray, as if metallic, box. Light orange sand lying in a hill can be seen from it.

And what colors will we choose for Kotka's clothes?

Kotka is wearing a brown hat with earflaps, a red sweater, and a white scarf and mittens, paint pants and boots in black, and make a skate with a blue opening.

What will the weather be like?

It will be a sunny winter day. We depict the sky as bright blue, and on it the “golden” (yellow) sun.

Such work teaches children to train their imagination, sharpens their attention to the word, deepens the reader's impressions. When reading lyrical works, the method of verbal drawing becomes the main one.

Creative retelling involves the transfer of content with any changes:

Add what could precede the situation depicted in the work;

On the example of working with a work of one of the genres (story, fairy tale, fable, riddle, proverb, lyrical poem), reveal the pedagogical technologies for analyzing the content of a work in unity with its artistic features.

Work on a lyric poem can be built according to the following plan

1. Preparation for the perception of the poem:

a) the material of the excursion;

b) life observations of students.

2. Reading a poem by a teacher

3. Emotionally evaluative conversation

What mood does this poem evoke in us?

What colors and sounds live in the poem?

Analysis of the pictorial image in the poem.

Reading a poem by students to themselves; tell what pictures they "see" - verbal drawing; lyrical hero in a poem; techniques of poetic speech; metaphors of comparison epithets of personification.

Text markup. Preparation for expressive reading

Expressive reading of a poem by students

Summary of reading

Sample Analysis lyrical work you can take a poem by A.S. Pushkin "Cloud"

Objectives of this lesson:

to introduce students to the poem by A.S. Guns on as a way of the art of the word;

cultivate a love of nature for poetry

develop thinking creative imagination speech expressive reading skills

During the classes.

opening talk

On the board is a portrait of A.S. Pushkin

When looking at this portrait, we are struck by the spiritual richness and strength of this man. Pushkin's face is full of life. This is an inspired image of a poet full of creative powers. It seems that at that moment the goddess of poetry, the Muse, descended on him, and inspiring lines of poetry are born in his head. Look at the manuscript page. It is full of fast paced lines. The poet crosses out some phrases, because. instead of them, other more successful expressive ones appear. Between the lines are drawings. So he saw his cloud through the window, a flying pen depicts it in place of paper, and then poems are born

And the thoughts in my head are worried in the trunk,

And light rhymes run towards them,

And fingers ask for a pen,

pen to paper,

A minute - and the verses will flow freely.

Initial acquaintance with the work and verification of perception.

Listen to the work of A. S. Pushkin "Cloud". I ask you to close your eyes and imagine the pictures described in it. I read a poem and then ask questions:

What particularly touched you in this poem?

What do you think. With what mood did the poet write it? What did you imagine? What pictures?

What genre does this piece belong to? Why do you think so?

Scattered (storm) - here the storm ended;

Azure - the bright blue of the sky;

Dull - boring;

Greedy (earth) - thirsty for water, moisture;

Passed - passed;

The leaves of the trees are the leaves of the trees.

4. Literary analysis of the poem. Organizing the re-reading and analysis of the poem, I rely on the composition of the landscape. The comment should be unobtrusive, forming figurative representations. Here are some questions to ask students as they work on the analysis:

How many stanzas are in this poem?

Let's read verse 1.

What picture do you imagine? Let's draw it. What day is described? What darkens it?

And what opposite epithets help the poet create the image of bad weather, a dark cloud?

Read aloud stanza 2 and also imagine the described picture.

Let's put into words what you imagined.

The storm is raging dark cloud covered the entire sky, from time to time lightning flashes brightly and thunder rumbles. Torrents of rain fall to the ground. Let's try to convey with our voice, convey a formidable, raging storm (1 - 2 students read)

What pictures of the raging elements did you see?

And now let's listen to the 3rd stanza and imagine what is described in it (1 student reads)

What did you see? Nature after a thunderstorm, as if washed, fresh. A light breeze, not a storm, gently plays with leaves. Here Pushkin speaks of the earth, of the wind, of the heavens, as of living beings.

What is the name of such an approach?

5. Expressive reading of the poem.

The beauty of the pictures of nature and the feeling of the poet should be the focus of children's attention at every lesson in reading and analyzing Pushkin's landscape lyrics.

To teach children to see beauty, to recreate it in their imagination, to penetrate the emotional world of the poet - this is the main task of reading and analyzing Pushkin's landscapes.

An excerpt from the poem "The Bronze Horseman" is an urban, St. Petersburg landscape. This is a qualitatively new step in the formation of ideas about Pushkin as a landscape painter. Pushkin was one of the first to discover the beauty of Russian nature. And here is the hoarfrost, the urban landscape of Northern Palmyra, Northern Venice.

A full perception of the passage "I love you, Peter's creation ..." implies the presence of historical, literary and architectural deaths in children. For a child who has not been to the city on the Neva, what is new and complex in this text is, in fact, the entire pictorial plan of the passage: Peter's creation, the Neva sovereign current, cast-iron fences, the Admiralty needle.

In order for the children to perceive poetry, it is necessary to show them images of the views of St. Petersburg and tell them about the masses of St. Petersburg streets with dense rows of houses, about the unusually beautiful and austere architectural ensembles, about the gloomy and solemn nature of this city.

Nevsky Prospekt from the time of Pushkin, the Admiralty, the Summer Garden, Rostral columns, bridges across the Moika and the Fontanka, all this children should see with their own eyes in photographs, postcards.

Rereading the passage, the students realize what views of St. Petersburg the poet draws, peer into them. They try to correlate Pushkin's paintings with photographs.

After rereading and commenting on the text, I invite the children to see how the image of a beautiful city is drawn. Children choose the necessary details: a strict, slim look; Neva sovereign current, its coastal granite; sleeping masses of deserted streets.

These details are well compared with reproductions, emphasizing the degree of their accuracy. Petersburg is a pearl, a city where everything is taken into account: the nature of the terrain, the climate, and lighting. This is a city where nature and architecture have merged in a harmonious unity. Is there a harmony of nature and architecture in Pushkin's poem?

I suggest that the children find it out, compare the landscape details that draw the city with the details that draw nature. This comparison is carried out during selective reading. Write the answers on the board:

Neva sovereign current ...

…thoughtful nights

Transparent dusk, noiseless shine ...

And, not letting the darkness of the night

To golden skies

One dawn, change another

In a hurry, giving the night half an hour ...

... A strict, slender look ...

Its coastal granite ...

... cast-iron fence pattern ...

and the sleeping masses are clear

Deserted streets and light

Admiralty needle...

Such a comparison helps to see firsthand the harmony of nature and the city. Nature seemed to absorb the city, merged with it. Sovereign Neva was dressed in a solemn robe of granite and cast-iron lace. Against the background of a low pale sky, the Admiralty Needle looks especially bright. The dimness of northern colors does not interfere with admiring the splendor of architectural ensembles.

The poet manages to express his love for the city. Rereading the passage again, the children will see that the word love is repeated twice, that the whole poem is an appeal to the beloved city, a declaration of love for it and admiration for what the poet loves in it. So frankly and full of love. Perhaps. It was expressed only in Pushkin's "Autumn". Children should try to express the feelings of the poet, learning expressive reading excerpt.