Poem Analysis Plan

Theme of the poem:

scenery; socio-political; love/intimate; philosophical. Plot: there is a plot: images of events (...which ones exactly...); without a plot: images of feelings (...).

The artistic means with which these images were created:

Composition: meter, rhyme, rhythm. Size: _ _" / _ _" / _ _" /_ _" iambic tetrameter (stress on every second syllable); "_ _ / "_ _ / "_ _ trochee 3-foot; "_ _ _ dactyl; _ _" _ amphibrachium; _ _ _" anapest.

Rhyme: aabb - steam room; abab - cross; abba - ring.

Trails

Words and phrases that are used not in a literal, but in a figurative, figurative meaning:

epithet - artistic definition; comparison; allegory - an allegorical depiction of an abstract concept/phenomenon through concrete images and objects; irony - hidden mockery; hyperbole - artistic exaggeration; litotes - artistic understatement; personification - for example: a bush that talks, thinks, feels; metaphor - a hidden comparison built on the similarity/contrast of phenomena, in which the words “as” and “as if” are absent; parallelism.

Stylistic figures:

repetitions/refrain; rhetorical question, appeal - increase the reader’s attention and do not require an answer; antithesis/opposition; gradation - for example: light - pale - barely noticeable; inversion - an unusual word order in a sentence with an obvious violation of the syntactic structure; silence is an unfinished, unexpectedly broken sentence in which the thought is not fully expressed; the reader thinks it out himself.

Poetic phonetics:

alliteration - repetition of identical consonants; assonance - repetition of vowels; anaphora - a single beginning, repetition of a word or group of words at the beginning of several phrases or stanzas; epiphora - the opposite of anaphora - repetition of the same words at the end of several phrases or stanzas.

Synonyms, antonyms, homonyms, archaisms, neologisms.

Literary direction: romanticism, realism, surrealism, symbolism, acmeism, sentimentalism, avant-garde, futurism, modernism, etc.

Genre: epigram (satirical portrait), epitaph (posthumous), elegy (sad poem, most often about love), ode, poem, ballad, novel in verse, song, sonnet, etc.

32011-02-22 19:59:28

Analysis of N. Gumilev’s poem “She”

As my own research on this topic, I chose N. Gumilyov’s poem “She”

I know a woman: silence,

Fatigue is bitter from words,

Lives in a mysterious flicker

Her dilated pupils.

Her soul is open greedily

Only the copper music of verse,

Before life, long and joyful,

Arrogant and deaf.

Silent and unhurried,

Her step is so strangely smooth,

You can't call her beautiful

But all my happiness is in her.

When I crave self-will

And bold and proud - as I go

Learn wise sweet pain

In her languor and delirium.

She is bright in the hours of languor

And holds lightning in his hand,

And her dreams are as clear as shadows

On the heavenly fiery sand.

1. The poem “She” was first published in Nikolai Gumilev’s book of poems “Alien Sky” in 1912. This is a book of N. Gumilyov’s departure from the symbolism that was characteristic of him earlier to a new worldview. It is this book that critics consider the first truly Acmeistic collection. According to A. Akhmatova, the poem is about her.

2. The main theme in the poem is the theme of love of the lyrical hero. The idea is to understand that love for a woman is always mysterious and inexplicable. The narration is told from the 1st person (lyrical hero). We can talk about the maximum rapprochement between the author and the lyrical hero. The poem presents the image of a heroine-beloved, she has no name, she appears as a “woman”. Throughout the entire narrative, the image of the heroine appears before us. We understand that she is a poetess (“Her soul is open greedily / Only to the copper music of verse”), and the poetess is very talented, since the lyrical hero goes to her “To learn wise sweet pain / In her languor and delirium.” The heroine is described with tenderness, love, and reverence: “You can’t call her beautiful, / But all my happiness is in her.”

Compositionally, the poem consists of three parts:

1-3 stanzas,

We believe that this is how the text can be divided thematically.

3. The key words in the poem are the words that most clearly characterize the heroine: “silence”, “fatigue”, “languor”, “flickering pupils”, “soul”, “wise, sweet pain”.

3.1 .Since the text is poetic, it presents means of artistic expression:

epithets (“mysterious twinkling”, “rosary dreams”, “paradise, fiery sand”);

comparisons (“her dreams are as clear as shadows”);

hyperbole (“holds lightning bolts in hand”);

metaphors (“bitter fatigue”, “copper music of verse”, “wise, sweet pain”).

