Degrade the role of heroes. “Humiliated and Insulted”: heroes of Dostoevsky’s novel (detailed description). Examples of phrases with the paronym - humiliating

As the explanatory dictionary says, vanity is the need to prove one’s superiority over other people. On the one hand, this is a sign of painful pride. On the other hand, the desire to be better than others is an excellent, and sometimes the only, way for self-development. Perhaps nature went a little overboard with this evolutionary tool. Competitive spirit and self-affirmation as motivation work great if they do not lead to outright humiliation and tyranny.

Trying to be better than others by playing by the rules and developing personal skills is a completely healthy motivation. Perhaps the whole point is that nature encourages human development, rewarding those who succeed in this matter with a sense of satisfaction. And man, a cunning creature, has learned to deceive himself and experience satisfaction from pseudo-development. This is self-deception, in which, in order to “keep your mark”, you don’t need to grow yourself, it’s enough just to humiliate other people. To stay on the level, it is much easier to let others down than to actually advance in your own evolution. But the surrogate for “development” by belittling other people is a fake, an imitation of development, a dead dummy, which in reality is rather degradation.

Vanity of nothingness

Vanity is a way to deceive yourself, gaining satisfaction from the illusion of your own greatness. In advanced stages, vanity develops into star fever and further in delusions of grandeur - the smug paranoia with which a person, out of nowhere, imagines his own power, beauty and genius. All this is the other side of humiliation. Vanity is exalted baseness.

Sometimes, when we ask for help, or when this help is offered to us without our request, we can experience humiliation, because there is a stamp in our heads that help is required by weak, helpless, or inferior members of society. Some proud people will not ask for help, even if someone’s life depends on it.

We are humiliated not so much by “kings” as by people equal to us, but in their vanity, who imagine themselves to be kings. And if this happens, it means that our position is below average; people can spit and pour slop in our direction as long as we allow it. In a certain sense, the desire to be “above” others is baseness, which is trying to rise at the expense of others.

A vain nonentity rejoices in the pain of others and becomes an “energy” vampire who feeds on the suffering of others. The insignificance seeks out people's sore spots in order to feel power over them. From here the legs grow, including: selfishness, snobbery, ambition, pride, star fever, etc. By putting on all these pompous masks, we flaunt our own humiliation within ourselves. We exalt ourselves to the skies, trampling our own suppressed insignificance into the dirt. This is how we create and maintain an internal mental split in which our greatness is the other side of our insignificance.

When a person experiences humiliation for a long time, he loses self-respect, and self-esteem becomes low. He closes himself off from others, hides his pain, protecting himself with a mask of a false personality, which is artificially constructed to hide mental trauma. As the internal split grows, the psyche becomes less and less stable, and the person is in constant tension, because he cannot be himself, cannot reveal to others, or even to himself, his insides, disfigured by the bleeding wound of humiliation.

With such a wound in the soul, a person painfully perceives any criticism, accidentally heard outside laughter takes it personally as mockery, and even an innocent remark reminds him of suppressed humiliation.

At the same time, an outside critic is sometimes perceived as if he saw through the humiliated person, revealed his secret about a mental wound in the soul, crawled under the skin, and, recognizing the weak point, injected into its very epicenter.

All these are personal hallucinations of a wounded soul. That is why the psychotherapist, while listening to the client, at some appropriate moment may ask a question about similar cases from the past. Perhaps, in distant childhood, when the child was unable to digest humiliation, this experience was repressed into his unconscious. And in the unconscious, mental wounds do not heal, but continue to bleed. To heal, you need to patiently open up, eliminating all false disguises, and face your own fears.

It is not surprising that even innocent criticism can evoke hatred in a wounded soul. A humiliated and vain person is susceptible to flattery, and is extremely dependent on the opinions of others, which others sometimes consciously or unconsciously use. A once humiliated person often plays it safe, defending himself even where there was no sign of an attack, which makes him seem unreasonably harsh and aggressive.

The more advanced the “situation”, the more stressed a person is, the more difficult it is for him to communicate with other people, the more lonely a person sometimes feels. In such a situation, the role of a psychologist may be indispensable. A suffering person needs to be simply listened to, allowed to be himself, accepted without any judgment, sensitively and with respect for his essence.

The love of a vain nonentity

At the opposite pole, it is convenient for the sick psyche to attribute internal self-aggrandizement to “victories” on the love front. Such a person in a relationship does not so much build a relationship as assert himself, trying to prove to himself with another victory that he is not a pathetic nonentity. And if this self-affirmation is resisted, “love” suddenly turns into hatred.

Why do we hate our beloved? He did not stroke our pride, did not exalt our person, showed that we are unworthy of such treatment, and therefore our vain majesty falls into the other extreme - humiliation. Hatred is mixed with love, because refusal of reciprocity tramples pride, which in fact was just a cover for one’s own inner insignificance.

And by the way, the more our beloved tramples our pride into the mud, the more we “love” him! Remember? One extreme supports and strengthens the other. This kind of painful “love” goes hand in hand with vanity, hatred and humiliation.

