Meanwhile, Vrubel did not resemble Lermontov for him in his spiritual walla.

But there are strange coincidences of events in life, incomprehensible coincidences, significant dat.. In 1856 in german city Karlsruhe published the first edition of the poem "demon" of the former lieutenant of the Tenginsky regiment of Mikhail Yurevich Lermontov, and in the same year in Omsk, in the family of headquarters of the same Tenginsky infantry regiment Alexander Mikhailovich Vrubel was born a son - the future artist Mikhail Vrubel, the life of which developed So, in which Lermontov demon attached to his cradle, elected the newborn with his new prophet.

Like Lermontov, Vrubel was born with a romantic soul, but 15 years after the early death of the poet.

In their childhood, there were similar features: And he was too early lost to mothers, from which spiritual fragility and a cured fervor inherited; Both have entertained the music they could listen for hours, both preferred to all other theatrical games; In them soon woke up and increased insatiable imagination. Sudden extension and thoughtfulness, silence and striving for loneliness, - all this was both at the poet, and by the artist.

Back in childhood and Lermontov, and Vrubel could feel the breadth of the world due to trips and travels: from the Urals to Moscow and the Caucasus - Lermontov; From Siberia to the Volga cities, St. Petersburg and Odessa - Vrubel. The artist went a lot and in his own country and abroad, he lived in Germany, Italy, France, saw Greece, traveled in the Mediterranean, and although he wrote a little pure landscape paintings, the nature loved and understood no less deeply than the poet.

Both received a thorough formation.

Next, the following was brought together: both, formed in the deaf course of the reaction (the poet - in the 30s, after the defeat of the Decembrists, the artist - in the 80s, after the defeat of the people), despite her, in his soul, the ideal of proud, revolving human spirit. Their demon is not a devil, the carrier of evil, depicted with horns, tail and goat hooves, in the astounder called "unclean power." The demon is a symbol of a rebellious principle, an angel, which risen against God, who rejected the indispensableness of God's Will. Later, the image of a "demonic personality" is rooted in the art of romanticism, in Byron's poetry.

From the rebellious titans of Bairon - Lucifer, Manfred, Cain - partly leads his pedigree and Lermontov demon.

The essence of this image is dual. On the one hand, the impression of the greatness of the human spirit, not tolerant of any prohibitions, no shackles in their gusts to freedom and completeness of knowledge. On the other hand, immeasurable pride, immense reassessment of personality forces, which turns over with loneliness, cold, emptiness. The Lermontov Demon reached absolute freedom, but it turned out to be a fearful freedom for him, a heavy burden.

Only God's damn

Turned -

From the same day

Nature hot arms

Forever cooled for me. Lermontov M.Yu. Poetry, Children's Literature Publishing House, Leningrad, 1981, p.158

In the years of "sleep and MGLL", the suppression and miserable stagnation of the personality Vrubel wanted to reconsider the spirit of the spirit again. But the story has already made its own adjustments to the understanding of "demonista", and unwittingly to the fore the motives of longing, loneliness and death were out. Especially since the artist himself, the burden of "demonic" themes, bravely, was far from Titan, not a hero - he was a weak son of his non-integration time.

The artist wrote a picture in 1890, finally formed by the unique-individual Vrubelian style. This style is based on the domination of the plastic-sculptural, volumetric pattern, the originality of which is crushing the surface of the shape to sharp, stuffing faces, liketing items to some crystalline formations. The color is understood by the wood as a peculiar illumination, the painted light, permeating the edge of the crystalline form. This is what the picture "Demon (Sitting)" is written - the result of everything that was found by the artist in the Kiev period of creativity. It is a program product of Vrubel, in which its method of artistic transformation of reality receives a plot design. This is not the method of direct observation and the transfer of visible nature, but The method of ideal presentation, imagination, which is only used by visible forms to work fantastically transformed world of "demonic expressiveness", according to one of the later critics. Impressionism with its installation on the immediate empirical perception, which played such an important role in the formation of the art of the late 19th century, not Touched Vrubel. Art M.M. Alpatov Vrubel, from 221

The image of a demon is broken away from his poetic prototype - Satan and represents a "demonic generally" in the interpretation of the artist of the 19th century. There is no plot, but there is a "eternal topic." The form of this product is just loaded with artistic memories, like his topic. The sculptural blind body of the demon resembles the Titanic images of Michelangelo. Sitting demon as shifted. It is huge, his figure seems to be cut out of stone. Against the background of fantastic colors laid out with color planes, as if a mosaic, the demon seems to be unearthly, far from ordinary ideas, to which a person is used. Vrublevsky image expressed a symbol in which the longing of the beauty and a dream about human happiness was merged, which is difficult to find on Earth. This image could be embodied only by those means that the artist used. His painting is always unusual. Paints are burning like precious stones, as if glow from the inside. The figures seem huge, are liken to the heroes of the ancient myths.