Let's try to parse the metaphor “the soul is open greedily”:

soul – 1) the inner world of a person;

2) character traits;

open – 1) to lift something;

2) make it accessible;

3) expose;

greedily - 1) the desire to satisfy some desire;

2) stinginess, self-interest.

Analysis of metaphors allows us to better understand the text of the poem, feel its mood, and help reveal the depth of the heroine’s image.

3.2. Alliteration is observed in the lines: 3 (t), 7 (d), 12 (v, n), 13 (g, d), 17 (t, l), 20 (n). The sound [t] when used frequently gives the text a sensual tone due to its explosive nature. Sonorous sounds are bright, sunny, they define the earthly hypostasis, express earthly joys.

Assonance. Having analyzed the composition of vowel sounds in the poem, we found out that 2 sounds dominate: [o] and [a]. The sound [a] is associated in the mind with directness, sincerity, openness of statements (which is typical for program acmeists), and the sound also gives the text melody. Two main sounds in the text are also fixed in its title: [o] n [a].

3.3. With the help of the same word (forms): her, in her, in her, she, a connection is made in the text at the lexical level. The poem is also united by the image of the lyrical hero: “I know a woman,” “my happiness,” “I thirst for self-will,” “I am going to her.” All the vocabulary of the text works for the deepest psychological disclosure of the image of a woman.

4. The poem is written in iambic tetrameter, most of the rhyme is accurate, alternating male and female rhymes; cross rhyme.

5. With the help of carefully selected lexical means, sound writing, figurative artistic means, clarity of composition, and rejection of spectacular rhymes, Gumilyov achieves that height of language, its purity and accessibility, which, according to Acmeists, should become the basis of new poetry.

Conclusion

I would like to note that Nikolai Gumilyov was a far from ordinary person with an amazing and at the same time tragic fate. His talent as a poet and literary critic is beyond doubt. His life was full of severe trials, which he coped with valor: several suicide attempts in his youth, unhappy love, an almost duel, participation in a world war. But it was cut short at the age of 35, and who knows what brilliant works Gumilyov could still have created. An excellent artist, he left an interesting and significant legacy and had an undoubted influence on the development of Russian poetry. His students and followers, along with high romanticism, are characterized by the utmost precision of poetic form, so valued by Gumilyov himself, one of the best Russian poets of the early 20th century.

Literature of the 20th century developed in a climate of wars, revolutions, and then the emergence of a new post-revolutionary reality. All this could not but affect the artistic quest of the authors of this time. The social cataclysms of the beginning of our century intensified the desire of philosophers and writers to understand the meaning of life and art, to explain the shocks that befell Russia. Therefore, it is not surprising that any area of ​​literature of the early 20th century amazes with the unusualness and diversity of the author’s worldviews, forms, and structures. Artistic quests acquired a rare intensity and completely new directions. Each Master has firmly established the reputation of a pioneer of some new previously inaccessible direction or technique in literature.

4 2011-02-22 20:02:32

Analyzing the poems of Joseph Brodsky, which have recently been included in the school curriculum, often becomes difficult for both schoolchildren and teachers themselves. Difficulties arise not even during analysis, but even on the approaches to it: the very meaning of the poem remains unclear to the reader. We offer you an interpretation of one poem by I. Brodsky, which is included in many school programs.

Your watch not only moves, but is silent. Moreover, their path is devoid of any semblance of a circle. So in the walkers: not only a cat, but a mouse; they must live for each other. They tremble, scratch, and get confused in the days. But their fuss, bickering and inescapability are almost unnoticeable in villages, where houses are generally swarming with living creatures. There, every hour is erased in the mind, and the ethereal figures of bygone years are lost - especially in winter, when goats, sheep, and chickens crowd in the hallway.

1. This poem is about time and eternity. The opposition is stated in the very first line: the “pass” of time and “silence.” The division of time is artificial, it creates “inevitability” (because it is always, without rest), “fussing, gnawing,” trembling, confusion... The path of time is a “circle” (enchanted), as stupid as a cat chasing a mouse . Everyone knows the walker - with a cat that shoots its eyes left and right every second, as if it were watching a mouse. (In addition to the well-known cat from walkers, there is also an equally famous mouse that makes noise in the clock:

Hikory, dickory, dock, The mouse runs up the clock. The clock struck one, The mouse ran down, Hickory, dickory, dock.