Let me remind you that we are not talking about any real insignificance, but only about his conflicting feelings and guesses about his own account. We do all this to ourselves. This is how mental mechanisms work. We trample ourselves into the dirt in order to exalt ourselves later. Most of us suffer from such mental “wounds” to varying degrees.

Vanity of civilization

Our entire civilization is based on self-affirmation of our own worthlessness. Think back to your childhood. We have always liked heroes who stroked their egos especially skillfully. The cooler the hero, the more masterly he exalts his ego: the indestructible Terminator, or the powerful Neo, defeating the neurotic Smith, Cinderella, who made her way from the bottom of society straight to the prince, Barbie, born in the wealth and luxury of pink glamor.

What is Pushkin's fairy tale about the magic mirror worth? The crafty mirror inspired the proud queen that she was “the dearest in the world.” And so, a whole mess ensued around the queen’s low self-esteem! The “cruel” truth that the young princess was more beautiful, the queen’s sick psyche could not accept rationally, and in order to keep her image at its best, the queen was ready to go “all the way.” The list can be endless. Every story has a suitable example.

And we become the greatest masters in this difficult task of vain self-aggrandizement on the spiritual path when, renouncing pride, we indulge precisely that – pride on ever more sophisticated and refined levels. I think this should be approached with calm understanding.

Vanity and humiliation

A long experience of humiliation does not mean that a person can be given up on. On the contrary, by overcoming imbalance, we gain wisdom and become stronger than we could have become without this strengthening experience. All mental “illnesses” are surmountable. Our weaknesses are simply those mental “muscles” that need to be worked on first, turning weakness into strength.

Often when we see others being criticized, we can easily recognize the critic's subjectivity. But if our person is criticized, then we begin to take the criticism seriously. A kind of “coupling” occurs when the hallucinations of the critic seem to coincide with the hallucinations of the humiliated one.

For example, a dominant boss scolds a subordinate, reaching the point of tyranny, and towers over the person who depends on him. And the subordinate, actively participating in the “game” not on equal terms, is humiliated, establishing himself in the position of a weak junior manager. The subordinate perceives this as an “objective” reality, a “common” space in which this single process of humiliation and elevation occurs between two subjects. All this feels so realistic, as if it really were an objective reality. And the reciprocal hatred of the boss also seems justified and appropriate.

However, this whole situation occurs in the head of the subordinate. There is no “objective” reality where the boss, in the role of alpha male, humiliates the subordinate. These are all subjective perceptions, dualistic mind games that most people play in their heads every day.

What's really going on in the boss's head doesn't matter. The boss's subjective experiences do not go beyond his head. If the boss masturbates in public strokes his pride - this is his “national” problem. The subordinate only hears the timbre of the voice, sees facial expressions, and characterizes all this in accordance with his life experience. And if in his experience there is a psychological trauma of humiliation, it is naturally projected into a new, similar situation.

In psychology, there is a term “classical conditioning”, which refers to the process of developing a conditioned reflex. Perhaps you have heard a joke about laboratory monkeys?

Two monkeys talking in a cage:
- Friend, what is a conditioned reflex?
- Well, how can I explain this to you... Do you see this lever? As soon as I press it, this man in a white coat immediately comes up and gives me a piece of sugar!

Conditioned reflexes occur when, for example, we react to a neutral situation emotionally because in our head it is associated with another situation from the past, where we have already shown exactly these emotions.

That is, when a subordinate hates the Boss, perhaps he actually hates his father, or a bully classmate who in the past subjugated our subordinate by suppressing him. Perhaps the boss's comments were innocent, but some subtly similar shades of his actions awakened repressed feelings in the subordinate and caused an inappropriate reaction.

That is why it is advisable to maintain healthy self-esteem in a child, because the child’s consciousness is not yet able to fully realize the illusory nature of mental duality. Trauma inflicted in early childhood is repressed into the unconscious and can haunt the individual throughout his life. After all, it is in childhood that our basic ideas about the world and society are developed. It is extremely difficult to change them in adulthood.

Humiliating others is a much worse form of pride than extolling oneself beyond what one deserves.
Francesco Petrarca

Pride is an echo of past humiliation.
Stepan Balakin

Don't humiliate yourself before anyone: don't look down on anyone!
Leonid S. Sukhorukov

If you have not humiliated yourself, nothing can humiliate you.
Richard Yucht

Conscious humiliation

Sometimes humiliation is chosen deliberately for various reasons. For some, humiliation is a kind of psychological extreme that gives a liberating feeling of uninhibition, overcoming boundaries and freedom from fear.

Fans of extreme sports, for example, during skydiving, feel something similar, with a characteristic rush of adrenaline. The relaxedness of feelings gives you the feeling of being “knee-deep in the sea.”

In other cases, some people like to feel like a subordinate thing, with which the owner will do whatever he wants. This, I believe, is a distorted need for acceptance and trust, somewhat analogous to the trust a child has in his parents.

