Literature also needs talented readers, as well as talented writers. It is on them, on these talented, sensitive readers with a creative imagination, that the author counts when he strains all his mental strength in search of the right image, the right turn of action, the right word. And there are times when a book, lying peacefully on our shelf, gradually and imperceptibly loses its charm. She seems to be destroyed, merging with others similar to her. The fate of the book is decided by a living person, the reader. All the strings that the author has are in the hearts of the readers. The author has no other strings. And depending on the quality of playing on these strings, they resonate in the souls of people, sometimes dully, sometimes loudly, sometimes loudly, sometimes quietly. We must not forget about this when we talk about language, about the poet’s vocabulary. Remember how Lermontov brought Heine’s poems closer to the heart of the Russian reader by translating the German words into these Russian words: And she dozes, swaying, and is dressed in loose snow like a robe1. Tyutchev's translation of the same poem by Heine, very close to the original, did not, however, evoke such a deep response in us and therefore did not enter Russian poetry on a par with the original poems2. Words and combinations of words are connected in our minds with many, many of the most complex associations and are capable of raising from the bottom of our soul a whole world of memories, feelings, images, and ideas. And this depends on what is in the author’s heart and soul and how much he masters that powerful verbal keyboard that sets the strings of the reader’s hearts in motion. And that's it
Place punctuation marks. Indicate the numbers of sentences in which you need to put ONE comma.
1) Literature needs both talented writers and talented readers.
2) During a test lesson or oral exam, strive to construct your answer in the form of a coherent statement.
3) On the first snow in aspen and birch groves, you come across hare and squirrel tracks.
4) The forest and field and flowering meadow are flooded with sun.
5) The girl was overcome, if not with annoyance, then with obvious dissatisfaction with herself.
Explanation (see also Rule below).
Let's give the correct spelling.
1) Literature needs both talented writers and talented readers.
2) During a test lesson or oral exam, strive to construct your answer in the form of a coherent statement.
3) On the first snow in aspen and birch groves, you come across hare and squirrel tracks.
4) The forest, the field, and the flowering meadow are flooded with sun.
5) The girl was overcome, if not with annoyance, then with obvious dissatisfaction with herself.
One comma is needed:
in the first and 5 sentences: their homogeneous members are connected using double conjunctions
Answer: 1 and 5
Answer: 15|51
Relevance: 2016-2017
Difficulty: normal
Codifier section: Punctuation marks in BSC and sentences with homogeneous members
Rule: Task 16. Punctuation marks in BSC and in sentences with homogeneous members
PUNCTUATION MARKS IN COMPLEX SENTENCES AND IN SENTENCES WITH HOMOGENEOUS MEMBERS
This task tests knowledge of two punctograms:
1. Commas in a simple sentence with homogeneous members.
2. Commas in a complex sentence, the parts of which are connected by coordinating conjunctions, in particular, the conjunction I.
Target: Find TWO sentences that require ONE comma in each. Not two, not three (but this happens!) commas, but one. In this case, you need to indicate the numbers of those sentences where the missing comma was PUT, since there are cases when the sentence already has a comma, for example, in an adverbial phrase. We don't count her.
You should not look for commas in various phrases, introductory words and in the IPP: according to the specification in this task, only the three indicated punctograms are checked. If the sentence requires commas for other rules, they will already be placed
The correct answer will be two numbers, from 1 to 5, in any sequence, without commas or spaces, for example: 15, 12, 34.
Legend:
OC - homogeneous members.
SSP is a compound sentence.
The algorithm for completing the task should be like this:
1. Determine the number of bases.
2. If the sentence is simple, then we find ALL rows of homogeneous members in it and turn to the rule.
3. If there are two basics, then this is a complex sentence, and each part is considered separately (see point 2).
Do not forget that homogeneous subjects and predicates create NOT a complex, but a simple complicated sentence.
15.1 PUNCTION MARKS FOR HOMOGENEOUS MEMBERS
Homogeneous members of a sentence are those members that answer the same question and relate to the same member of the sentence. Homogeneous members of a sentence (both main and secondary) are always connected by a coordinating connection, with or without a conjunction.