Lermontov demon, although suffering, still "King Poznan and Freedom". In Vrubel, he is not royal - it has more longing and anxiety than pride and greatness. This affected the illustrations to Lermontov's poem.

Here, Vrubel has the most fierce, sorrowful, lonely face on the background of mountain peaks. Less was less like in the scenes of the temptation of Tamara, where he tries his victory over her, - here in his appearance there is a sign of theatricality.

Amazing impression can be obtained from the sheets of "Demon to Tamara's Power", so they are full of expression and beautiful as works graphic art. You do not know what of the three options to give preference. The first is "do not cry, child, do not cry in vain" - the demon whobles Tamara's tempted speeches, she closes his face in confusion. Both figures - against the background of the magnificent pattern of oriental carpets. The second sheet - Tamara with trust and prayer addresses her heart: "Knee to me ... From evil compassion to renounce now dad dinner." Outside the window Magic Star Night, one big Star Shins brighter, closer than others. The demon looks at the girl with tenderness, touched.

And now we will directly refer to the poem M. Lermontov "Demon". Beautiful poems in which the demon tells Tamara about her love and her loneliness:

Only I saw you -

And secretly suddenly hated

Immortality and power my.

I envied the unwitting

Incomplete joy of earthly;

Do not live like you, it hurts me,

And terribly - to live with you.

In bloodless heart beam unexpected

Again he shouted live

And sadness at the bottom of an old wound

Started like snakes.

What is this eternity to me without you?

My possessions infinity?

Empty sonic words

Extensive temple - no deity!

The third option is depicting a moment when

Mighty gaze looked at her eyes!

He fought her. In the darkness of the night

Above it right he sparkled

Irresistible as the dagger. Dmitrieva N.A. Mikhail Vrubel, Children's Literature, M., 1984; from. 117.

This leaf is decoratively somewhat poorer previous, but the most remarkable expression. Both faces are in profile, the demon leans over Tamara, it raises to him as a magnet attracted by his burning gaze, her will enslave.

Re-turn to the poem M.Yu. Lermontov "Demon".

Lava feelings are poured out of the demone's soul. Against the backdrop of frightened Replica Tamara ("Tell me, why don't you love me? Why should I know your sadness? You can hear") Monologists of a merciless negative cause a strong response in the shower. They froze the mad passion, boiled and escaped, while Vtamare only begins to feel something like a cautious premonition. In addition, the demon is ready to even change its nature:

I want to reconcile with the sky

I want to love, I want to pray,

I want to believe good.

Weeping Rowing Sotra

I am on the chel, you deserve

Traces of Heavenly Fire -

And the world in the ignorance is calm

Let it flour without me!

Love me!

Further, the artist draws Tamaru in the coffin. Here are two options, but the best, perhaps, the one that depicts only the head resting. The form of the face, its plastic is tangible, as in sculpture, and is done by the easiest touch of the brush, delicate light, only in some way and slightly supplemented with light strokes.

The poem "Demon" is the best romantic work of Lermontov. Work on her continued almost all the creative life of the poet. According to religious myth, the demon is the former Angel, whom God expelled from Heaven to Earth and punished eternal loneliness. In order to correctly perceive the poem, it is very important to catch the author's intonation of the first characteristic of the hero:

Sad demon, Exhalation Spirit,

Flying over the sinning of the earth ...

Not "embittered" or "terrible", but "sad". The first epithet configures the reader soon to sympathize with a lonely skewer than to condemn it. This is all the more surprising that by religious ideas the demon - the personification of evil. Lermontov hero is not like that. Good, love him also not ordered. Demon contradictory, like all living things. The reader cares for the hero at the moment when he, having fun at the atrocities, is increasingly busy with memories " best days»:

Those days when in the dwelling of light

He shone, pure cherub

When running rings

Smile affectionate arrival

He loved to change him.

When eternal fogs through

Poznanya greedy, he watched

Washing caravans

In the space of abandoned luminaries;

When he believed and loved.

Happy primary creativity!

I did not know any malice, nor doubt,

And did not threatened his mind

Centuries barren sneeles ...

And a lot, a lot ... and everything

I remember did not have the strength!

"Cognition greedy." In another place of the poem about the demon, the "king of knowledge and freedom" said. In this logic, God is a symbol of faith, despotingly imposing his non-gas truths, the demon is the sign of the doubt about their immutability, without which no creativity is impossible. The demon denies not for the sake of denial. But for subsequent approval. Divine tranquility he opposes the alarm of the search. The basis of his "Freedom" does not choose faith, but a self-knowledge. The demon protests against the Divine Casting, which makes a person, and turns out to be more "humane" hero than God himself. The proud struggle of the demon brings him closer to the romantic Bountar of Bairon. As a romantic hero, the demon is also an individualist.