Poem from Mather Goose Rhymes. In the lane S. Marshak: “The mice came out one day // See what time it is...”) The cat and the mouse complement each other: the cat’s goal is to catch the mouse, and the mouse’s goal is to run away from the cat. Vanity is generated by itself. What will happen if one of them suddenly disappears? The chase will stop, the clock will stop, and “silence” will come, the absence of time, eternity...

As it happens “in the villages”. The poem is divided in half: the first half is the essence generated by time, and the second is rural silence. In the village, time is not closed in a circle, so “every hour is erased in the mind,” instead of being preserved and piled up, a person does not “get confused in the days,” what has been lived does not return, but is “lost.” (“The figures of bygone years” are called “ethereal,” that is, unreal. However, due to its consonance, this word also brings with it the word “sterile,” that is, in vain, in vain preserved by the mind.) The slowing down of the rhythm of life is also emphasized syntactically: the sentences in the first part correspond lines, as if reflecting the division of time into hours, and towards the end of the poem they become longer and longer.

The only sign of the village is “living life,” as opposed to the mechanical, conventional cat and mouse from the first part. Thus, the opposition “time/eternity” also becomes the opposition “artificial/living”. This contrast becomes especially clear at the end of the poem: “goats, sheep, chickens”, “crowding in the hallway” in winter, refer the reader to the Nativity scene. The abstract (reasoning) poem ends with a bright picture, highlighted by an internal rhyme (“erased - lost”).

2 . Now let us remember that the first significant word of the poem is “yours.” It turns out that this is the most graceful declaration of love (in the broad sense of the word, perhaps for a friend). There is only one word in it that directly speaks of something else, but everything “positive” for the author is connected with it. This man is so amazing that even in his watch - the embodiment of “squabbling” and “confusion” - there is room for “silence”, which is generally found only in villages.

Analysis of the poem by F.I. Tyutchev "The Last Cataclysm".

We will try to show the main approaches to a lyrical poem of the classical type using the example of an analysis of a poem by F.I. Tyutchev "The Last Cataclysm" (1830).

When the last hour of nature strikes, the composition of the earth’s parts will collapse: Everything visible will again be covered by waters, And God’s face will be depicted in them!

We begin the analysis with the poetics of the title, since it contains the main lyrical image, the main emotion and philosophical idea for the poet is hidden. In fact, the title reflects the author's understanding of the text. The adjective “last” denotes events that occur on the edge, at the last line.

The word “cataclysm” itself (not “transformation” or “change,” which are similar in meaning) emphasizes the philosophical meaning of the poem. Judging by the title, one can assume that the text will unfold a picture from the Apocalypse, depicting the last day of creation. However, Tyutchev is an original poet-philosopher. For him, the last day will be the first day of a new creation.

The poem consists of one stanza (monostrophe) - a quatrain (quatrain). However, compositionally, this stanza is divided into two parts - the first two verses (poetic lines) and the last two.

This division is meaningful; it reflects two main world processes (destruction and creation), which are given in two verbs “destroyed” and “depicted” symmetrically located in the text.

There are two elements in the poem - earth and water. Depicting the death of the earth under water, Tyutchev turns to the biblical myth of Noah’s flood (“Everything visible will again be covered with water”). In this very appeal there is a simultaneous indication of death and salvation.

The philosophical nature of the verse is emphasized by the extra-subjective construction - the absence of pronouns “I”, “you”, “we”, etc., which embody the image of a person in the verse. The poem contains a philosophical generalization. This is evidenced by the choice of vocabulary - not empirical, but extremely abstract ("the last hour of nature", "everything visible", "God's face").

The process of destruction is “fixed” in the syntax of the verse: the first two lines are characterized by deep inversion (incorrect, reverse word order in a sentence). For example, compare the reverse word order (a sentence with inversion) and the direct one:

"When nature's last hour strikes..."; "When nature's last hour strikes..."

In the first case, the stress falling on the end is determined by the laws of verse construction, in the second it is logical.

The inversion disappears in the last line, which corresponds to the process of creation. The last line of the verse stands out not only by the absence of inversion (“And God’s face will be depicted in them!”), not only by the exclamatory intonation, reflecting the special pathos of the phrase, but also phonetically the sound “and”, repeated many times, in a special way instrumentalizes the ending of the verse “And God’s a face will be depicted in them!"