I already said above that humiliation is the other side of vanity. Perhaps people with great power over others (supervisors, bosses, etc.) may deliberately choose humiliation to smooth out their self-esteem and defuse tension.

In our society there is even a separate psychosexual subculture “BDSM”, which is based on humiliation and dominance in sexual relations. Followers of BDSM get excited and release emotional tension by breaking social conventions and taboos in their role-playing games.

Sometimes they humiliate themselves in order to manipulate the vanity of another person, whom they elevate by their humiliation. For example, humiliating himself, a person in the role of a weak person simply seeks to relieve himself of responsibility in order to leave all difficult matters for a “strong” person, susceptible to flattery and vanity. The one who is humiliated at the same time may consider himself smarter, since he managed to achieve what he wanted with his “cunning” manipulations. Or the humiliated person simply wants pity, and longs to remain forever in a place where it is convenient for him to be helpless and weak.

Beggars and beggars also play on pity for their humiliating situation. They say that some of these “beggars” earn money by humiliation much more decently than their benefactors.

Sometimes people resort to deliberate humiliation in order to avoid punishment from the dominant authority. If authority is played into a “game,” it also increases the split in its psyche, swinging the pendulum of vanity and humiliation.

Another, rather rare version of conscious humiliation - with the spiritual goal of pacifying pride and vanity. But with such a goal, a person does not so much humiliate himself as learn to show humility. And such humility, I believe, should not be confused with humiliation. Ordinary humiliation is always a certain kind of self-deception and rejection of the current situation. Humility on the spiritual path, on the contrary, is associated with acceptance of life as it happens. Humiliation is different from humility, just as neurosis is different from holiness.

Inertia

Understanding how our psyche works, how we become attached to the pendulum of humiliation and vanity, helps to draw attention to these mental mechanisms. But even their conscious understanding does not guarantee complete liberation from these experiences. I can judge from my own experience.

Inertia is like one of the key laws of the mind. A mind without habits is the mind of a Buddha. And if a person claims that he does not have pride and a sense of self-importance, most likely, this means that his pride is developed so strongly that it prevents the person from recognizing its presence.

The way out of this painful duality is self-knowledge, diligent systematic awareness, sensitivity and attentiveness to the manifestations of one’s own psyche. To avoid getting involved in this game, be honest with yourself. Does it really matter what leads other people? What drives you?

If you don't play vanity and humiliation, it becomes boring to be humiliated. Not getting the desired result, the petty tyrant stops pestering with his painful pride.

If you can laugh at yourself, no one can laugh at you. A person is humiliated not when he bows, but when he feels humiliated. The very experience of humiliation is a sign of internal split.

The strong one is not the one who rises, but the one who no longer needs it. It is quite possible to be a successful and prosperous person without becoming a vain idiot. Such impulses in yourself should be carefully examined so that they are extinguished on the vine. Vanity is just a game of power and a real internal split. True strength is our healthy psyche, creative will, developed abilities and talents.

© Igor Satorin

Article " Vanity, pride and humiliation” written specifically for
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Composition

The works of F. M. Dostoevsky are distinguished by deep psychologism. Dostoevsky is not only a writer, but also a philosopher. And the life situations that he draws are real and close to all of us. His heroes are not just fictional characters: they live, they suffer, they love.

Perhaps this is why everything created by Dostoevsky is still very relevant.
In real life there are no sharp boundaries between good and evil. Maybe there are cruel, inhumane people in the world, but there are no ideally kind, sincere and noble people. There is no person who has only positive qualities. This can only be found in fairy tales and works of early classicism. As for Dostoevsky’s novels, although they have positive and negative heroes, this division is almost imperceptible, conditional.

For example, in the novel “Humiliated and Insulted,” the writer felt the personalities of his characters. Who is the positive hero here? Of course, when answering this question, you cannot simply list the names of the characters, because there is no clear answer.

Ivan Petrovich, the main character of the novel, is perhaps too idealized by the author. Raznochinets means a poor person doing something professionally (in this case, an aspiring writer). This affiliation of Ivan Petrovich with literary work is autobiographical. The details of the writing of the novel and the vicissitudes of its editing in some ways echo the same details in Dostoevsky’s life. This is a noble man, in real life there are few people like him. On the other hand, if Ivan Petrovich had a different character, the novel itself would be perceived differently, because Ivan Petrovich is not only the main character, but also the narrator. It is interesting that the main character in the work is completely inert, even in relation to the woman he loves; his detachment from influencing the events taking place in the novel seems more than strange. He is probably a wonderful person, in some ways repeating the moral and artistic quests of Belinsky and Dostoevsky himself, but his humanism is passive to such an extent that it causes irritation.

Natasha is definitely a positive and very strong character. Perhaps her love for Alyosha reveals some kind of childish naivety inherent in first love. She does not believe Alyosha, considers him a child, but continues to claim that she loves him. And although Natasha is not very attractive to me, I simply do not have the right to condemn her for her actions, and especially for her feelings, because everyone makes mistakes. Personally, I get the impression that she is deliberately ruining her life. In the people around her, she does not see a single person worthy of her.