In general, the Lermontov cycle, especially the illustration for the "demon", can be considered the vertex of the skill of the Vrubel schedule. Here, Vrubel deliberately put the problem to express color without color, alone gradations of dark and light. Similar searches, the artist called the search for "technicians", and the technique of Vrubel is akin to magic - she gave the opportunity to embody his romantic vision of nature.

Among the artistic intelligentsia, especially the younger generation, there were more and more passionate, to fanaticism, fans of Vrubel, for whom his own work was a shrine and every word - revelation.

Vrubel became an expressive borderline time. And the painting of his "Demon" sparkled with paints, fantastically refracted in the "present" and "the past" and "future". These were the paints of the "epic" and "futuristic" art, the art of "Archaist", "innovators", "classics" and "avant-garders". Vrubel's phenomenon in that and consisted that his least took the belonging to any artistic orientation, and his "abnormativeness" turned into a brutal tragedy - misunderstanding, condemnation and rejection of him as an artist. The historic irony is that Vrubel did not become an artist in any of the artistic "flocks". And in this sense, the sign of his fate - "Demon defeated". Picture spell. And painting-prophecy.

In 1856, the 1st publication of the poem "demon" Mikhail Lermontov was published in the German city of Karlsruhe, and in the same year the future artist Mikhail Vrubel was born in Omsk. The demon was a programmatically symbol, an artistic form of the philosophical worldview and the lyrical hero of many works of both artists.

And the proud demon will not lag

I still live from me,

And my mind should be ill

Ray of wonderful fire;

Shows the image of perfection

And suddenly takes away forever

And, giving premonition of bliss,

I will never give me happiness ever.

Lermontov demon falls in love with the Georgian Princess Tamaru; She is an image of the perfection of earthly beauty and angelic purity; But it also arises an attraction to unknown and majestic, doubts are born in the established rules and catechism of faith. On the mortal coaster on her lips "Strange Smile":

What is in it? Mock lump over destiny

Invincible doubt?

Il to life Cold contempt?

Il with sky proud enmity?

Among the heroes of Vrubel - Shakespeare and Goethe characters. And by Faust, and in the choir witches in Macbeth ("Evil - in good, good - in evil") the artist meets a demonic dialectic.

Such a muse could not be and did not have Pushkin with the Olympic harmony of his worldview and the healthy joy of being. At the fashionable in his time, the demonism of the Baironovsky sense of Pushkin in "Onegin" and other works ironically watched as a secular mask, like on a "parody".

After a demon, perhaps, only Hamlet was a strong attachment, the interlocutor of Vrubel. According to his conviction, none of the actors-contemporaries penetrated the essence of the Danish Prince. "That will be money - rent the theater, I will bring the actors and play Hamlet to truly, - once Vrubel in the circle of friends. - Look in the mirror, what kind of Hamlet are you? - answered Vrubel. - You're Liliput, you have a tooth with a whistle and votes . None of the person will walk to watch how you will distort Shakespeare! .. - What? - Claply objected Vrubel. - It does not touch me; I will play one before the empty hall, I'm pretty " 1 .

After the end of the illustrations to the writings of Lermontov Vrubel, exhausted by the demon, is freed from his spell and from its oppression and for almost 10 years it does not return to the image of this "evil Mr.". Ten years, free from the demon, became, perhaps the most happy sometimes of his life. These are the years of happy marital love, lifting creative forces, more durable than before, success with customers.

At the end of December 1898, Vrubel writes Roman Corsakov: "I cook" Demon ". The painful searches continued for three years. In December 1901, a picture" Demon defeated "was completed. But soon he began to rewrite his cloth again, not stopping work even At exhibitions in Moscow and especially in St. Petersburg, where the picture was in February - March 1902, Alexander Benua tells: "Every morning, up to 12, the public could see how Vrubel" add "his picture. In this last struggle (2 months later, the artist was already in the hospital) there was something terrible and monstrous. Every day we found new and new changes. The face of the demon became all terrible and terrible, painful and more painful; His posture, his addition had something torture-turned into himself, something to the last degree strange and painful, the overall flavor, on the contrary, it becomes more and more enchanting, brilliant. A whole fireworks of ringing peacocks scattered on the wings of a demon, the mountains were lit behind the strange solemn glow, the head and the breast of the demon was decorated with self-auction stones and royal gold. In this form, the picture was and disturbed and insanely delighted. But or the artist himself was afraid of her, or the model covered her face, confusing the image of the master and pushing it to a completely different. There was a coup and since then the picture began to fill up, black, the posture began naturally, the head is more beautiful, somehow more prudent, and the demonic beauty almost completely disappeared. Vrubel would completely change the picture, if he had not been dismissed comrades, at least at the exhibition, not to concern her work " 2 .

Even the artists who took the art of Vrubel could not be deducted from the requirements of the correct anatomy in the figure of the figure, the expression of which was perceived as a flaw or uglyness of the picture. Captures of artists, even his close comrades led Vrubel to rabies. In a letter E. I. GE, he says that the man in the street, infected with Tolstovsky-Christian ideas, "with a tripled anger protects its half-hearted sight from bright light. In front of the pathetic, he sighs about his cute belching and a petties of petty, everyday life allegedly."

