Unified State Examination in Literature. What features of the hero’s portrait help us understand his image? (Characteristics of Grushnitsky). Name works of Russian literature in which “doubles” play a key role in revealing the images of heroes. Unified State Examination in Literature What heroes are

8.The features of Grushnitsky’s portrait help the reader to better understand his image. First of all, for Lermontov, a portrait of a hero is “the story of the human soul,” therefore, in the novel “A Hero of Our Time,” the portrait serves as a means of psychological characterization of the character. The first detail that immediately catches the reader’s eye is the thick soldier’s overcoat draped over the hero’s shoulders.

It is this item of clothing that allows young man demonstrate to others your “romantic nature.” Yes, just demonstrate, there’s no other word for it. After all, Grushnitsky’s whole life is a one-man show. Just look at his manner of speaking: “He throws his head back when he speaks, and constantly twirls his mustache with his left hand, because he leans on a crutch with his right.” His main goal is to make an effect, so in conversation he always uses pre-prepared “pompous phrases.” Grushnitsky does not know how to listen to his interlocutor, because he is a narcissistic egoist. The purpose of the conversation for him is not the exchange of feelings, emotions, information, but the demonstration of his “sublime” thoughts. Grushnitsky, with all his being, is desperately trying to show others that he is the “hero of the novel” and this world is not worthy of him. And in this eternal pursuit of his artificial ideal, Grushnitsky destroys his real self, he no longer distinguishes between where reality is and where his fictional theatrical world is. We can conclude that the portrait of Grushnitsky helps the reader understand the subtleties of his character and his inner world.

9. Doubles are characters who have one or another essential similarity or spiritual affinity. They play a key role in revealing the images of heroes in literature. Many Russian writers used this type of character system in their works. For example, in Bulgakov’s novel “The Master and Margarita” the Master and Yeshua are the doubles. These two heroes complement each other’s images: through the image of Ga-Nozri we can better understand the image of the Master and vice versa. These heroes are thinkers who have no roof over their heads, they are rejected by society, betrayed, and destroyed. Their fault lies only in the fact that they are incorruptible, have self-esteem and are devoted to their ideals. This is the difference between the doubles of the Master and Pechorin. If the image of Yeshua is inextricably linked with the image of the Master, complements and shows its depth, then the image of Grushnitsky is a “distorting mirror” of the image of Pechorin and brings everything to the grotesque. negative traits Grigory Alexandrovich. Thus exposing the “lower” side of his life. The same parody double of Bazarov is Sitnikov from Turgenev’s novel “Fathers and Sons”. Let us remember his words: “... when Evgeniy Vasilyevich said for the first time in front of me that he should not recognize authorities, I felt such delight... as if I had seen the light!..”. This recognition of Sitnikov confirms that he has no idea what nihilism is, but is only trying to imitate his idol, Bazarov, in everything, to be just as free and daring. And if Bazarov takes this philosophy seriously, then Sitnikov’s imitation of nihilists is a tribute to fashion. Sitnikov is only a pathetic parody of Bazarov, just as Grushnitsky is a pathetic imitation of Pechorin.

Updated: 2018-02-17

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How are the roles of doubles similar (or different) in these works and in Lermontov’s “Hero of Our Time”? What features of the hero’s portrait help us understand his image?

Literature 6th grade. A textbook-reader for schools with in-depth study of literature. Part 2 Team of authors

Reading laboratory How to determine the author's attitude towards the hero

Reading laboratory

You recently read N.V. Gogol’s work “Taras Bulba”. The title immediately draws our attention to the main character of the work.

Rule one. In order to correctly determine the author’s attitude towards the hero, it is necessary first to determine whether the text contains direct author’s assessments of the hero and his actions, to note the author’s direct conclusions and comments related to the hero.

In the work of N.V. Gogol there are many direct author’s assessments of the hero: “Bulba was terribly stubborn”; "eternally restless, he considered himself the legitimate defender of Orthodoxy." The author repeatedly emphasizes in Taras the strength of spirit, courage, love for the fatherland: “In a word, the Russian character here acquired a mighty, wide scope, a hefty appearance.” This author’s characterization certainly suggests that Taras is not just main character works, he is a hero, defender of the Russian land.