For example: In “The Childhood Years of Bagrov the Grandson,” S. Aksakov describes with truly poetic inspiration both summer and winter pictures of Russian nature.
In this sentence there is one row of meanings, these are two homogeneous definitions.
One sentence can have several rows of homogeneous members. Yes, in a sentence Soon a heavy downpour hit and covered with the noise of rain streams and gusts of wind, and the groans of the pine forest two rows: two predicates, hit and covered; two additions, gusts and groans.
note: Each row of OCs has its own punctuation rules.
Let's consider various schemes of sentences with och and formulate the rules for placing commas.
15.1.1. A series of homogeneous members connected ONLY by intonation, without conjunctions.
General scheme: OOO .
Rule: if two or more words are connected only by intonation, a comma is placed between them.
Example: yellow, green, red apples.
15.1.2 Two homogeneous members are connected by the union AND, YES (in the meaning of AND), EITHER, OR
General scheme: O and/yes/either/or O .
Rule: if two words are connected by a single conjunction I/DA, no comma is placed between them.
Example 1: The still life shows yellow and red apples.
Example 2: Everywhere she was greeted cheerfully and friendly.
Example 3: Only you and I will stay in this house.
Example 4: I will cook rice with vegetables or pilaf.
15.1.3 The last OC is joined by the union I.
General scheme: O, O and O.
Rule: If the last homogeneous member is joined by a conjunction and, then a comma is not placed in front of it.
Example: The still life shows yellow, green and red apples.
15.1.4. There are more than two homogeneous members and a union AND repeated at least twice
Rule: For various combinations of union (clause 15.1.2) and non-union (clause 15.1.1) combinations of homogeneous members of a sentence, the rule is observed: if there are more than two homogeneous members and the union AND is repeated at least twice, then a comma is placed between all homogeneous terms
General scheme: Oh, and Oh, and Oh.
General scheme: and O, and O, and O.
Example 1: The still life shows yellow, and green, and red apples.
Example 2: The still life shows and yellow, and green, and red apples.
More complex examples:
Example 3: From the house, from the trees, and from the dovecote, and from the gallery- Long shadows ran far away from everything.
Two unions and, four och. Comma between och.
Example 4: It was sad in the spring air, and in the darkening sky, and in the carriage. Three unions and, three och. Comma between och.
Example 5: Houses and trees and sidewalks were covered with snow. Two unions and, three och. Comma between och.
Please note that there is no comma after the last och, because this is not between the OC, but after it.
It is this scheme that is often perceived as erroneous and non-existent; keep this in mind when completing the task.
note: This rule only works if the conjunction AND is repeated in one row, and not in the entire sentence.
Let's look at examples.
Example 1: In the evenings we gathered around the table children and adults and read it aloud. How many rows? Two: children and adults; gathered and read. The conjunction is not repeated in each row, it is used once. Therefore, commas are NOT placed according to rule 15.1.2.
Example 2: In the evening Vadim went to his room and sat down reread letter and write a response. Two rows: left and sat down; I sat down (why? for what purpose?) to re-read and write.
15.1.5 Homogeneous members are connected by the union A, BUT, YES (= but)
Scheme: O, a/no/da O
Rule: If there is a conjunction A, BUT, YES (= but), commas are used.
Example 1: The student writes quickly but sloppily.
Example 2: The baby no longer whined, but cried bitterly.
Example 3: Small spool but precious .
15.1.6 With homogeneous members, conjunctions are repeated NO NO; NOT THIS, NOT THAT; THAT, THAT; OR EITHER; OR OR
Scheme: O, or O, or O
Rule: when repeating other conjunctions (except I) twice, neither, nor; not this, not that; this, that; or either; or, or a comma is always used:
Example 1: And the old man walked around the room and either hummed psalms in a low voice or impressively lectured his daughter.
Please note that the sentence also contains homogeneous circumstances and additions, but we do not highlight them for a clearer picture.
There is no comma after the predicate “paced”! But if instead of the union AND THEN, AND THEN there was simply AND, there would be three whole commas (according to rule 15.1.4)
15.1.7. With homogeneous members there are double unions.
Rule: In double conjunctions, a comma is placed before the second part. These are unions of both... and; not only but; not so much... but; how much... so much; although and... but; if not... then; not that... but; not that... but; not only not, but rather... than others.