I knew Vrubel N. A. Prakhov wrote that "the demon of Vrubel could not break in the gust of despair ... In the last picture of Vrubel, he did not break, but only languishing ...".

When Vrubel was placed in the hospital, ill-wishers and persecutors, without hiding joy, hurried to notify readers, that the head of the Russian decadents "slept crazy", like a Baudelaire, and that, consequently, the "demon" and all the painting of Vrubel were the fruit of madness 3 .

2. Benoita A. Vrubel // World of Art. 1903. № 10-11, p. 182.

3. Text and quotes: Suzdalev P.K. Vrubel and Lermontov. M., 1991.

Arrange the punctuation marks. Specify two proposals in which you need to put one comma. Write down the numbers of these proposals.

1) In 1856, the first edition of the poem "demon" of the former lieutenant of the Tenghinsky regiment M. Yu. Lermontov was published in the German city of Karlsruhe and in the same year in Omsk in the family of headquarters of the same Tenginsky infantry regiment A. M. Vrubel was born Son - Future artist Mikhail Vrubel.

2) Many canvas I. K. Aivazovsky are perceived as musical or poetic improvisation.

3) For the first time for such a long war years, a ringing laughter came from the park and crashed into the air Scripped swords rusted from rain.

4) With the Decembrist poets of the composer A. A. Alyabyeva, both general views and many of the circumstances of life and severe personal destiny are associated.

5) The origins of rivers and springs and groves and oaks began in the Meshchersk region.

Explanation (see also a rule below).

We put punctuation signs.

1) In 1856, the first edition of the poem "demon" of the former lieutenant of the Tenghinsky regiment M. Yu. Lermontov was published in the German city of Karlsruhe, and in the same year in Omsk in the family of headquarters of the same Tenginsky infantry regiment A. M. Vrubel Son was born - the future artist Mikhail Vrubel (the comma separates the foundations).

2) Many canvases I. K. Aivazovsky are perceived as musical or poetic improvisations (the union as it acts as "in quality", and not in the composition of comparative turnover, so the comma does not become).

3) For the first time in such a long war years, a ringing laughter came from the park and crashed into the air the creak rusted from the rains of a swing (the fundamentals have a general secondary member for the first time, therefore the comma between the basics is not placed).

4) with the Poets-Decembrists of the composer A. A. Alyabyev tied both general views and many circumstances of life and serious personal destiny (comma with homogeneous).

5) The origins of rivers, and springs, and groves, and oaks (commas with homogeneous, associated with the repeated union and) became protected in the Meshchersky region.

Answer: 1, 4.

Answer: 14 | 41

Source: EGE-2016 demo version in Russian.

Rule: Task 16. Ploban signs in the SSP and in a sentence with homogeneous members

Punctuation marks in a complex proposal and in a sentence with homogeneous members

In this task, the knowledge of two points is checked:

1. commas in a simple sentence with homogeneous members.

2. commas in a complex sentence, parts of which combine writing unions, in particular, Union I.

purpose: Find two suggestions in which you need to put one point in each. Not two, not three (and it happens!) Commas, and one. At the same time, it is necessary to indicate the numbers of those proposals where the missed comma was put, since there are such cases that there are already a comma in the proposal, for example, with an accrued turnover. We do not consider it.

You should not search for commas at various revs, input words and in SPP: On the specification in this task, only the three specified points are checked. If the proposal will need commas for other rules, they will already be placed

It will be faithful to response from two digits, from 1 to 5, in any sequence, without commas and spaces, for example: 15, 12, 34.

Legend:

Och - homogeneous members.

SSP is a complex proposal.

The assignment algorithm must be:

1. Determine the number of foundations.

2. If the offer is simple, then we find all the ranks of homogeneous members and appeal to the rule.

3. If the foundations are two, then this is a complex proposal, and each part is considered separately (see paragraph 2).

Do not forget that homogeneous subjects and the faugables create not complicated, but a simple complicated offer.

15.1 punctuation marks with homogeneous members

Uniform members of the sentence are such members that answer the same question and belong to the same member of the sentence. Uniform members of the sentence (as the main, so secondary) are always connected by writing, with the Union or without it.

For example: In the "Children's years Bagrova-grandson" S. Aksakov with genuinely poetic enthusiasm describes both summer and winter paintings of Russian nature.

This offer has one part of Pts, these are two homogeneous definitions.

In one sentence there may be several rows of homogeneous members. So, in the proposal Soon hit heavy shower and covered the noise of rainflows and impulses of the wind, and pine boron moans Rows two: two fags, hit and covered; Two additions gusts and moans.

note: in each row, Pts has their punctuation rules.