Yes, she really appreciates the moral qualities of Ivan Petrovich, but their relationship does not have any continuation for the simple reason that she is a very active person who urgently needs to influence someone, change something in another life for the better. Apparently, this explains her love for Alyosha. This is amazing: she is well aware that the chosen one is not worthy of either her or her love, that he is cowardly, weak-willed, and completely spineless. After all, she understands well his inability to withstand difficulties and decide to change - and consciously does it herself. Alyosha’s complete irresponsibility, stupid selfishness and unforgivable frivolity, it seems, cannot attract Natasha to him. But this is precisely the quirks of her character: she herself performs actions, sometimes even being proud of her own actions (it is interesting that in Dostoevsky it is women who most often perform actions). Perhaps Natasha’s proud and strong nature even consciously seeks ways of self-abasement, enduring reproaches and humiliation from Alyosha. Perhaps the main, dominant features of Natasha are readiness for self-sacrifice and the ability to commit an act. As for her relationship with her parents, in my opinion, Dostoevsky very vividly painted a picture of the relationship between fathers and children. There is never a division between good and evil, guilty and innocent. There are only parents and children who love them, but disagree with them in their views.

It is the concepts of love-sacrifice, fate-sacrifice that are predominant in the philosophy of Dostoevsky’s heroes, in their attitude to life. Natasha sacrifices herself and leaves the house, realizing that her life together with Alyosha will not last long. Ivan Petrovich sacrifices his love.

Suffering and misfortune haunt the Ikhmenev family. This is probably the peculiarity of F. M. Dostoevsky’s creative method, subjecting his heroes to the most difficult psychological tests and quite firmly asserting that in “humiliated and insulted” people there is a lot of true feeling and moral truth. His heroes, as a rule, have very limited communication and are entirely focused on some personal problem. Having gone deep into themselves, into resolving conflicts, they become isolated in their own thoughts, suffocating from the inability to change their fate and the fate of those close to them. Nowadays this seems paradoxical and inexplicable.

Perhaps, when analyzing this work, it would be easier to describe the negative characters than to list all the positive ones. But, in my opinion, they are all people, and they tend to love, respect, hate, and suffer equally. For example, Alyosha, according to the author’s description, is a frivolous, weak person who has no willpower. It's just a big baby. But can you really blame him for this? I'm afraid that I can't even call Nelly's parents negative characters. Yes, these people killed their daughter, it was because of them that Nellie died. They can be condemned for not wanting to understand Nellie. And although I cannot understand such people, I do not want to definitely call them negative characters just because in novels it is customary to divide everything into positive and negative. I believe that Dostoevsky's works are life. But in life, as we know, such a division does not exist.