The poem "The Last Cataclysm" is written in iambic pentameter with masculine (stressed - "earthly", "them") and feminine (unstressed - "nature", "water") endings. The rhymes in the verse are both grammatical (of nature - water) and ungrammatical (of earth - them). Cross, open (ending in a vowel) and closed (ending in a consonant). This entire construction of the verse is based on the law of duality, “binary”, which is reflected primarily at the content level.

Along with the first line (“When the last hour of nature strikes”), where there is not a single metrical glitch, pure iambic is presented, which expresses the inexorability and inevitability of the onset of the “last hour”, all other lines contain digressions (they fall on the semantically basic verbs "will be destroyed", "will be depicted"). The absence of accent is called pyrrhic. Let us imagine the second line of the verse “The composition of the earthly parts will be destroyed” as a metrical scheme (a combination of stressed and unstressed syllables, denoting U - unstressed, I - stressed):

The fourth foot, which falls on the verb “will collapse,” will turn out to be “lightened,” pyrrhic.

There are especially many digressions in the third line (“Everything visible will again be covered with water”):

II/UU/UI/UI/UI/U.

In the first foot a super-scheme stress appears, called spondee in versification (II - two stressed syllables). The second foot is pyrrhic, with a missing accent.

In general, a large number of failures in this line can be explained, in our opinion, by the fact that it hiddenly indicates a human tragedy. The last cataclysm will destroy not only the “composition of earthly parts”, but will also turn into a human tragedy. At first glance, there is no place for humanity in the poem. As we noted at the beginning, the poem is a huge philosophical generalization. However, the expression “everything visible” (from the Old Slavonic word “zrak” - “eye”) also includes the human plane, so the line is, as it were, colored by human emotion, violating the usual rhythm of the verse.

The proposed analysis, as noted above, is not a “key” with which one can “open” any poetic text.

Alexander Trifonovich Tvardovsky is known to readers, first of all, as a poet who paid special attention to the feat of the Soviet people in the Great Patriotic War of 1941-1945 and the problems of building communism. During his life he worked as a writer, journalist, editor and war correspondent.

The family of A. Tvardovsky was subjected to repression in the 30s of the 20th century. His native farm, where the poet grew up, was burned, his parents and brothers were exiled, recognizing them as “enemies of the people.”

Later A. Tvardovsky will write about this in the poems “The Path to Socialism” and “The Country of Ant”. In 1969, he poured out all his experiences, pain and resentment on the pages of his famous work “By Right of Memory.”

A. Tvardovsky went to the front in 1941. In two years, he wrote the poem “Vasily Terkin,” which became dear and beloved to every soldier, as well as a cycle of military poems. Until the end of his life, he remembered this difficult time. He, like many who returned from the war, was tormented by melancholy and an unreasonable feeling of guilt - “I returned, but they didn’t.”

Losing loved ones at the front is excruciatingly painful, but it is even more painful to live with these memories in peacetime. By 1966, A. Tvardovsky wrote a short poem “I know, it’s not my fault...”. It reflected exactly everything that we just mentioned.

From the first line, the poet claims that he is a sane person, aware that he is not to blame for what is happening. He did not go crazy, did not remain captive of the terrible episodes of life. he understands that war does not choose who lives and who dies; chance reigns here:

"I know, it's not my fault
The fact that others did not come from the war...”

However, this does not diminish the suffering. Endless melancholy, awareness of the injustice of the world put pressure on the soul, not allowing us to live and rejoice as before. It is especially difficult for a front-line poet to remember those who were younger. After all, they could and should have lived, started families and grown old, and not exploded in the trenches and died in firefights.

The technique of casual narration used in the poem is noteworthy. The author constantly repeats that he knows that everything is not important, that this is not what we are talking about, but he needs to speak out. We need to talk about this, because such thoughts tear the heart, press from the inside. These statements simply need to reach human ears so that everyone can draw their own conclusion. The author does not need to explain or summarize anything. He may not even complete the thought, leaving an echoing “still...” at the end. “But what?” - readers answer this question independently.

In these six lines, in just one sentence, the author was able to fit a long, heartbreaking monologue. This work once again proves how talented a writer and poet Alexander Trifonovich Tvardovsky was.

Analysis of the poem by Alexander Trifonovich Tvardovsky

"I know, it's not my fault"

I know it's not my fault

The fact that others did not come from the war,

The fact that they - some older, some younger -

We stayed there, and it’s not about the same thing,

That I could, but failed to save them, -

It’s not about that, but still, still, still...