Consider various proposals schemes with Pts and formulate the rules of comma formulations.

15.1.1. A number of homogeneous members connected by intonation, without unions.

General scheme: LTD .

Rule: If two or several Pts connected only by intonation, the comma is placed between them.

Example: yellow, green, red Apples.

15.1.2 Two homogeneous member are connected by the Union and, yes (in value and), or, or

General scheme: O and / Yes / either / or about.

Rule: if two och are connected by a single alliance and / yes, the comma is not put between them.

Example 1.: At the still life are depicted yellow and red Apples.

Example 2.: Everywhere I was encountered fun and friendly.

Example 3.: Only you yes I will stay in this house.

Example 4.: I will prepare rice with vegetables or pilaf.

15.1.3 Last Och joined Union I.

General scheme: Oh, about and about.

Rule: If the last homogeneous member is joined by the Union and, then the comma in front of it is not put.

Example: At the still life are depicted yellow, green and red Apples.

15.1.4. Homogeneous members more than two and union AND repeated at least twice

Rule: with various combinations of the Allied (paragraph 15.1.2) and the non-union (paragraph 15.1.1), the combination of homogeneous members of the proposal is complied with the rule: if homogeneous members are more than two and the union AND repeated at least twice, then the comma puts between all homogeneous members

General scheme: Oh, and Oh, and about.

General scheme: and Oh, and Oh, Io.

Example 1.: At the still life are depicted yellow, and green, and red Apples.

Example 2.: At the still life are depicted and yellow, and green, and red Apples.

More complex examples:

Example 3.: From the house, from trees, and from pigeon, and from the gallery - from all the long shadow ran away.

Two unions and, four och. Comma between Pts.

Example 4.: It was sad and in the spring air, and on the paneous sky, and in the car. Three union and, three och. Comma between Pts.

Example 5.: Houses and trees and sidewalks were covered with snow. Two unions and, three och. Comma between Pts.

Note, after the last och there is no commaFor it is not between Pts, but after him.

It is this scheme that is often perceived for the erroneous and non-existent, consider this when performing a task.

note: this rule works only under the condition that the union is repeated in one row, and not in the entire proposal.

Consider examples.

Example 1.: In the evenings at the table gathered children and adults And read out loud. How many rows? Two: children and adults; goals and read. Union and not repeated in each row, it is used one time. Therefore, the commas are not put according to Regulation 15.1.2.

Example 2: In the evening, Vadim went to his room and sat down reread Letter and write an answer. Two rows: gone and sat down; Sella (why? For what purpose?) reread and write.

15.1.5 Uniform members are connected by the Union A, but, yes (\u003d but)

Scheme: Oh, a / but / yes

Rule: if there is a union A, but, yes (\u003d but) commas are set.

Example 1: The student writes quickly, but inaccate.

Example 2: The baby is no longer a honeymoon, but cried his van.

Example 3: Small spool but precious .

15.1.6 Unions are repeated for homogeneous members NO NO; Not that, not that; Then then; OR EITHER; OR OR

Scheme: O, ILO, or O

Rule: with a two-time repetition of other unions (except) neither, nor; Not that, not that; then then; or either; Or, or the comma puts always:

Example 1: And the old man was pacing around the room and then Psalms flew in a low voice, then the daughter was impressive.

Please note that there are also homogeneous circumstances and additions in the proposal, but we do not allocate them for a clearer picture.

After the taent "packed" the comma is not!But if instead of the Union and that, and that would be just and, the commas were as many as (according to rule 15.1.4)

15.1.7. With homogeneous members there are double unions.

Rule: With double unions, the comma is placed before its second part. These are unions as ... so; not only but; not so much ... how much; How much ... so; Although ... but; if not ... then; Not that ... but; not that ... a; not only not, but rather ...than others.

Examples: I have a guide asfrom judge so equally and from all of our friends.

Green was not only magnificent landscape and plot master but It was still and Very subtle psychologist.

Mum not that angry but Still was unhappy.

Fogs in London are if not everyday , that A day later.

He was not so much upset , how much Surprised by the situation.

Please note that each part of the double union is before Pts, which is very important to take into account when performing a task 7 (the type "error for homogeneous members") we have already met with these unions.

15.1.8. Often homogeneous members are connected in pairs

General scheme: Scheme: Oh and O, O and O

Rule: With a pairing union of secondary members of the proposal, the comma is raised between the pairs (the Union and acts locally, only inside the groups):

Example1: Alleys planted with sirens and linden, knitting and poplars, led to a wooden stage.

Example 2: Songs were different: about joy and grief, the day of the past and day is coming.

Example 3: Books on geography and tourist directories, friends and random acquaintances told us that Ropotamo is one of the most beautiful and wild corners of Bulgaria.

15.1.9. Do not be homogeneous, so do not stand out by commas:

A number of repetitions having an amplifying shade are not homogeneous members.

And the snow went and went.