Examples: I have an errand How from the judge, So equals And from all our friends.
Green was Not only a magnificent landscape painter and master of plot, But It was still And a very subtle psychologist.
Mother not really angry, But I was still unhappy.
There are fogs in London if not every day , That every other day for sure.
He was not so much disappointed , How many surprised by the current situation.
Please note that each part of a double conjunction is BEFORE OC, which is very important to take into account when completing task 7 (type “error on homogeneous members”), we have already encountered these conjunctions.
15.1.8. Often homogeneous members are connected in pairs
General scheme: Scheme: O and O, O and O
Rule: When combining minor members of a sentence in pairs, a comma is placed between the pairs (the conjunction AND acts locally, only within groups):
Example1: Alleys planted with lilacs and lindens, elms and poplars led to a wooden stage.
Example 2: The songs were different: about joy and sorrow, the day that has passed and the day to come.
Example 3: Geography books and tourist guides, friends and casual acquaintances told us that Ropotamo is one of the most beautiful and wild corners of Bulgaria.
15.1.9. They are not homogeneous, therefore they are not separated by commas:
A number of repetitions that have an intensifying connotation are not homogeneous members.
And it snowed and snowed.
Simple complicated predicates are also not homogeneous
That's what he said, I'll go check it out.
Phraseologisms with repeating conjunctions are not homogeneous members
Neither this nor that, neither fish nor meat; neither light nor dawn; neither day nor night
If the offer contains heterogeneous definitions, which stand before the word being explained and characterize one object from different sides, it is impossible to insert a conjunction between them and.
A sleepy golden bumblebee suddenly rose from the depths of the flower.
15.2. PUNCTION MARKS IN COMPLEX SENTENCES
Complex sentences are complex sentences in which simple sentences are equal in meaning and are connected by coordinating conjunctions. The parts of a complex sentence are independent of each other and form one semantic whole.
Example: Three times he wintered in Mirny, and each time returning home seemed to him the limit of human happiness.
Depending on the type of coordinating conjunction that connects the parts of the sentence, all complex sentences (CCS) are divided into three main categories:
1) SSP with connecting conjunctions (and; yes in the meaning and; neither..., nor; also; also; not only..., but also; both..., and);
2) BSC with dividing conjunctions (that..., that; not that..., not that; or; either; either..., or);
3) SSP with adversative conjunctions (a, but, yes in the meaning but, however, but, but then, only, the same).
15.2.1 The basic rule for placing a comma in the BSC.
A comma between parts of a complex sentence is placed according to the basic rule, that is, ALWAYS, with the exception of special conditions, which limit the application of this rule. These conditions are discussed in the second part of the rule. In any case, to determine whether a sentence is complex, you need to find its grammatical basis. What to consider when doing this:
a) Not always every simple sentence can have both a subject and a predicate. So, the frequency of sentences with one impersonal part, with a predicate in vague personal proposal. For example: He had a lot of work ahead of him, and he knew it.
Scheme: [is coming], and [he knew].
The doorbell rang and no one moved.
Scheme: [they called], and [no one moved].
b) The subject can be expressed by pronouns, both personal and other categories: I suddenly heard a painfully familiar voice, and it brought me back to life.
Scheme: [I heard], and [it returned]. Don't lose a pronoun as a subject if it duplicates the subject from the first part! These are two sentences, each with its own basis, for example: The artist was well acquainted with all the guests, and he was a little surprised to see a face unfamiliar to him.
Scheme: [The artist was familiar], and [he was surprised]. Let's compare with a similar construction in a simple sentence: The artist was well acquainted with all the guests and was a little surprised to see a face unfamiliar to him.[O Skaz and O Skaz].
c) Since a complex sentence consists of two simple ones, it is quite likely that each of them can have homogeneous members in its composition. Commas are placed both according to the rule of homogeneous members and according to the rule of complex sentences. For example: Leaves crimson, gold They fell quietly to the ground, and the wind circled them in the air and threw them up. Sentence pattern: [Leaves fell], and [wind O Skaz and O Skaz].