Let us re-read the episode of the execution of Taras Bulba: “But Taras was not looking at the fire, he was not thinking about the fire with which they were going to burn him; he looked, cordial, in the direction where the Cossacks were shooting..." The reader feels pity and compassion for the hero, admiring his courage and loyalty to the spirit of camaraderie. The author’s direct conclusion strengthens and complements our understanding of the author’s attitude towards his hero: “Will there really be such fires, torments and such strength in the world that would overpower the Russian force!”

Rule two. To determine the author's attitude towards the hero, it is necessary to find the author's description of the hero's behavior.

However, the author’s attitude towards the hero is not always expressed directly and clearly formulated. More often author's assessment, the author's attitude is hidden in the narrative and expressed only indirectly. And you need to work hard so that the secret of the author’s attitude is revealed to the reader.

Rule three. Find episodes in the text in which other characters talk about the hero. Determine the attitude of these characters to the hero.

Re-read the episode of the election of Taras as ataman. Find another character's assessment of the hero. “There is none of us equal to him in valor,” says “ oldest in years» Kasyan Bovdyug. The hero remains faithful to high valor until the last minute. The hero's constancy, faith, and loyalty undoubtedly arouse the author's sympathy for the hero, which is shown to the reader through the attitude of other characters towards him.

Rule four. To determine the author's attitude towards the hero, it is necessary to find, if there are words, statements, or monologues of the hero in the text. The hero's speech not only characterizes the hero himself, but can indirectly express the author's attitude towards him.

Purity of thoughts, hearts, power and fortitude are heard in the speeches of Taras. And the author admires him, speaking about the “young pearly soul” of the hero.

Compare them with the words of Taras: “...There are no bonds more holy than comradeship! The father loves his child, the child loves his father and mother. But that’s not it, brothers: the beast also loves its child. But only one person can become related by kinship by soul, and not by blood. There were comrades in other lands, but there were no such comrades as in the Russian land...” Andriy’s ideals are personal, although he has a sensitive and gentle soul, he is courageous and beautiful. Andria's knighthood is service to a beautiful Polish woman. And for Taras and Ostap, a knight is a defender of the Russian land. The ideal of Taras is the Zaporozhye Sich, from where all those proud and strong, like lions, fly out, camaraderie, defense of the Motherland and faith. Based on a comparison of the characters’ statements and their actions, one can also draw a conclusion about the author’s attitude towards the hero.

Rule five. Try to find in the work a comparison of the hero with other characters, if present. This is important for deepening our understanding of the author’s attitude towards the hero of the work.

As a rule, the work gives a portrait of the main character. Through the description of appearance, the author expresses his attitude towards the hero.

Rule six. Find a portrait of the hero, mark it characteristic details, allowing one to draw a conclusion about the author’s attitude towards it.

The portrait of Taras Bulba is given at the very beginning of the story. The author's descriptions of the main character's appearance are small in volume, these are rather details, but they also tell us about the author's attitude.

Re-read: “...A tear quietly rounded the apple of his eye, and his gray head drooped sadly.” What attitude of the author towards his hero can this detail of the portrait of Taras tell? In his narration, the author uses the word “zenitsy”, which is outdated in Russian, and puts it in singular, in which this word was not used. And this, of course, is not the author’s fault. The tear “rounded”, welled up “quietly” in only one eye of the hero: courageous Taras cries, remembering his youth and his dead comrades, cries sparingly, like a man. Use outdated word expresses the author's attitude towards the hero.

Emphasizing it physical strength(“Taras was extremely heavy and fat”), the author also notes the depth of feelings of the old Cossack, a courageous fighter, although he rode sadly hanging his “gray head.” The author's conclusion, in which the author directly expresses his attitude towards the hero as one of the defenders of the Russian land, was prepared by a short but very capacious portrait characteristic: “It was, indeed, an extraordinary manifestation of Russian strength: it was knocked out of the people’s chest by the flint of troubles.” And then it becomes clear to the reader why for Taras his own son, who betrayed faith, comradeship, and the Fatherland, becomes a “mean dog.” “And the Cossack died! Lost for all Cossack knighthood! He will no longer see Zaporozhye, nor his father’s farms, nor the Church of God!” – the author writes about the traitor with bitterness and pain. The author's direct assessment of the hero's action here emphasizes that Andriy's passion became destructive, dissolved blood and comradely ties, and led to apostasy from the Fatherland and faith. The reader gets the impression that the author has a negative attitude towards him.

Rule seven. If the image of the hero is “similar” to the image of some character (try to remember!) in another work of art, then this also expresses the author’s attitude towards the hero.

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Russian literature has given us a cavalcade of both positive and negative characters. We decided to remember the second group. Beware, spoilers.