And most importantly, I can't stand it
pastorals and Schillerism.
Noble pride.
F. M. Dostoevsky
Lunacharsky wrote about the works of F. M. Dostoevsky: “All his stories and novels are a fiery river of his own experiences. This is a passionate desire to confess one’s inner truth...”
Dostoevsky's works are built on a comparison of heroes and anti-heroes, and the author succeeds in negative characters better than positive ones, who look stilted, somewhat far-fetched and unrealistic.
The action of the novel “The Humiliated and Insulted” takes place in the 40s, but its bright anti-capitalist orientation indicates that Dostoevsky sensitively felt and realistically reproduced the political atmosphere of the 60s, when the novel was written.
Depicting the fates of Natasha Ikhmeneva and Nelly, Dostoevsky gives two answers to the question about the behavior of a suffering person: passive humility or irreconcilable damnation to the entire unjust world. Between the two lines of the novel - passive and active protests - there are very significant connecting links: Prince Valkovsky and his antipode, the writer Ivan Petrovich, on whose behalf the story is told.
Valkovsky embodies all the evil of the capitalist world. This is a high-society libertine, a scoundrel, a seducer and an egoist. He recognizes one rule: “Love yourself!” For him, life is a commercial transaction, and people are only a means to achieve selfish goals. The prince first marries the daughter of a tax farmer, appropriates her fortune for himself, and drives his wife away from the world. Soon he remarries the daughter of the breeder Smith, Nellie’s future mother, deceives, “rips off” this woman too, and then drives her out onto the street. The prince gives his son Alyosha to be raised in the Ikhmenev family in order to be completely freed from any responsibilities. Having learned about Katya's millions, the prince proposes her as Alyosha's wife. For Valkovsky, money is the measure of all things, a symbol of power; in the name of money he is ready to commit any crime. “I love importance, rank, hotels, women, debauchery, and not ideals in life,” the prince cynically declares. He mocks the Schiller romance of youth, the highest ideals of poets - everything that is not subject to monetary interests. The prince assures that “at the basis of all human virtues lies a deep
great selfishness." Dostoevsky needed such a concentration of vices in one person in order to clearly depict the truly satanic power of capital in those years, in order to arouse the reader’s hatred of it.
If Prince Valkovsky is depicted as the pole of evil, then the narrator Ivan Petrovich is depicted as the pole of good; according to the author’s plan, he is an extremely humane and generous man. In this hero, Dostoevsky captured some features of his own biography: Ivan Petrovich is a writer, his first novel in content is reminiscent of “Poor People,” and the critic B.’s review of it is Belinsky’s review of the work of Fyodor Mikhailovich. But Ivan Petrovich is not only the narrator, he is also the protagonist of the novel. He is passionately in love with Natasha Ikhmeneva. With the help of Ivan Petrovich, all the threads of the very ramified plot of the work are connected.
As a narrator, Ivan Petrovich “is something like a confidant of ancient tragedies to us,” writes Dobrolyubov. “Natasha’s father comes to him to inform him of his intentions, her mother sends for him to ask about Natasha, Natasha calls him to her to pour out his heart is in front of him, Alyosha turns to him - to express his love, frivolity and repentance, Katya, Alyosha’s fiancée, meets him to talk to him about Alyosha’s love for Natasha, he comes across Nellie to express his character, and finally the prince himself ...gets drunk there to express to Ivan Petrovich all the nastyness of his character. And Ivan Petrovich listens to everything and writes everything down.” This role of the hero is fully justified by his writing profession and humane nature, reminiscent of Dostoevsky himself.
The clash between Ivan Petrovich and Prince Valkovsky gives a well-known idea of ​​the ideological conflict of the mid-19th century between good and evil, altruism and egoism, predation and unselfishness. Having no real opportunity to actively fight against evil, Ivan Petrovich diligently strives for moral assistance to all the humiliated and insulted, he is tormented by their sorrows and sympathizes with their suffering.
He has a slightly different role as the hero of the novel who fell in love with Natasha. Creating the image of Ivan Petrovich, Dostoevsky developed his theory of sacrificial love, love-altruism. The hero loves Natasha infinitely, his self-forgetfulness reaches such an extent that he is ready to give her up to Alyosha in the name of his beloved’s happiness. Dostoevsky creates a character who will later be embodied in Prince Myshkin in the novel “The Idiot,” where this theory of love-altruism will receive broad justification. How to evaluate this image? What predominates in him: strength or weakness? Dobrolyubov believed that it was “weakness.” He wrote that “if these romantic self-sacrifices really loved, then what rag hearts they must have, what chicken feelings! And these people were also shown to us as the ideal of something!” In Dobrolyubov’s sharply negative assessment of the hero, one can feel the spirit of the era of the 60s, when democrats criticized weak-willed noble intellectuals. The writer himself sees in the behavior of his hero a sign of fortitude, a person’s ability to rise above his own egoism and perform a noble act - to ensure the happiness of his neighbor. Therefore, Dostoevsky sincerely saw something ideal in the actions of Ivan Petrovich and “infected” the reader with this mood.
“Humiliated and Offended” is a specific type of novel genre. It combines the features of a psychological novel with elements of an adventure-detective novel. The events are perfectly concentrated and take place in the shortest possible time, which allows the author to clearly highlight the heroes and anti-heroes.
This work had a huge influence on all subsequent Russian literature and society, as it aroused hatred of those who humiliate and insult human dignity, called for humanity, for the education of true nobility.

Alexey Valkovsky - character description ALYOSHA VALKOVSKY is the hero of F. M. Dostoevsky’s novel “The Humiliated and Insulted” (1861), the son of Prince Valkovsky. Having accidentally become his father’s rival in amorous affairs, he was exiled by the prince to the Vasilyevskoye estate, where he met and fell in love with the manager’s daughter Natasha Ikhmeneva. After the Ikhmenevs moved to St. Petersburg, A. persuades Natasha to leave her family and get married in secret: “A most lovely boy, handsome, weak and nervous, like a woman, but at the same time cheerful and simple-minded, with an open soul and capable of the noblest sensations, with loving, truthful and grateful hearts.” ", he is completely devoid of character and will of his own. “He will probably do a bad deed, but perhaps it will be impossible to blame him for this bad deed, except perhaps to feel sorry for him,” this is what Natasha says about him, loving him with a strange, suffering love. A. does not think at all about the consequences of his actions - contrary to common sense, he hopes for a successful outcome of his relationship with Natasha, despite the obvious enmity and intransigence of his fathers. He rents an “elegant” apartment for Natasha, but when his pocket money runs out, he doesn’t even seem to notice that Natasha is moving to a inferior one apartment and starts working. He essentially does not notice Natasha’s mental torment. He makes fantastic plans (to write stories, a novel based on Scribe’s comedy, give music lessons), but does nothing, cheats on his bride with Josephine and Minna, returns with a guilty look and tells her the details of his adventures.

He falls in love with Katya, whom his father introduces to him, but continues to love Natasha as well. “All three of us will love each other,” he dreams, without thinking about the deliberate impossibility of this idyllic picture. Breaking Natasha’s heart, breaking her fate, causing inhuman suffering to the Ikhmenevs, from which in his life he saw only good, A. remains innocent and serene. Leaving Katya for the village, he assures Natasha that he will die without her. He torments and suffers, sins and repents, weeps and begins to sin again. The image of A. is complex.