Simple complicated fags are also not homogeneous

He said so said I'll go check.

Phraseologists with repeated unions are not homogeneous members

Neither one nor fish nor meat; neither light either dawn; no day

If there is a sentence inhomogeneous definitionsThat faces an explanable word and characterize one subject from different sides, it is impossible to insert the union between them and.

Sleepy golden bumblebee unexpectedly rose from the flower depth.

15.2. Punctuation marks in a complex sentence

Complexed complex proposals are called, in which simple proposals are equal in meaning and are associated with writing alliances. Parts of the complex proposal do not depend on each other and make up one meaning integer.

Example: He walked three times in a peaceful, and every time the return home seemed to him the limit of human happiness.

Depending on the type of writing union, which binds part of the proposal, all complex proposals (SSP) are divided into three main discharges:

1) SSP with connecting unions (and; yes in value and; neither ..., neither; too; also; not only ..., but also; both ... and);

2) SSP with separation unions (then ..., then; not then ..., not that; or; either; or ..., either);

3) SSP with interpretation unions (a, but, yes, in value, but, however, but, but only, only).

15.2.1 The main rule of semicolon in the SSP.

The comma between parts of a complex proposal is raised by the main rule, that is, always, with the exception of special conditionsthat limit the action of this rule. These conditions are stated in the second part of the rule. In any case, to determine whether the proposal is difficult, it is necessary to find its grammatical foundations. What you need to consider at the same time:

a) Not always every simple sentence may also be subject to, and led. So, the proposals from one an impersonal part, with a fault in indefinitely. For example: A lot of work is to him, and he knew it.

Scheme: [Worth], and [He knew].

The door was called, and no one moved away.

Scheme: [called], and [no one moved].

b) to be subject to pronouns, both personal and other discharges: I suddenly heard a familiar voice before the pain, and it returned me to life.

Scheme: [I heard], and [it returned]. Do not lose pronouns in the role of subject if it duplicates to be subject to the first part! These are two sentences, each has its own foundation, for example: The artist was well acquainted with all guests, and he was a little surprised, seeing his face unfamiliar to him.

Scheme: [The artist was familiar], and [he was surprised]. Compare with a similar design in a simple sentence: The artist was well acquainted with all guests and was surprised a little, seeing his face unfamiliar to him. [About the tale and about the tale].

c) Since a complex offer consists of two simple, it is likely that each of them can have homogeneous members in their composition. Commas are also put according to the rule of homogeneous members, and by rule complex proposal. For example: Leaves bag, golden Fallen quietly to the ground, and the wind circled them in the air and threw up. Scheme offer: [Leaves fell], and [the wind is about the tale and about the tale].

15.2.2 Special conditions for setting signs in a complex sentence

In the school year of the Russian language, the only condition in which the comma is not put between parts of the complex supply, there is a presence general secondary member.

The most difficult thing for students is to understand whether there is General secondary sentence sentencewhich will give the right not to put a comma between parts, or it is not. The general means that relates simultaneously to the first part, and to the second. If the general member is - not set between parts of the SSP. If it is, then in the second part can not be a similar secondary memberHe is only one, stands at the very beginning of the offer. Consider ordinary cases:

Example 1.: A year later, the daughter went to school and Mom could go to work.

Both simple proposals can equally qualify for the circumstance of the time "in a year." What happened in a year? The daughter went to school. Mom was able to go to work.

Rearrangement of the general member at the end of the sentence changes meaning: The daughter went to school, and Mom was able to go to work in a year. And now this secondary member is no longer common, but only refers to the second simply offer. Therefore, it is so important for us first, the place of the general member, only the beginning of the sentence , and secondly, the general meaning of the proposal.

Example 2.: By the evening, the wind of the bitch and beginning to boost. What happened by the evening? Wind subsided. Beginning to boil.

Now more complex example 1: On the outskirts of the citythe snow has already begun to fit, and here it was already quite a spring picture.. In the proposal, two circumstances, each simple one. That is why comma delivered. There is no general secondary member. Thus, the presence of a second secondary member of the same type (place, time, goal) in the second sentence gives the right to put a comma.

Example 2.: By night, the temperature of Mom rose even more, and we did not sleep all night. There is no reason to attribute the circumstance "by night" to the second part of the complex supply, so the comma is put.

It should be noted that there are other cases in which the comma does not become between the parts of a complex proposal. These include the presence of a general introductory word, a common attachment, as well as two proposals of uncertain-personal, impersonal identical in structure, exclamation. But these cases were not included in the tasks of the EGE, and in the manuals they are not presented and in the school course are not studied.

scientific work

demon Lermontov and Demon Vrubel

Meanwhile, Vrubel did not resemble Lermontov for him in his spiritual walla.