20. Alexey Molchalin (Alexander Griboedov, “Woe from Wit”)

Molchalin is the hero “about nothing”, Famusov’s secretary. He is faithful to his father’s behest: “to please all people without exception - the owner, the boss, his servant, the janitor’s dog.”

In a conversation with Chatsky, he sets out his life principles, consisting in the fact that “at my age I should not dare to have my own judgment.”

Molchalin is sure that you need to think and act as is customary in “Famus” society, otherwise they will gossip about you, and, as you know, “ evil tongues scarier than pistols."

He despises Sophia, but in order to please Famusov, he is ready to sit with her all night long, playing the role of a lover.

19. Grushnitsky (Mikhail Lermontov, “Hero of Our Time”)

Grushnitsky has no name in Lermontov's story. He is the “double” of the main character - Pechorin. According to Lermontov’s description, Grushnitsky is “... one of those people who have ready-made pompous phrases for all occasions, who are not touched by simply beautiful things and who are importantly draped in extraordinary feelings, sublime passions and exceptional suffering. Producing an effect is their pleasure...”

Grushnitsky loves pathos very much. There is not an ounce of sincerity in him. Grushnitsky is in love with Princess Mary, and at first she responds to him with special attention, but then falls in love with Pechorin.

The matter ends in a duel. Grushnitsky is so low that he conspires with his friends and they do not load Pechorin’s pistol. The hero cannot forgive such outright meanness. He reloads the pistol and kills Grushnitsky.

18. Afanasy Totsky (Fyodor Dostoevsky, “The Idiot”)

Afanasy Totsky, having taken Nastya Barashkova, the daughter of a deceased neighbor, as his upbringing and dependent, eventually “became close to her,” developing a suicidal complex in the girl and indirectly becoming one of the culprits of her death.

Extremely averse to the female sex, at the age of 55 Totsky decided to connect his life with the daughter of General Epanchin Alexandra, deciding to marry Nastasya to Ganya Ivolgin. However, neither one nor the other case burned out. As a result, Totsky “was captivated by a visiting Frenchwoman, a marquise and a legitimist.”

17. Alena Ivanovna (Fyodor Dostoevsky, “Crime and Punishment”)

The old pawnbroker is a character who has become a household name. Even those who have not read Dostoevsky’s novel have heard about it. Alena Ivanovna, by today’s standards, is not that old, she is “about 60 years old,” but the author describes her like this: “... a dry old woman with sharp and angry eyes with a small pointed nose... Her blond, slightly gray hair was greasy with oil. Some kind of flannel rag was wrapped around her thin and long neck, similar to a chicken leg...”

The old woman pawnbroker is engaged in usury and makes money from people's grief. She takes valuable things at huge interest rates, abuses her younger sister Lizaveta, beats her.

16. Arkady Svidrigailov (Fyodor Dostoevsky, “Crime and Punishment”)

Svidrigailov is one of Raskolnikov’s doubles in Dostoevsky’s novel, a widower, at one time he was ransomed by his wife from prison, he lived in the village for 7 years. A cynical and depraved person. On his conscience is the suicide of a servant, a 14-year-old girl, and possibly the poisoning of his wife.

Due to Svidrigailov's harassment, Raskolnikov's sister lost her job. Having learned that Raskolnikov is a murderer, Luzhin blackmails Dunya. The girl shoots at Svidrigailov and misses.

Svidrigailov is an ideological scoundrel, he does not experience moral torment and experiences “world boredom,” eternity seems to him like a “bathhouse with spiders.” As a result, he commits suicide with a revolver shot.

15. Kabanikha (Alexander Ostrovsky, “The Thunderstorm”)

In the image of Kabanikha, one of central characters Ostrovsky's play "The Thunderstorm" reflected the outgoing patriarchal, strict archaism. Kabanova Marfa Ignatievna, “a rich merchant’s wife, widow,” mother-in-law of Katerina, mother of Tikhon and Varvara.

Kabanikha is very domineering and strong, she is religious, but more outwardly, since she does not believe in forgiveness or mercy. She is as practical as possible and lives by earthly interests.

Kabanikha is sure that the family way of life can only be maintained through fear and orders: “After all, out of love your parents are strict with you, out of love they scold you, everyone thinks to teach you good.” She perceives the departure of the old order as a personal tragedy: “This is how the old times come to be... What will happen, how the elders will die... I don’t know.”