15.2.2 Special conditions for placing signs in a complex sentence
In a school course of the Russian language, the only condition under which a comma is not placed between parts of a complex sentence is the presence common minor member.
The most difficult thing for students is to understand whether there is common minor clause, which will give the right not to put a comma between parts, or there is none. General means that it relates simultaneously to both the first part and the second. If there is a common member, a comma is not placed between the parts of the BSC. If it exists, then in the second part there cannot be a similar minor member, there is only one, it is at the very beginning of the sentence. Let's consider simple cases:
Example 1: A year later, my daughter went to school and my mother was able to go to work..
Both simple sentences can equally qualify for the time adverbial “in a year.” What's happened in a year? My daughter went to school. Mom was able to go to work.
Moving the common member to the end of the sentence changes the meaning: My daughter went to school, and my mother was able to go to work a year later. And now this minor member is no longer general, but relates only to the second simple sentence. That is why it is so important for us, firstly, the place of the common member, just the beginning of a sentence , and secondly, the general meaning of the sentence.
Example 2:By evening the wind died down and it started to freeze. What happened By the evening? The wind died down. It started to freeze.
Now more complex example 1: On the outskirts of the city the snow had already begun to melt, and it was already quite a spring picture here. There are two circumstances in the sentence, each simple has its own. That's why comma added. There is no common minor member. Thus, the presence of a second minor member of the same type (place, time, purpose) in the second sentence gives the right to insert a comma.
Example 2: By nightfall, my mother’s temperature rose even more, and we did not sleep all night. There is no reason to attribute the adverbial “to the night” to the second part of a complex sentence, therefore a comma is placed.
It should be noted that there are other cases in which a comma is not placed between parts of a complex sentence. These include the presence of a common introductory word, a common subordinate clause, as well as two sentences that are indefinitely personal, impersonal, identical in structure, and exclamatory. But these cases were not included in the Unified State Examination tasks, and they are not presented in manuals and are not studied in the school course.
Guest 20.10.2013 17:03
Why do you need to put a comma after the word LES?
Tatiana Statsenko
Because the conjunction AND is repeated, connects homogeneous subjects. When we have a repeated conjunction AND in a sentence, a comma is placed before the first “AND”
I study biology and chemistry at Five Plus in Gulnur Gataulovna’s group. I am delighted, the teacher knows how to interest the subject and find an approach to the student. Adequately explains the essence of his requirements and gives homework that is realistic in scope (and not, as most teachers do in the Unified State Examination year, ten paragraphs at home, and one in the class). . We study strictly for the Unified State Exam and this is very valuable! Gulnur Gataullovna is sincerely interested in the subjects that she teaches and always gives the necessary, timely and relevant information. Highly recommend!
Camilla
I am preparing for mathematics (with Daniil Leonidovich) and Russian language (with Zarema Kurbanovna) at Five Plus. Very pleased! The quality of classes is at a high level; the school now gets only A's and B's in these subjects. I wrote the test exams as a 5, I’m sure I’ll pass the OGE with flying colors. Thank you!
Airat
I was preparing for the Unified State Exam in history and social studies with Vitaly Sergeevich. He is an extremely responsible teacher in relation to his work. Punctual, polite, pleasant to talk to. It is clear that the man lives for his work. He is well versed in teenage psychology and has a clear training method. Thank you "Five Plus" for your work!
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I passed the Unified State Exam in Russian with 92 points, mathematics with 83, social studies with 85, I think this is an excellent result, I entered the university on a budget! Thank you "Five Plus"! Your teachers are true professionals, with them high results are guaranteed, I am very glad that I turned to you!
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How to become a good READER
Book exhibition-advice for teenagers
"LiteratureSosameneededtalented readers,
HowAndtalentedwriters."
SamuelYakovlevich Marshak
The book is one of the greatest wonders of the world, an amazing invention of mankind.
It turns out that reading also needs to be learned, then it is both joy and benefit.
- Commit journey V history of the book .
It is forbidden become good reader without knowledge stories books . Explore her .
This is an ancient and young country at the same time. Young readers will be able to learn about the historical role of the book from antiquity to the present day, about its significance in the formation of human spiritual culture, get an idea of the great books of antiquity and famous scribes, visit different countries and eras that play an important role in the fate of the book. And be sure to “get acquainted” with the libraries of the past and modern temples of wisdom.