Socially, this is a “prince’s son”, who inherited from his father not only “blue blood”, title, aristocratic pride and arrogance, but also a secret, subconscious attraction to vice. This is a victim of bad heredity and a depraved environment (in his frequent trips to the Minnes and Josephines - a transparent hint of voluptuousness with a spicy aftertaste of debauchery). Hence his eternal immaturity, infantility, naive head in the clouds and lack of elementary ideas about reality. Psychologically, he is an idealist-utopian in the spirit of Petrashevsky. (So, K. Mochulsky suggests that Levinka and Borenka, with whom A. became friends on the basis of “ideas,” ended up in Dostoevsky’s novel from Griboyedov’s “Woe from Wit.” If we accept this version, then they are transferred from the “English club" in Petrashevsky's circle of Leva and Borenko, and Alyosha plays the role of Repetilov.) In moral terms, this is the embodiment of Rousseau's "natural man", with his "naturally kind heart; a man without character, without will and without personality, doomed to submission."

“A kind heart” and “innocence” do not save or keep A. from betrayal, deception, or betrayal. Despite all his sensitivity and every second readiness to fall to his knees, repent of his sins and burst into stormy streams of tears, he is the most frantic egoist. At the same time (as V. Tunimanov and E. Maimin note) he does not idealize A., but also does not stigmatize him - neither for his origin, nor for his pathological weakness and dependence on the will of others, nor for his visits to accessible and cheerful women. A. not only a torturer. Granting him freedom, Natasha, with her hysterically noble gesture, saves A. from the endless hard labor of frantic love, in which he was destined to play the role of a victim.

In the person of A. Dostoevsky, he executes his “innocent” good-heartedness of the forties, which, after the experience of hard labor, seems to him to be unforgivable frivolity, and the love line Natasha - Alyosha - Ivan Petrovich foreshadows the “trinity”: Svidrigailov - Dunya - Razumikhin ("Crime and Punishment"), Myshkin - Nastasya Filippovna - Rogozhin and Nastasya Filippovna - Myshkin - Aglaya ("The Idiot"), Stavrogin - Dasha - Lisa ("Demons"), Dmitry Karamazov - Grushenka - Katerina Ivanovna ("The Brothers Karamazov"), etc. The lover is unloved, and the beloved does not love, the ring of love is “opened” by someone else, and this trinity testifies to the tragedy of love and the impossibility of happiness, satisfying love’s longing in this world.

The answers to tasks 1–24 are a word, phrase, number or sequence of words, numbers. Write the answer to the right of the assignment number without spaces, commas or other additional characters.

Read the text and complete tasks 1–3.

(1) Starting from the 5th century BC, there was a flourishing of the ancient Greek and Roman civilizations, marked by a relatively high level of development of philosophy, literature, fine arts, architecture, and military art. (2) During this period, the accumulation of initial scientific information about the world around us continued, a number of ideas were put forward, which, as further developments showed, were far ahead of their time. (3) _____ the idea of ​​the structure of the universe was put forward, the idea of ​​the atomic structure of matter was discussed for the first time, the foundations of geometry were developed, and a geocentric model of the world was created.

1

Which of the following sentences correctly conveys the MAIN information contained in the text?

1. The era of antiquity refers to the development of human civilization over about fifteen centuries; it was during this time that philosophy flourished and ideas about the essence of the universe were put forward.

2. The flourishing of ancient Greek and Roman civilizations, observed from the 5th century BC, was marked by the development of science and art; During this period, the accumulation of initial scientific information about the world around us continued and a number of ideas were put forward that were far ahead of their time.

3. Initial scientific information about the surrounding world accumulated over several centuries, starting from the 5th century AD, as a result of which ideas about the atomic and molecular structure of matter appeared, the foundations of algebra and geometry were developed, and new models of the world arose.

4. If during the period of ancient Greek and Roman civilizations philosophy, literature, fine arts and architecture flourished, then after the era of antiquity, exact sciences such as geometry, physics and astronomy reached their peak.

5. The heyday of the ancient Greek and Roman civilizations, which began in the 5th century BC, was marked by the development of science and art, and the emergence of ideas that were far ahead of their time.

2

Which of the following words (combinations of words) should appear in the gap in the third (3) sentence of the text? Write down this word (combination of words).

3. Despite this,

4. Therefore

5. Despite this

3

Read a fragment of a dictionary entry that gives the meaning of the word MODEL. Determine the meaning in which this word is used in the third (3) sentence of the text. Write down the number corresponding to this value in the given fragment of the dictionary entry.

MODEL [de], -i, f.

1. A sample of something. products or a sample for making something, as well as an object from which an image is reproduced. New m. dresses. M. for casting. Models for sculptures.