14. Lady (Ivan Turgenev, “Mumu”)

We all know sad story about the fact that Gerasim drowned Mumu, but not everyone remembers why he did it, but he did it because the despotic lady ordered him to do so.

The same landowner had previously given the washerwoman Tatyana, with whom Gerasim was in love, to the drunken shoemaker Capiton, which ruined both of them.
The lady, at her own discretion, decides the fate of her serfs, without regard at all to their wishes, and sometimes even to common sense.

13. Footman Yasha (Anton Chekhov, “The Cherry Orchard”)

Footman Yasha in Anton Chekhov's play " Cherry Orchard" - an unpleasant character. He openly worships everything foreign, while he is extremely ignorant, rude and even boorish. When his mother comes to him from the village and waits for him in the people’s room all day, Yasha dismissively declares: “It’s really necessary, she could come tomorrow.”

Yasha tries to behave decently in public, tries to seem educated and well-mannered, but at the same time alone with Firs he says to the old man: “I'm tired of you, grandfather. I wish you would die soon.”

Yasha is very proud that he lived abroad. With his foreign polish, he wins the heart of the maid Dunyasha, but uses her location for his own benefit. After the sale of the estate, the footman persuades Ranevskaya to take him with her to Paris again. It is impossible for him to stay in Russia: “the country is uneducated, the people are immoral, and, moreover, boredom...”.

12. Pavel Smerdyakov (Fyodor Dostoevsky, “The Brothers Karamazov”)

Smerdyakov is a character with a telling surname, rumored to be the illegitimate son of Fyodor Karrmazov from the city holy fool Lizaveta Smerdyashchaya. The surname Smerdyakov was given to him by Fyodor Pavlovich in honor of his mother.

Smerdyakov serves as a cook in Karamazov’s house, and he cooks, apparently, quite well. However, this is a “rotten man.” This is evidenced at least by Smerdyakov’s reasoning about history: “In the twelfth year there was a great invasion of Russia by Emperor Napoleon French first, and it would be good if these same French had conquered us then, a smart nation would have conquered a very stupid one, sir, and annexed it to itself. There would even be completely different orders.”

Smerdyakov is the killer of Karamazov's father.

11. Pyotr Luzhin (Fyodor Dostoevsky, “Crime and Punishment”)

Luzhin is another one of Rodion Raskolnikov’s doubles, a business man of 45 years old, “with a cautious and grumpy physiognomy.”

Having made it “from rags to riches,” Luzhin is proud of his pseudo-education and behaves arrogantly and primly. Having proposed to Dunya, he anticipates that she will be grateful to him all her life for the fact that he “brought her into the public eye.”

He also wooes Duna out of convenience, believing that she will be useful to him for his career. Luzhin hates Raskolnikov because he opposes his alliance with Dunya. Luzhin puts one hundred rubles in Sonya Marmeladova's pocket at her father's funeral, accusing her of theft.

10. Kirila Troekurov (Alexander Pushkin, “Dubrovsky”)

Troekurov is an example of a Russian master spoiled by his power and environment. He spends his time in idleness, drunkenness, and voluptuousness. Troekurov sincerely believes in his impunity and limitless possibilities (“This is the power to take away property without any right”).

The master loves his daughter Masha, but marries her to an old man she doesn’t love. Troekurov's serfs are similar to their master - Troekurov's hound is insolent to Dubrovsky Sr. - and thereby quarrels old friends.

9. Sergei Talberg (Mikhail Bulgakov, “The White Guard”)

Sergei Talberg is the husband of Elena Turbina, a traitor and an opportunist. He easily changes his principles and beliefs, without much effort or remorse. Talberg is always where it is easier to live, so he runs abroad. He leaves his family and friends. Even Talberg’s eyes (which, as we know, are the “mirror of the soul”) are “two-story”; he is the complete opposite of Turbin.

Thalberg was the first to wear the red bandage at the military school in March 1917 and, as a member of the military committee, arrested the famous General Petrov.

8. Alexey Shvabrin (Alexander Pushkin, “The Captain's Daughter”)

Shvabrin is the antipode of the main character of Pushkin’s story “ Captain's daughter» Petra Grinev. IN Belogorsk fortress he was exiled for murder in a duel. Shvabrin is undoubtedly smart, but at the same time he is cunning, impudent, cynical, and mocking. Having received Masha Mironova’s refusal, he spreads dirty rumors about her, wounds him in the back in a duel with Grinev, goes over to Pugachev’s side, and, having been captured by government troops, spreads rumors that Grinev is a traitor. In general, he is a rubbish person.