Literature:
1. E. L. Nemirovsky. Journey to the origins of Russian printing: A book for students. - M.: Education, 1991. - 224 p.: ill.
2. A. G. Glukhov. ...Only writing sounds: The fate of ancient libraries. - M.: Book, 1981.- 208 p., ill.
3. Golubeva O. D. In the world of book treasures. - L.: Lenizdat, 1988. -272 p.
4. E. Sturgeon. The Tale of Drukar Ivan and his books: For primary school age. - M.: Malysh, 1983. - 95 p.: ill.
5. I. Pavlov. About your book. - L.: Children's literature, 1991. - 113 p.: ill. -(Know and be able to)
6. Electronic presentation “Your fun book garden.” /Library of Municipal Educational Institution Secondary School No. 3, Shumerlya, 2010.
2. Learn culture reading . Culture reading — This
- skillon one's ownworkWithbook-goy;
- knowledgetechniquesrationalreading;
- carefulattitudeTobook;
- skillconcentrateonvolume,Whatyou read;
- the ability to quickly find the books you need in the library, etc.
- The ability to simultaneously: understand, imagine, experience what you read.
Mastereveryonethis.
Bookteaches,treatssoul,develops tasteformslooks...Reading talent— ThisNotJustnaturalgift,Are-resultstubbornlabor.
- How can one learn to enjoy the skill of a writer, the depth of his thoughts, and not just “swallow” books or perform a boring task?
- How does a true book differ from a fake one, or a talented book from a dull one?
- Where to start working on an essay?
- What are the techniques for speed reading?
- How to properly format a quotation, compile a bibliography, plan, outline?
Teenagers will be able to find answers to these and many other questions in the proposed publications, using the important advice of experts.
The talent of a reader is one of those rare talents that everyone can develop in themselves. And then a person will learn to apply the knowledge gained from books in life. In a word, the reader will gain talent.
Literature:
1. I. Ya. Linkova. You and your book: A book for reading. - M., Education, 1981. - 142 s.
2. I am friends with the book // Children's Encyclopedia, 2009, No. 3, 72 p.
3. Information and you. // Children's Encyclopedia, 2007, No. 3, 56 p.
4.Library tutor/Library of Municipal Educational Institution Secondary School No. 3.
5. Secrets of successful work with printed publications: Library lesson for high school students. Electronic presentation. Library of Municipal Educational Institution Secondary School No. 3.
6. “Method of note-taking. Library lesson Electronic presentation. Library of Municipal Educational Institution Secondary School No. 3.
7. Journey through the children's Internet Library lesson Electronic presentation. Library of Municipal Educational Institution Secondary School No. 3.
3. Make friends With encyclopedias , reference books , dictionaries .
Get your bearings V stream information helps reference literature . This encyclopedias , dictionaries , reference books .
Contact us To him .
The proposed unique publications will become faithful companions on an exciting journey through the planet of knowledge. Concise text and illustrations will help you easily learn serious and useful information about man and the Universe, about disappeared civilizations and unusual natural phenomena, about animals and plants, and much more. And, of course, they will be useful to the student for several years of study.
Interestpresentpublicationsfromseries"Allabouteveryone""Strokes"time","EncyclopediaForchildren","Whois there anyone in the world""100famous","100greats”, “Everything about everything”, “I explore the world”, “Encyclopedia for children”,
Encyclopedias"What is it, who is it", "Great Russian Encyclopedia", "Great Encyclopedia of Cyril and Methodius" (WithD), "Great Soviet Encyclopedia (CD) and others.
Useful information and reliable scientific facts will help a teenager broaden his horizons.
- RGDL website on the Internet called “BiblioGid” (www.bibliogid.ru and www.biblioguide.ru).
- Library of Maxim Moshkov,
- Internet library of Alexey Komarov,
- Website of the International Reading Association (www.reading.org
- Electronic libraries "ImWerden" and "Bestseller" - this is an incomplete list of electronic libraries to which there is free access.
4. Read books , verified time .
Choosing books For reading , special preference give it back those , who used popularity at many generations readers .
