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Speech development lesson.
Lesson topic: Consultation. Preparation for writing an essay-review.
Objectives:development of skills for performing test work - part A (tasks related to the text), part B and part C (essay-reviews).
During the classes:
I. The moment.
II. The teacher communicates the goals and objectives of the lesson, introduces the work plan.
Option 1. Using the text of the demo version of the USE in Russian for 2002.
Option 2. Using a computer test compiled on the basis of the text of the demo version of the USE in Russian for 2002.
Read the text and complete assignments number A27-A32, B1-B8, C1.
(1) One of the most charming childhood memories is the pleasure that I experienced when our teacher read "The Captain's Daughter" aloud to us in class. (2) These were happy moments, there are not so many of them, and therefore we carefully carry them through all my life. (3) As a mature person, I read Marina Tsvetaeva's notes about Pushkin. (4) It follows from them that the future rebellious poetess, reading "The Captain's Daughter", with mysterious pleasure all the time awaited the appearance of Pugachev. (5) I had something completely different. (6) I was waiting with the greatest pleasure all the time for the appearance of Savelich. (7) This hare sheepskin coat, this reckless love and devotion to my Petrusha! (8) Incredible touching. (9) Is Savelich a slave? (10) Yes, he is actually the master of the situation! (11) Petrusha is defenseless against the all-encompassing despotic love and devotion of Savelich to him. (12) He is helpless against her, because he is a good person and understands that despotism is precisely from love and devotion to him. (13) Even as a child, listening to the reading of "The Captain's Daughter", I felt a comic inversion of the psychological relationship between the master and the servant, where the servant is the true master. (14) But precisely because he is infinitely loyal and loves his master. (15) Love is the most important thing. (16) It can be seen that Pushkin himself yearned for such love and devotion, perhaps nostalgically dressed Arina Rodionovna in Savelich's clothes. (17) The main and invariable sign of the success of a work of art is the desire to return to it, re-read it and repeat the pleasure. (18) Due to life circumstances, we may not return to our favorite work, but the very hope, the dream of returning to it warms the heart, gives vitality. F. Iskander (237 words)
A27. What problem is not covered in this text?
1) What role does a book play in a person's life?
2) What qualities are most valuable in a person?
3) How do you tell a talented book from a mediocre one?
4) How does Pushkin feel about Pugachev?
A28. Which statement contradicts the author's point of view?
1) Is Savelich as a literary character no less significant than Pugachev?
2) Pushkin is very sympathetic to Savelich.
3) Slavish devotion to Grinev reveals Savelich's servile essence.
4) In the image of Savelich, some features of Pushkin's beloved nanny were embodied.
A29. Determine the style and type of speech of the text.
1) scientific style, description
2) journalistic style, reasoning-thinking
3) art style, description
4) scientific style, reasoning-thinking
1) 9 2) 10 3) 13 4) 18
A31. Which of the following sentences is related to the previous one (s) by means of lexical repetition and demonstrative pronoun?
1) 2 2) 7 3) 16 4) 18
A32. Which row lists only those means of expression that are used in this text?
1) comparative turns, inversion, hyperbole, impersonation
2) incomplete sentences, rows of homogeneous members, rhetorical question, anaphora
3) rhetorical question and exclamations, metaphor, rows of synonymous and antonymic combinations, lexical repetition
4) metaphors, comparative phrases, incomplete sentences
When completing the tasks in this part, write your answer in the answer form next to the task number (B1 - B8), starting with the first box. The answer must be given in the form of a sequence of numbers or letters. Write each letter or number in a separate box. Place a dash between the numbers.
IN 1. Name the part of speech to which the word UNCHANGE belongs (sentence 17).
AT 2. Write out a particle from Proposition 14.
AT 3. From sentence 11, write out an adjective with a fluent vowel in the suffix.
AT 4. From sentence 1, write out the phrase in which the connection is used
JOINT.
AT 5. Among sentences 1 -12, find a complex sentence consisting of three parts, one of the parts being a one-part impersonal sentence.
Write the offer number.
AT 6. Among sentences 10-16, find those that use the author's punctuation (different from the generally accepted one). Write his (their) number (s).
AT 7. In the first two paragraphs of the text (No. 1-6), find the sentence (s) with a separate circumstance. Write his (their) number (s).
Q8 Write the number (s) of the compound sentence (s) with the subordinate clauses in sequence.
To answer the task of this part, use a special bank. First write down the task number C1, and then write a review essay. C1 Write a review essay on this text. Express in it your attitude to the problems raised by the author. Do you agree with Fazil Iskander's position? Evaluate the speech design of the text: note the more vivid language means that allowed the author to betray the pleasure he experienced in childhood from meeting the characters of "The Captain's Daughter" and to express thoughts inspired by reading a truly fictional work.