2. Type, brand of design. New car.

3. Diagram, description of something. physical object or phenomenon (special). M. atom. M. artificial language.

4. Mannequin or fashion model, as well as (obsolete) sitter or sitter. Live m.

4

In one of the words below, an error was made in the placement of stress: the letter denoting the stressed vowel sound was highlighted incorrectly. Write this word down.

petitionersAgency

kitchen

cheapness

5

One of the sentences below uses the highlighted word incorrectly. Correct the mistake and write the word correctly.

1. OILSEED crops are plants cultivated to produce oils.

2. After a YEAR-long absence, I. A. Krylov made another attempt to return to the capital.

3. CASH consists of funds on hand, checks and money orders from customers.

4. No one will be able to HUMILIATE the role of the heroes of the Great Patriotic War in the victory over fascism.

5. WEEPING willow is not often found in modern landscape design.

6

In one of the words highlighted below, an error was made in the formation of the word form. Correct the mistake and write the word correctly.

on BOTH hands

new BULLDOZERS

FIVE kittens

THE SMARTEST expert

LIE ON THE FLOOR

7

Establish a correspondence between the sentences and the grammatical errors made in them: for each position in the first column, select the corresponding position from the second column.

Write your answer in numbers without spaces or other symbols

8

Identify the word in which the unstressed alternating vowel of the root is missing. Write out this word by inserting the missing letter.

fireproof

m...sterskaya

closure

prom...shit

9

Identify the row in which the same letter is missing in both words. Write out these words by inserting the missing letter.

on..bit, on..dragged

be..delieu, in..swim

pr..funny, pr..call

once..rocks, on..play

pr..refuge, pr..hail

10

Write down the word in which the letter I is written in place of the gap.

writhe

Well done...well done

overcome

resourceful

toy

11

Write down the word in which the letter E is written in the blank.

invisible...my

built

I'll meet you

captivated...my

12

Indicate all the numbers replaced by I.

The road from the city led only to the village, n(1) further, n(2) closer n(3) who n(4) needed it.

13

Determine the sentence in which both highlighted words are written CONTINUOUSLY. Open the brackets and write down these two words.

1. The meaning of a polysemantic word is specified in the text, (WHILE) some words only in a given text can mean one and the SAME concept.

2. (B)AFTER the bad weather came cold weather, and (AFTER)THEN the first frosts.

3. It was especially difficult BECAUSE I was the only specialist at the plant working in THIS profile, and I took all the responsibility upon myself.

4. It was necessary (IN) TIME to collect the raspberries and (IN) THE BEGINNING of August to cut out the dry bushes.

5. They looked at me, like at my brother, condescendingly: WHATEVER I did, everything was forgiven to me.

14

Indicate all the numbers in whose place NN is written.

The procurator looked at the arrestee (1), then at the sun, steadily (2) rising above some of the statues of the hippodrome, which lay far below.

15

Place punctuation marks. Indicate the numbers of sentences in which you need to put ONE comma.

1. We felt, if not joy, then pleasant excitement.

2. The rescued fisherman sat on a bench, neither alive nor dead.

3. Kites and crows and hawks are found here in abundance.

4. Cats and dogs have not gotten along with each other for a long time and very rarely live in peace and harmony.

5. Pieces of nightingale trills and the sharp meow of an oriole, the sweet voice of a robin and the babbling of a warbler are heard in the song of a starling.

16

Under the crust of ice (1), which has become transparent under the rays of the spring sun (2), a stream gurgles (3) making its way to the slope (4).

17

Place punctuation marks: indicate all the numbers that should be replaced by commas in the sentences.

The new purchase will be very (1) welcome (2) in my spring wardrobe.

I have planted a lot of trees (3) by the way (4) in my life.

18

Place punctuation marks: indicate all the numbers that should be replaced by commas in the sentence.

Psychological portrait of the hero of a literary work (1) an example (2) of which is (3) the description of Masha Mironova in the story by A.S. Pushkin’s “The Captain’s Daughter” (4) is designed to reveal the hero’s inner world through his appearance.

19

Place punctuation marks: indicate all the numbers that should be replaced by commas in the sentence.

I drank tea in such excitement (1) that I don’t remember (2) what these buns came with (3) or why I suddenly jumped up (4) and hurried (5) and Nina no longer tried to hold me back.

20

Edit the sentence: correct the lexical error by replacing the incorrectly used word. Write down the selected word, observing the norms of the modern Russian literary language.

Ten teams took part in the competition for the honorary trophy.

Read the text and complete tasks 21-26.

(1) I never called my mother mother, mother. (2) I had another word for her - mommy. (3) Even when I became big, I could not change this word. (4) I tried to call her “mom,” but against my will, the same affectionate, childish “mom” came out of my lips. (5) My mustache has grown, a bass has appeared. (6) I was embarrassed by this word and pronounced it barely audibly in public.