But there are strange coincidences of events in life, incomprehensible coincidence of circumstances, significant dates. In 1856, the first edition of the poem "demon" of the former lieutenant of the Tenghinsky regiment Mikhail Yurevich Lermontov was published in the German city of Karlsruhe, and in the same year in Omsk, in the family of headquarters of the same Tengin's infantry regiment Alexander Mikhailovich Vrubel, Son was born - a future artist Mikhail Vrubel, whose life has developed in such a way that the Lermontov demon departed to his cradle, who chose the newborn with his new prophet.

Like Lermontov, Vrubel was born with a romantic soul, but 15 years after the early death of the poet.

In their childhood, there were similar features: And he was too early lost to mothers, from which spiritual fragility and a cured fervor inherited; Both have entertained the music they could listen for hours, both preferred to all other theatrical games; In them soon woke up and increased insatiable imagination. Sudden extension and thoughtfulness, silence and striving for loneliness, - all this was both at the poet, and by the artist.

Back in childhood and Lermontov, and Vrubel could feel the breadth of the world due to trips and travels: from the Urals to Moscow and the Caucasus - Lermontov; From Siberia to the Volga cities, St. Petersburg and Odessa - Vrubel. The artist went a lot and in his own country and abroad, he lived in Germany, Italy, France, saw Greece, traveled in the Mediterranean, and although he wrote a little pure landscape paintings, the nature loved and understood no less deeply than the poet.

Both received a thorough formation.

Next, the following was brought together: both, formed in the deaf course of the reaction (the poet - in the 30s, after the defeat of the Decembrists, the artist - in the 80s, after the defeat of the people), despite her, in his soul, the ideal of proud, revolving human spirit. Their demon is not a devil, the carrier of evil, depicted with horns, tail and goat hooves, in the astounder called "unclean power." The demon is a symbol of a rebellious principle, an angel, which risen against God, who rejected the indispensableness of God's Will. Later, the image of a "demonic personality" is rooted in the art of romanticism, in Byron's poetry.

From the rebellious titans of Bairon - Lucifer, Manfred, Cain - partly leads his pedigree and Lermontov demon.

The essence of this image is dual. On the one hand, the impression of the greatness of the human spirit, not tolerant of any prohibitions, no shackles in their gusts to freedom and completeness of knowledge. On the other hand, immeasurable pride, immense reassessment of personality forces, which turns over with loneliness, cold, emptiness. The Lermontov Demon reached absolute freedom, but it turned out to be a fearful freedom for him, a heavy burden.

Only God's damn

Turned -

From the same day

Nature hot arms

Forever cooled for me. Lermontov M.Yu. Poetry, Children's Literature Publishing House, Leningrad, 1981, p.158

In the years of "sleep and MGLL", the suppression and miserable stagnation of the personality Vrubel wanted to reconsider the spirit of the spirit again. But the story has already made its own adjustments to the understanding of "demonista", and unwittingly to the fore the motives of longing, loneliness and death were out. Especially since the artist himself, the burden of "demonic" themes, bravely, was far from Titan, not a hero - he was a weak son of his non-integration time.

The artist wrote a picture in 1890, finally formed by the unique-individual Vrubelian style. This style is based on the domination of the plastic-sculptural, volumetric pattern, the originality of which is crushing the surface of the shape to sharp, stuffing faces, liketing items to some crystalline formations. The color is understood by the wood as a peculiar illumination, the painted light, permeating the edge of the crystalline form. This is what the picture "Demon (Sitting)" is written - the result of everything that was found by the artist in the Kiev period of creativity. It is a program product of Vrubel, in which its method of artistic transformation of reality receives a plot design. This is not the method of direct observation and the transfer of visible nature, but The method of ideal presentation, imagination, which is only used by visible forms to work fantastically transformed world of "demonic expressiveness", according to one of the later critics. Impressionism with its installation on the immediate empirical perception, which played such an important role in the formation of the art of the late 19th century, not Touched Vrubel. Art M.M. Alpatov Vrubel, from 221

The image of a demon is broken away from his poetic prototype - Satan and represents a "demonic generally" in the interpretation of the artist of the 19th century. There is no plot, but there is a "eternal topic." The form of this product is just loaded with artistic memories, like his topic. The sculptural blind body of the demon resembles the Titanic images of Michelangelo. Sitting demon as shifted. It is huge, his figure seems to be cut out of stone. Against the background of fantastic colors laid out with color planes, as if a mosaic, the demon seems to be unearthly, far from ordinary ideas, to which a person is used. Vrublevsky image expressed a symbol in which the longing of the beauty and a dream about human happiness was merged, which is difficult to find on Earth. This image could be embodied only by those means that the artist used. His painting is always unusual. Paints are burning like precious stones, as if glow from the inside. The figures seem huge, are liken to the heroes of the ancient myths.

Lermontov demon, although suffering, still "King Poznan and Freedom". In Vrubel, he is not royal - it has more longing and anxiety than pride and greatness. This affected the illustrations to Lermontov's poem.