Here are the best books for children that have stood the test of time: they were read by mothers and fathers, grandparents... These publications truly constitute the “golden circle” of reading: A. Pushkin “Poems”, J. Berne “Fifteen-Year-Old” captain", A. Green "Scarlet Sails", M. Reed "The Headless Horseman", N. Gogol "Evenings on a Farm near Dikanka", a miracle", W. Shakespeare "Twelfth Night", L. Tolstoy "Youth", G . Troepolsky “White Bim Black Ear” and many others.
Literature:
- One Hundred Favorite Books: Golden List for Children's Reading // Children's Encyclopedia, 2008, No. 9, 88 p.
- Anthology of world children's literature. /Multivolume edition - M., Avanta, 2003.
- Books recommended by the Successful Reading Project
- “Treasured List” by M.N. Pryakhin [email protected]
The art of being a reader is an endless art; one masters this skill throughout one’s life. Useful tips from the books offered at the exhibition will help you become GOODBY THE READER.
How many books have been read does not matter, but for a very long time what matters is daily, nightly reading, nightly reading out the window with a lighted lamp. And while the circle from the lamp on the round table turns off only at late dawn, everything is in order on the round and bright Earth, the planet inhabited by readers.
Boris Slutsky
The exhibition was prepared by librarian Loskutova A.V.
About the talented reader
Let's talk about the reader. They talk about him rarely and little. Meanwhile, the reader is an irreplaceable person. Without it, not only our books, but all the works of Homer, Dante, Shakespeare, Goethe, Pushkin are just a dumb and dead pile of paper.
Individual readers may sometimes make erroneous judgments about books, but the Reader, in the larger, collective sense of the word - and, moreover, over a more or less long period of time - always has the last word in assessing a literary work.
True, the assessment of a book, established for a certain period of time, changes very often. Some booth located nearby can obscure a tower standing in the distance. But sooner or later we realize this optical illusion and begin to imagine literary quantities on a more correct scale.
Time passes, one generation replaces another, and each of them evaluates the literary heritage that has reached it in its own way. And if a prose writer or poet retains their significance and weight over the centuries, this is not explained by the fact that they were once included in the ranks of geniuses and classics or immortalized by monuments erected in their honor, but by the fact that new generations recognize them as valuable and necessary for life.
And there are times when a book, lying peacefully on our shelf, gradually and imperceptibly loses its charm. She seems to be destroyed, merging with others similar to her.
The fate of the book is decided by a living person, the reader.
We must not forget about this when we talk about language, about the poet’s vocabulary.
Remember how Lermontov brought Heine’s poems closer to the heart of the Russian reader by translating German words into the following Russian:
And dozes, swaying, and snow falls
She is dressed like a robe.
Tyutchev's translation of the same poem by Heine, very close to the original, did not, however, evoke such a deep response in us and therefore did not enter Russian poetry on a par with the original poems.
Words and combinations of words are connected in our minds with many, many of the most complex associations and are capable of raising from the bottom of our soul a whole world of memories, feelings, images, and ideas.
And the point here is not only in the subtle and thorough knowledge of the language, which linguists have.
In search of the most expressive, unique, irreplaceable word, a poet or prose writer turns not only to memory, like a doctor recalling the Latin names of drugs.
Words are arranged in our minds differently than in dictionaries, not separately, not alphabetically or according to grammatical categories. They are closely related to our diverse feelings and sensations. An angry, sharp, apt word will not come to mind until we are truly angry. We will not find warm, tender, affectionate words until we are imbued with genuine tenderness. That is why Mayakovsky speaks of extracting a precious word “from the artesian depths of humanity.”
This does not mean that the poet needs some unusual, sophisticated, pretentious words to express feelings.
Finding the simplest and at the same time the most apt word is sometimes much more difficult.
Remember the description of a winter evening in Chekhov's story "The Seizure".
“Recently, the first snow fell, and everything in nature was under the power of this young snow. The air smelled of snow, snow crunched softly underfoot, the ground, roofs, trees, benches on the boulevards - everything was soft, white, young, and from this house looked different than yesterday, the lanterns burned brighter, the air was more transparent, the carriages knocked more muffledly, and a feeling similar to white, young, fluffy snow begged into the soul along with the fresh, light frosty air..."