(7) The last time I said it was on a rain-wet platform, near a red soldier’s train, in a crush, to the sounds of the alarming whistles of a steam locomotive, to the cry of the command “On the carriages!” (8) I didn’t know that I was saying goodbye to my mother forever. (9) I didn’t know that you could say goodbye to your mother forever. (10) I whispered “mommy” in her ear and, so that no one would see my manly tears, I wiped them on her hair... (11) But when the car started moving, I couldn’t stand it. (12) I forgot that I was a man, a soldier, I forgot that there were people around, many people, and through the roar of the wheels, through the wind beating into my eyes, I screamed.

(13) - Mommy! (14) Mommy...

(15) But she no longer heard.

(16) At the front we were always hungry. (17) We were always cold. (18) Only in battle at the guns did they forget about hunger and cold. (19) And also when they received letters from home.

(20) But letters from home had one extraordinary property, which everyone discovered for themselves and did not admit their discovery to anyone (21) In the most difficult moments, when it seemed that everything was over or would end in the next moment and there was no longer a single clue for life, we found in letters from home NZ - an untouchable supply of life. (22) The supply lasted for a long time; it was preserved and stretched out, with no hope of replenishing it soon.

(23) I don’t have my mother’s letters. (24) I didn’t memorize them, although I reread them dozens of times. (25) But the picture of life at home, which arose from my mother’s news, is alive in my memory.

(26) In the icy wind, I saw her at the stove with her eyes closed. (27) This vision appeared at night at the post. (28) There was a letter in my pocket. (29) A distant warmth wafted from him, smelling of resinous firewood. (Z0) This native warmth was stronger than the wind.

(31) When the letter arrived from my mother, there was no paper, no envelope with the field mail number, no lines. (32) There was my mother’s voice. (33) I heard him even in the roar of the guns. (34) The smoke from the dugout touched my cheek, like the smoke from my home.

(35) On New Year’s Eve I saw a Christmas tree at home. (Z6) Mom spoke in detail in her letter about the Christmas tree. (37) It turns out that Christmas tree candles were accidentally found in the closet. (38) Short, multi-colored, similar to sharpened colored pencils. (39) They were lit, and the incomparable aroma of stearin and pine needles spread from the spruce branches throughout the room. (40) The room was dark, and only the cheerful will-o’-the-wisps died down and flared up, and the gilded walnuts flickered dimly.

(41) The old clock goes and strikes midnight. (42) The cricket, which miraculously settled in a city apartment, works on a chirping machine.

(43) The Ursa Major ladle stands on the roof of the house opposite.

(44) It smells like bread. (45) Quiet. (46) The tree went out. (47) The stove is hot.

(48) Then it turned out that all this was a legend that my dying mother composed for me in an ice house, where all the glass was broken by the blast wave, and the stoves were dead and people were dying from shrapnel. (49) And she wrote while dying. (50) From the icy besieged city she sent me the last drops of her warmth, the last blood.

(51) And I believed the legend. (52) He held on to her - to his NZ, to his reserve life. (53) I was too young to read between the lines. (54) I read the lines themselves, not noticing that the letters were crooked, because they were written by a hand devoid of strength, for which the pen was heavy, like an ax. (55) Mother wrote these letters while her heart was beating...

(56) I know a lot about the exploits of women: those who carried wounded soldiers from the battlefield, who worked for men, who gave their blood to children, who followed their husbands along the Siberian highways. (57) I never thought that all this had to do with my mother. (58) To the quiet, shy, ordinary one, concerned only with how to feed us, put on shoes, protect us...

(59) Now I look back at her life and see: she went through all this, but I see it belatedly. (60) But I see. (61) Now I see and hear everything.

(62) Forgive me, dear!

(According to Yu. Yakovlev *)

* Yuri Yakovlevich Yakovlev (1922-1996) - Russian prose writer, screenwriter, journalist, author of books for teenagers. Participant of the Great Patriotic War. The main themes of Yuri Yakovlev's prose are school life, the Great Patriotic War, performing arts, friendship between man and animal. Stories and tales: “Seryozhkin’s Son”, “He Was a Real Trumpeter”, “A Man Should Have a Dog”, “Sparrow Didn’t Break Glass”, “The Invisible Cap” and scripts for live-action and animated films: “Umka”, “Umka is looking for a friend” ”, “Kingfisher”, “Was a real trumpeter”, “Sancho’s faithful friend”, “I have a lion”, etc.

25

“The author’s reflections and memories are dedicated to the dearest person - his mother - and the most difficult and terrible period of his life - the war, which are inextricably linked. The text ends with words of repentance and forgiveness, which each of us can join. And the usual (A) ____ (in sentences 13, 62) become an expressive device that conveys the author’s state and his attitude towards his mother. A (B) _____ (in sentences 59-61) greatly enhances the author’s emotionally excited story. Syntactic means of representation (B) _____ (sentences 11-12, 37-38, 57-58) and (D) ____ (sentences 29, 42) also contribute to this.”

List of terms:

1) separate members

2) rhetorical questions

3) rhetorical exclamations

4) appeals

5) introductory words

7) parcellation

8) lexical repetition

9) journalistic vocabulary