7. Vasilisa Kostyleva (Maxim Gorky, “At the Depths”)

In Gorky's play "At the Bottom" everything is sad and sad. This atmosphere is diligently maintained by the owners of the shelter where the action takes place - the Kostylevs. The husband is a nasty, cowardly and greedy old man, Vasilisa’s wife is a calculating, resourceful opportunist who forces her lover Vaska Pepel to steal for her sake. When she finds out that he himself is in love with her sister, he promises to give her up in exchange for killing her husband.

6. Mazepa (Alexander Pushkin, “Poltava”)

Mazepa is a historical character, but if in history Mazepa’s role is ambiguous, then in Pushkin’s poem Mazepa is definitely a negative character. Mazepa appears in the poem as an absolutely immoral, dishonest, vindictive, evil person, as a treacherous hypocrite for whom nothing is sacred (he “does not know the sacred,” “does not remember charity”), a person accustomed to achieving his goal at any cost.

The seducer of his young goddaughter Maria, he puts her father Kochubey to public execution and - already sentenced to death - subjects brutal torture to find out where he hid his treasures. Without equivocation, Pushkin denounces and political activity Mazepa, which is determined only by the lust for power and thirst for revenge on Peter.

5. Foma Opiskin (Fyodor Dostoevsky, “The Village of Stepanchikovo and Its Inhabitants”)

Foma Opiskin is an extremely negative character. A hanger-on, a hypocrite, a liar. He diligently pretends to be pious and educated, tells everyone about his supposedly ascetic experience and sparkles with quotes from books...

When he gains power, he shows his true nature. “A low soul, having come out from under oppression, oppresses itself. Thomas was oppressed - and he immediately felt the need to oppress himself; They broke down over him - and he himself began to break down over others. He was a jester and immediately felt the need to have his own jesters. He boasted to the point of absurdity, broke down to the point of impossibility, demanded bird's milk, tyrannized beyond measure, and it got to the point where good people, not having yet witnessed all these tricks, but listening only to tales, they considered it all a miracle, an obsession, crossed themselves and spat on it...”

4. Viktor Komarovsky (Boris Pasternak, Doctor Zhivago)

Lawyer Komarovsky is a negative character in Boris Pasternak's novel Doctor Zhivago. In the destinies of the main characters - Zhivago and Lara, Komarovsky is an “evil genius” and a “gray eminence”. He is guilty of the ruin of the Zhivago family and the death of the protagonist's father; he cohabits with Lara's mother and Lara herself. Finally, Komarovsky tricks Zhivago into separating him from his wife. Komarovsky is smart, calculating, greedy, cynical. In general, bad person. He understands this himself, but this suits him quite well.

3. Judushka Golovlev (Mikhail Saltykov-Shchedrin, “The Golovlev Lords”)

Porfiry Vladimirovich Golovlev, nicknamed Judas and Blood Drinker, is “the last representative of an escapist family.” He is hypocritical, greedy, cowardly, calculating. He spends his life in endless slander and litigation, drives his son to suicide, and at the same time imitates extreme religiosity, reading prayers “without the participation of the heart.”

Towards the end of his dark life, Golovlev gets drunk and runs wild, and goes into the March snowstorm. In the morning, his frozen corpse is found.

2. Andriy (Nikolai Gogol, “Taras Bulba”)

Andriy - youngest son Taras Bulba, the hero of the story of the same name by Nikolai Vasilyevich Gogol. Andriy, as Gogol writes, from early youth began to feel the “need for love.” This need fails him. He falls in love with the lady, betrays his homeland, his friends, and his father. Andriy admits: “Who said that my homeland is Ukraine? Who gave it to me in my homeland? The Fatherland is what our soul is looking for, what is dearer to it than anything else. My fatherland is you!... and I will sell, give away, and destroy everything that I have for such a fatherland!”
Andriy is a traitor. He is killed by his own father.

1. Fyodor Karamazov (Fyodor Dostoevsky, “The Brothers Karamazov”)

He is voluptuous, greedy, envious, stupid. By maturity, he became flabby, began to drink a lot, opened several taverns, made many fellow countrymen his debtors... He began to compete with his eldest son Dmitry for the heart of Grushenka Svetlova, which paved the way for the crime - Karamazov was killed by his illegitimate son Pyotr Smerdyakov.