Within 10 minutes, students independently complete tasks A27-A32, B1-B8 (tests A1-A6 and B1-B8 on the PC).
At the end of the work, the test program summarizes and gives a grade based on the student's correct choice of the answer option. The response view mode is possible.
In the course of checking the tasks of part A, they not only name their answer, but also justify its choice. If the tasks of part A were checked "in a chain" (the student explained one task), then during the checking of part B all the answers of one student are read. Then there is a discussion.
What do you disagree with? What tasks caused the greatest difficulty? How successfully did you complete the job?
The teacher, summing up, reminds the rules for filling out the answer forms in parts A and B, the rules for canceling erroneous answers.
Review:
Discussions on the topic of the work under review, ideas, how these ideas are embodied in the artistic fabric of the work;
Analysis of the composition, language features;
Draws attention to the criteria for evaluating part C.
C1 - analysis of the content of the original text (2)
C2 - form analysis (language tools) (2)
C3 - a reflection of a personal position (3)
C4 - compositional slimness (2)
C5 - richness of speech (2)
C6 - spelling errors (3)
C7 - punctuation errors (3)
C8 - grammatical errors (3)
C9 - speech deficiencies and errors (3)
Note. The maximum score for the 2002 criteria is shown in parentheses. Students were introduced to these assessment criteria at the beginning of the school year, and previous work was checked taking them into account.
The text proposed for writing a creative work is read aloud, then the students silently familiarize themselves with the formulation of the assignment.
Work on a computer (using Microsoft Word).
Here is a sample essay written in advance by one of the students in the class. Read it and try to rate it against the criteria for the assessment.
"The Captain's Daughter" by A.S. Pushkin is indeed a great work. For the first time I got acquainted with the pages of this novel in the ninth grade and was interested in its plot, the fate of the heroes. Just as Marina Tsvetaeva was waiting for the appearance of Pugachev, and Fazil Iskander - for Savelich, I was looking forward to the appearance of Pyotr Grinev. We had to live in a terrible (I am not afraid of this word) time, when the economic crisis in the country entailed lack of spirituality, immorality , lack of principle. People are withdrawn and angry, the main problem for most of them is getting money and food. I do not want to be a strict judge, but the concept of honor, in my opinion, is not at all familiar to many people in our time. And if it is familiar, it is perceived as a relic of the past. When a dispute was held in our class on the topic: "What is honor?" ... With this student, I felt, many agreed. And then there would be completely despair, but the thought that there were no less opponents of such a judgment warmed the soul. This means that Pyotr Grinev is not alone. This means that in our time there are people for whom honor is the main life principle, despite any obstacles of fate. And why are there people who think otherwise? Because our entire generation is growing up on immoral films, unprincipled magazines and newspapers. But if every person read at least a few books that bring up good traits of the soul, then society would change for the better. This is one of the problems raised in the text.
The next problem raised by the author is that qualities are valuable in a person. In my opinion, such qualities as kindness, sincerity, masculinity, morality, devotion to friends are most valuable in a person. Without these qualities, a person is not a person, but an animal.
But the main problem, touched upon by F. Iskander, is that not all works of literature can interest the reader, but only those that reflect important problems in life. This work is "The Captain's Daughter" by AS Pushkin, because it interests the reader, there is a desire to return to it, re-read it and repeat the pleasure. I completely agree with Fazil Iskander's position that this desire is a sign of the success of a work of art, even if we cannot return to our favorite work, but the very hope, the dream of returning to it warms the heart and gives strength.
By the type of speech, this text is reasoning-reflection. The scheme of the structure of the text: thesis - proof - conclusion. The thesis is given in the first sentence. Then the author moves on to the evidence, which will support the thesis. The last paragraph is the conclusion.
Complex and complex sentences prevail in the text. The way of communication of sentences is chain, each subsequent sentence is built on the basis of the previous one.
In this text, a paragraph is a means of connecting parts of the text. The sentences in the paragraph are closely related logically and grammatically. The style of the text is journalistic, because it uses combinations of stable linguistic forms characteristic of social life: love, devotion, hope, dream, vitality. The nature of the story is simple and accessible to readers. In order to convey pleasure, to express his thoughts, inspired by reading a work of art, the author uses such vivid language means as a rhetorical question (Is Savelich a slave?), Exclamations (Yes, he really is the master of the situation!), Metaphor (hope, the dream warms the heart), rows of synonymous and antonymic (servant and master) combinations, lexical repetition.
I believe that this text is of great importance for readers, because while reading it, everyone thinks about the meaning and problems raised in it, and draws the necessary conclusions for themselves.
After 15 minutes, discussion and assessment of student work begins.
Editing text on a computer.
Reading 1-2 edited compositions.