The Great Patriotic War left an indelible mark on the soul of Alexander Trifonovich Tvardovsky. And many of his post-war poems are dedicated to the war and the memory of those killed. Twenty years after the end of the war, the poet’s memory does not find peace, and he writes his sad and conscientious poems.

The laconic and therefore especially poignant poem is structured as a lyrical monologue, where the mood fluctuates between two feelings: on the one hand, the author convinces himself of his complete innocence before the soldiers who fell on the fields of the Great Patriotic War, on the other hand, in the last line that repentant feeling of his guilt, which is characteristic of all conscientious people. Repeating the particle “Still” three times, expressing doubt, brings to the surface a far hidden feeling of pain that does not subside over time. This feeling cannot be explained; how could Tvardovsky “save” his compatriots? – but that’s why it’s deep and true. “I” - alive and “others” - dead - this is the main conflict of the poem, which was never resolved in the finale (the ellipsis also means that the internal monologue has not stopped, that more than once the lyrical hero will conduct this painful dialogue with himself ).

Lyrical simplicity, there are no metaphors or epithets in the poem, brings to the center of the reader's attention an intense movement of feeling, devoid of any pictorial effects. Repetitions (“The fact that others...”; “The fact that they...”; “....And we’re not talking about the same thing...”; “It’s not about that...”) introduce a fragile verbal support into the poet’s confused speech. .

The elegiac iambic pentameter and one semantic segment (the text contains one unfinished sentence) perfectly correspond to the general mood of the poem.

It is written in lively colloquial speech, there are no book words, a lot of phraseological units (“not my fault”; “who is older, who is younger”; “we are not talking about the same thing”). There are no pauses between lines in the poem. This is the author's monologue, delivered in one breath. He draws attention to the capacity of the expression “some older, some younger,” because several generations died in the war. Its participants were people born in the last decade of the 19th century, in the 20s of the 20th century - fathers, sons and grandchildren.

The poet did not give a final answer; it is up to the reader to think for himself whether the author is guilty of “the fact that others did not come from the war.”

“It’s not about that, but still. So what? Don't know. I only know during the war days. Everyone has equal rights to life and death.”

The first line is far from perfect. The second and third do not correspond to the general tone of the poem, and their meaning is well known and simple: “it’s not my fault,” fate decreed it. The last line of the final edition is more in line with the author’s painful thought; it is richer in its generality and emotion.

The poet's joys in life are overshadowed by the memory of the dead. This is a manifestation of Tvardovsky’s great gift to carry the joy and pain of the people.

On the topic: methodological developments, presentations and notes

Lesson "Linguistic analysis of M.Yu. Lermontov's poem "My Demon"

Teaching text activity is one of the ways to develop communicative competence. One of the ways to analyze and interpret a poetic text is linguistic analysis, which allows...

Analysis of the poem by A.S. Pushkin's "Winter Road". Analysis of Yesenin's poem "Powder". Comparative analysis of S.A. Yesenin's poem "Powder" with the given poem by A.S. Pushkin "Winter Road".

A. S. Pushkin’s poem “Winter Road” is one of the wonderful works of the Russian poet. When you read this poem, you involuntarily imagine sad and at the same time mysterious Russian...

Alexander Trifonovich Tvardovsky is a beloved Soviet writer and journalist, but most of all he is known as a poet, in whose lines there is one of the most vivid reflections of the Great Patriotic War. Tvardovsky’s works are taught in schools and taught by heart, they are quoted, sometimes without even noticing this fact, the lines are so easily remembered. Tvardovsky's poetry, at first glance, is simple, but lively; it turns out to be much deeper if you look beyond the façade of the first impression. She looks like a real, living and sincere person, which makes her loved by many.

The history of the creation of the poem

As we now know, Tvardovsky was haunted for many years by the horrors of war, which he had to go through as a war correspondent, even though he tried not to show it to his loved ones. These pictures had a strong impact on the poet’s work, in which the thought sometimes slipped through that one’s own death in war would be more merciful than the constant experience of the death of others. All these thoughts in 1966 resulted in the poem “I know, it’s not my fault...”, the analysis of which can be carried out for quite a long time, looking at it from different angles, from different points of view. And it should be said that many of Alexander Trifonovich’s friends and relatives were not delighted with such thoughts and his mood.