Here, Vrubel has the most fierce, sorrowful, lonely face on the background of mountain peaks. Less was less like in the scenes of the temptation of Tamara, where he tries his victory over her, - here in his appearance there is a sign of theatricality.

An amazing impression can be obtained from the sheets of "demon in the Tamara Power", so they are full of expression and beautiful as works of graphic art. You do not know what of the three options to give preference. The first is "do not cry, child, do not cry in vain" - the demon whobles Tamara's tempted speeches, she closes his face in confusion. Both figures - against the background of the magnificent pattern of oriental carpets. The second sheet - Tamara with trust and prayer addresses her heart: "Knee to me ... From evil compassion to renounce now dad dinner." Outside the window Magic Starry night, one big star shines brighter, closer than others. The demon looks at the girl with tenderness, touched.

And now we will directly refer to the poem M. Lermontov "Demon". Beautiful poems in which the demon tells Tamara about her love and her loneliness:

Only I saw you -

And secretly suddenly hated

Immortality and power my.

I envied the unwitting

Incomplete joy of earthly;

Do not live like you, it hurts me,

And terribly - to live with you.

In bloodless heart beam unexpected

Again he shouted live

And sadness at the bottom of an old wound

Started like snakes.

What is this eternity to me without you?

My possessions infinity?

Empty sonic words

Extensive temple - no deity!

The third option is depicting a moment when

Mighty gaze looked at her eyes!

He fought her. In the darkness of the night

Above it right he sparkled

Irresistible as the dagger. Dmitrieva N.A. Mikhail Vrubel, Children's Literature, M., 1984; from. 117.

This leaf is decoratively somewhat poorer previous, but the most remarkable expression. Both faces are in profile, the demon leans over Tamara, it raises to him as a magnet attracted by his burning gaze, her will enslave.

Re-turn to the poem M.Yu. Lermontov "Demon".

Lava feelings are poured out of the demone's soul. Against the backdrop of frightened Replica Tamara ("Tell me, why don't you love me? Why should I know your sadness? You can hear") Monologists of a merciless negative cause a strong response in the shower. They froze the mad passion, boiled and escaped, while Vtamare only begins to feel something like a cautious premonition. In addition, the demon is ready to even change its nature:

I want to reconcile with the sky

I want to love, I want to pray,

I want to believe good.

Weeping Rowing Sotra

I am on the chel, you deserve

Traces of Heavenly Fire -

And the world in the ignorance is calm

Let it flour without me!

Love me!

Further, the artist draws Tamaru in the coffin. Here are two options, but the best, perhaps, the one that depicts only the head resting. The form of the face, its plastic is tangible, as in sculpture, and is done by the easiest touch of the brush, delicate light, only in some way and slightly supplemented with light strokes.

The poem "Demon" is the best romantic work of Lermontov. Work on her continued almost all the creative life of the poet. According to religious myth, the demon is the former Angel, whom God expelled from Heaven to Earth and punished eternal loneliness. In order to correctly perceive the poem, it is very important to catch the author's intonation of the first characteristic of the hero:

Sad demon, Exhalation Spirit,

Flying over the sinning of the earth ...

Not "embittered" or "terrible", but "sad". The first epithet configures the reader soon to sympathize with a lonely skewer than to condemn it. This is all the more surprising that by religious ideas the demon - the personification of evil. Lermontov hero is not like that. Good, love him also not ordered. Demon contradictory, like all living things. The reader finds the hero at the moment when he, having resurrected by atrocities, is increasingly busy with the memories of the "best days":

Those days when in the dwelling of light

He shone, pure cherub

When running rings

Smile affectionate arrival

He loved to change him.

When eternal fogs through

Poznanya greedy, he watched

Washing caravans

In the space of abandoned luminaries;

When he believed and loved.

Happy primary creativity!

I did not know any malice, nor doubt,

And did not threatened his mind

Centuries barren sneeles ...

And a lot, a lot ... and everything

I remember did not have the strength!

"Cognition greedy." In another place of the poem about the demon, the "king of knowledge and freedom" said. In this logic, God is a symbol of faith, despotingly imposing his non-gas truths, the demon is the sign of the doubt about their immutability, without which no creativity is impossible. The demon denies not for the sake of denial. But for subsequent approval. Divine tranquility he opposes the alarm of the search. The basis of his "Freedom" does not choose faith, but a self-knowledge. The demon protests against the Divine Casting, which makes a person, and turns out to be more "humane" hero than God himself. The proud struggle of the demon brings him closer to the romantic Bountar of Bairon. As a romantic hero, the demon is also an individualist.

In general, the Lermontov cycle, especially the illustration for the "demon", can be considered the vertex of the skill of the Vrubel schedule. Here, Vrubel deliberately put the problem to express color without color, alone gradations of dark and light. Similar searches, the artist called the search for "technicians", and the technique of Vrubel is akin to magic - she gave the opportunity to embody his romantic vision of nature.

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