These are the ordinary words known to everyone that Chekhov gives us the feeling of the first snow. Where are the verbal “artesian depths” mentioned above?
In lyrical concentration, in a sparse and strict selection of the finest details, in the rhythm that takes us into the atmosphere of a winter evening city.
In fact, the simplest words have the greatest power if the reader perceives them with that fresh spontaneity that is characteristic of poets and children.
Chekhov half-jokingly countered all the fanciful descriptions of the sea with its simplest definition:
And in the folk epic "Kalevala" the hare, who brings the news of Aino's death, tells her family that the girl
Fell into the wet sea.
“Big sea”, “wet sea” - this is how any child could express himself, perceiving the world for the first time - large, strong and simple.
An adult can find more complex epithets to describe the sea. But happy is the one who manages to combine mature experience with such a fresh and direct vision of the world.
In folk epic, in ancient Greek poetry, in Latin prose, in inscriptions on ancient monuments, simple verbs are full of movement and force:
I came, I saw, I conquered.
And what strength and weight is there in the line of Lermontov’s poem “Two Giants” - in the verb “fell”, placed at the end of the verse, as if over a steep cliff:
The daring one gasped and fell!
The poet, as it were, returns to the words their original freshness, energy, fullness - virtues that they did not possess, resting in inaction on the pages of dictionaries.
The verb "to laugh" contains peals of loud laughter - "ho-ho-tat".
We have long been accustomed to this laughing word and, pronouncing it quickly, we crumple it and hide unstressed vowels.
And how clearly and powerfully each of his syllables sounded in Pushkin’s poems:
He keeps walking, he walks around,
Talks loudly to himself -
And suddenly, hitting him on the forehead with his hand,
Laughed...
It seems that for the first time this word has been given the space necessary for its full sound. Poetic meter forces us to pronounce all vowels clearly and clearly. The inevitable pause after the previous verse creates that silence, after which the laughter contained in the word “laughed” rolls like thunder.
Our hasty, sometimes careless colloquial speech, which we use in everyday life for utilitarian purposes, often discolors and “dumbs down” words, turning them into service terms, into some kind of conventional code.
The writer uses the same generally accepted words (although his vocabulary should be much wider and richer than the colloquial vocabulary), but, a master of his craft, he knows how to place a word among others so that it plays with all its colors, sounds unexpected, weighty and new.
And he succeeds only if he himself treats words with care and unusualness, if he not only understands their meaning, but also imagines everything that was put into them by the “linguist” - the people.
Not afraid to break the rules of stylistics, Chekhov, in his description of the first snow, repeats the word “snow” more than once, which in itself - without epithets - can tell the reader a lot. The poet believes in the power of this simple word, just as an adult or child, inexperienced in the art of words, believes in it, for whom words are as tangible and significant as the objects themselves. But, of course, the power and charm of Chekhov’s lines is not in the word “snow” alone. They contain the smell of young snow, and the soft crunch of it underfoot, and the sound of carriages muffled by the snow, and the whiteness of the snow, and the transparency of the winter air, from which the lanterns burn brighter than usual.
Together with Chekhov, the reader not only sees this first “young” snow, but also hears its creaking, and inhales the fresh winter air that smells of snow, and, it seems, even feels the chill of a melting snowflake in the palm of his hand.
All five of our senses respond to those simple and at the same time magical words that Chekhov so carefully uses in this passage.
His winter evening landscape awakens in readers so many subtle, dear feelings that they themselves begin to remember something of their own - something that Chekhov did not name.
The reader ceases to be just a reader. He becomes a participant in everything that the poet has experienced and felt.
And, on the contrary, he remains indifferent if the author has done all the work for him and has chewed up his idea, theme, images so much that he has left no room for his imagination. The reader also needs and wants to work. He is also an artist - otherwise we could not talk to him in the language of images and colors.
Literature needs talented readers as well as talented writers. It is on them, on these talented, sensitive readers with a creative imagination, that the author counts when he strains all his mental strength in search of the right image, the right turn of action, the right word.
But not every book forces the reader, even the most talented one, to work - to think, feel, guess, imagine.