The main idea of ​​the poem

For the author, this poem is in many ways similar to a confession; it is in it that he shares his most intimate experiences and thoughts. The work is permeated with that indescribable depressing feeling that a person who returns from war experiences when he looks into the eyes of the relatives and friends of his fallen comrades. He understands that this happened not through his fault, and that, in general, there is nothing to reproach himself for, but such thoughts themselves come to mind again and again, making him feel guilty, “for what he could, but didn’t managed to save." Making him think that it would be better if everything happened the other way around, forgetting that in this case his comrades would be tormented by the same feeling. And the analysis of “I know, it’s not my fault” by Tvardovsky will largely rely on this idea.

Analysis of artistic form

First of all, it should be said that even the rhyme structure in this work by Tvardovsky is tightly connected with the main content of the poem. The first two lines contain a paired rhyme:

"I know, it's not my fault
The fact is that others did not come back from the war.”

With this smooth flow of speech, the author seems to “begin” the thread of his thoughts. At first they go quite smoothly, without causing pain, but then the understanding comes that this feeling, a feeling of a kind of guilt, is closed in a ring and inextricably. As well as a constant return to these thoughts.

In the third line of the poem there is such a stylistic device as an antithesis - “who is older, who is younger”, which helps the author emphasize the fact that in the war he saw the death of both adult mature men and very young boys, and he also cannot forget. The contrast is also observed in the fifth line: “I could, but I couldn’t.” This technique reflects the author’s unpleasant difference between what actually happened and what he would like.

The analysis “I know, it’s not my fault...” helps to understand several more important things. The end of the poem, more than other lines, is permeated with a kind of hopelessness, a feeling that there is no way out of this circle. By saying “that’s not what we’re talking about,” the author seems to deny all the previous lines, as if he wants to show that all previous thoughts were not serious, but immediately returns to them again, repeating the sad, thoughtful “yet” three times. This repeated repetition greatly enhances the emotional message of the entire poem.

Conclusion

Analysis of “I know, it’s not my fault...” is a task that requires greater emotional sensitivity and the ability to imagine oneself in the author’s place. And this task is quite difficult for a modern person who does not have the same experience in life that Tvardovsky had.

ANALYSIS OF A. T. TVARDOVSKY’S POEM “I KNOW IT’S NOT MY FAULT...”

But still, still, still... A. T. Tvardovsky Alexander Trifonovich Tvardovsky, who walked the roads of war, more than once turned to it in his work, creating the heroic epic “Vasily Terkin” and the lyrical cycles: “Front-line Chronicle ", "Post-war poems". But the tiny poem “I know, it’s not my fault...” occupies a special place in his lyrics, it seems to sum up the path traveled, set to the highest standard and refers to that unforgettable “time of happiness” when he realized that the long-awaited anniversary has arrived, and you, alive, will be the builder of a new world. I know it’s not my fault that others didn’t come from the war, that they - some older, some younger - stayed there, and it’s not about the same thing, that I could, but failed to save them... This feeling was mixed with bitterness from the loss of friends, loved ones, just acquaintances and millions of unfamiliar compatriots. The poet seemed to have absorbed the universal pain and carried it within himself; it was transformed, reborn into poetry, revealing the Soul of this extraordinary person. A tiny poem, but it contained the philosophy of a long life lived, a person who has seen and suffered a lot. Tvardovsky had something to remember, something to ache for in his soul. This is an eternal guilt before relatives who were innocently sent to die. The poetic form allowed the author to leave a lot outside the scope of the poem, containing only immeasurable pain in it. The last line clearly demonstrates this. This is not about that, but still, still, still... My little life experience does not allow me to fully understand the philosophical meaning of this work, but the secret that has been revealed is enough to understand the genius of Tvardovsky and his legacy.

Tasks and tests on the topic “Analysis of the poem by A. T. Tvardovsky “I know, it’s not my fault...””

• The basis of the word. Analysis of words by composition. Analysis of the word composition model and selection of words according to these models - Word composition 3rd grade

  Lessons: 1 Assignments: 9 Tests: 1

• Basic principles of Russian punctuation - Basic concepts of syntax and punctuation grade 11

  Lessons: 2 Assignments: 5 Tests: 1

• Spelling words with an unstressed vowel sound at the root. Ways to check spelling - Sounds and letters. Spelling rules 2nd grade

  Lessons: 2 Assignments: 11 Tests: 1