In life, for some reason, we are captivated by distant sounds that seem especially poetic to us - the distant crow of a rooster, the distant barking of dogs, by which we recognize that there is a village somewhere ahead, distant human talk on the road, or a fragment of a song coming to us from afar. We are interested in seeing unknown people in the forest around a fire, the flames of which snatch out their individual features from the semi-darkness. Walking down the street, we sometimes cannot resist the temptation to look into a lighted window, behind which goes some kind of life unknown to us.
We are interested in everything that awakens our poetic imagination, which is able to recreate the whole picture from a few details.
We re-read “Taman” countless times, written in such a laconic, simple and strict way, as only poets write in prose. But something in this story always remains mysterious, unseen, unheard for us.
I do not mean some sly omissions or purely subtle hints, which are often used by pretentious writers who want to impart, in some twilight, a mysterious significance to something that in bright light would seem primitive and even flat.
No, we are talking about the complexity and depth of an image, thought, feeling in which getting to the bottom is not so easy.
What, it would seem, is tricky about the portrait of Katyusha Maslova, painted by the hand of Leo Tolstoy? But we endlessly re-read the pages dedicated to her in order to understand, to discern what it was in this image of a young girl with such happy, slightly slanted, “black as wet currant” eyes, and then a female prisoner with a pale, swollen face that was so striking and thrilled us for life. We are only guessing and therefore trying to read between the lines of Tolstoy’s novel what is happening in her soul after a difficult and painful turning point, how and when her first love, so cruelly trampled, awoke in her, whether she will accept Nekhlyudov’s atoning sacrifice or find some kind of love for herself. another path, more difficult and higher. All these questions do not cease to worry us until the last pages of the book. And even after we read it to the end, there is still a lot of work left for our imagination and thought.
And because the author makes us feel, think and imagine so much throughout the novel, we do not miss a single word in the text, we greedily catch every movement of the characters, trying to predict the turns of their destinies.
According to complex, internally logical, but at the same time laws that cannot be predicted by calculation, the destinies of the heroes develop in Chekhov’s stories “Duel”, “The Story of an Unknown Man”, “Three Years”.
Try to guess in advance how and where M. Gorky will take you in “The Hermit” or in “The Story of Unrequited Love.”
And in our modern art one can find many stories, poems, and films that give the reader and viewer the opportunity to be full participants in the reality that the artist creates.
The path of Grigory Melekhov is complex and contradictory. It is difficult to predetermine - despite all their regularity - the turns of fate of the heroes of "Walking Through Torment". Throughout the entire poetic story, from the first line to the last, Nikita Morgunok is looking for the “country of Ant,” and the reader wanders with him along “a thousand paths and roads,” sharing thoughts and anxieties with the hero of the poem.
However, even now, in our fiction and poetry, “route” cars have not yet disappeared, which take the reader not only to a predetermined goal, but also along a predetermined route that does not promise anything new, unexpected and unforeseen.
The reader and his imagination have nothing to do on such a well-trodden road.
And the author himself, in the process of such writing, can hardly find or discover anything valuable and significant for himself, for life, for art. In essence, such easy roads pass by life and art.
The reader receives only the capital that the author invested in the work. If during the work no real thoughts, no genuine feelings, no stock of living and accurate observations were expended, the reader’s imagination will not work. He will remain indifferent, and if he gets excited for one day, then tomorrow he will forget his short-term hobby.
When the curtain rises in the theater or the book opens, the viewer or reader is sincerely disposed to believe the author and actor. After all, that’s why he came to the theater or opened a book, to believe. And it is not his fault if he loses confidence in a play or book, but sometimes, through the fault of the play and book, in theater and literature.
The viewer is ready to indulge in skepticism and may lose confidence in glued-on beards and painted forests if, in a matter of minutes of the performance, he is not internally engaged, does not follow the development of the plot, the resolution of a life problem, if he is not excited and interested. Following the relationships between the characters, the viewer forgets that they are composed and fictitious. He cries over the tragic fate of his beloved heroes, he rejoices at the victory of goodness and justice. But the falseness, banality or inexpressiveness of what is happening on stage immediately makes him wary, turns the actors into pitiful comedians, and exposes all the cheap props of the stage environment.