III. Summing up the lesson.
IV. Homework. Write an essay-reasoning on this text.
Literature.
1. Kapinos V.I., Puchkova L.I. Training materials for preparation
to the unified state examination. Russian language. - M .: Intellect-Center, 2002.
2. Encyclopedic Dictionary of a Young Literary Critic / Comp. V.I. Novikov. -
M .: Pedagogy, 1987.
Speech development lesson.
Liked? Please thank us! It's free for you, and great help to us! Add our site to your social network:One of the most charming childhood memories is the delight I experienced when our first grade teacher read "The Captain's Daughter" aloud to us in class.
These were happy moments, there are not so many of them, and therefore we carefully carry them through our whole life. Happy is the person who was lucky with the first teacher. I was lucky. Alexandra Ivanovna, my first teacher, I carried love and gratitude to her throughout my life.
As a mature person, I read Marina Tsvetaeva's notes about Pushkin. It follows from them that the future rebellious poetess, reading "The Captain's Daughter", with mysterious pleasure all the time awaited the appearance of Pugachev. I had something completely different. I waited with the greatest pleasure all the time for Savelich to appear. This rabbit sheepskin coat, this reckless love and devotion to his Petrusha. Incredible touching. Is Savelich a slave? Yes, he really is the master of the situation! Petrusha is defenseless against comprehensive the despotic love and devotion to him of Savelich. He is helpless against her, because he is a good person and understands that despotism comes from love and devotion to him.
(F. Iskander) (159 words)
The task
- Parse the highlighted sentence, draw up its diagram.
- Underline a sentence with a stand-alone common application.
- Parse the selected word morphologically.
Assignments for part C:
work with text
TEXT 1
(1) One of the most charming childhood memories is the delight I experienced when our teacher read The Captain's Daughter aloud to us in class. (2) These were happy moments, there are not so many of them, and therefore we carefully carry them through our whole life.
(3) As a mature person, I read Marina Tsvetaeva's notes about Pushkin. (4) It follows from them that the future rebellious poetess, reading "The Captain's Daughter", with mysterious pleasure all the time awaited the appearance of Pugachev. (5) I had something completely different. (6) I waited with the greatest pleasure all the time for the appearance of Savelich.
(7) This sheepskin hare, this reckless love and devotion to his Petrusha! (8) Incredible touching. (9) Is Savelich a slave? (10) Yes, he is actually the master of the situation! (11) Petrusha is defenseless against the all-encompassing despotic love and devotion of Savelich to him. (12) He is helpless against her, because he is a good person and understands that despotism is precisely from love and devotion to him.
(13) Even as a child, listening to the reading of The Captain's Daughter, I felt the comic inversion of the psychological relationship between master and servant, where the servant is the true master. (14) But precisely because he is infinitely loyal and loves his master. (15) Love is the most important thing.
(16) Apparently, Pushkin himself yearned for such love and devotion, perhaps, nostalgically dressed Arina Rodionovna in Savelich's clothes.
(17) The main and invariable sign of the success of a work of art is the desire to return to it, re-read it and repeat the pleasure. (18) Due to life circumstances, we may not return to our favorite work, but the very hope, the dream of returning to it warms the heart, gives vitality.
(F. Iskander)
1. Determine the way the word PLEASURE is formed (sentence 1).
2. Determine the way of forming the word INFINITE (sentence 14).
3. Indicate in a number the number of morphemes in the word CLAIMS (sentence 7).
4. From Proposition 12, write out the particle.
5. From sentence 1, write out the relative pronoun.
6. From sentences 2–12 write out the adjective in superlative degree.
7. Determine the part of speech to which the word DOES refers (sentence 9).
8. Determine the type of subordinate relationship in the phrase RETURN TO IT
(proposal 18).
9. From sentence 12, write out the phrase with the CONNECTION relationship.
10. Determine the number of grammatical bases in sentence 12.
11. Among sentences 7-18, find the sentence (s) with introductory words. Indicate his (their) number (s).
12. Find nominative sentences in the text. Indicate their numbers.
13. Among sentences 1–12, find the impersonal (s) or sentence (s) that includes the impersonal (s). Indicate his (their) number (s).
14. Find sentences with a separate circumstance in the text. Indicate their numbers.
15. Among sentences 1–11, find a clause with an explanatory clause. Indicate his number.
16. Among sentences 1-15, find sentences with sequential subordination of clauses. Indicate their numbers.
17. Find in the text the non-union (s) complex sentence (s). Indicate his (their) number (s).
18. Which of sentences 13–18 is related to the previous one using personal pronouns and lexical repetition?
19. Which sentence 1-9 is related to the previous one using personal pronouns and contextual synonyms?
A) sentences 9, 10
B) sentence 11
B) sentence 2 (3rd part)
D) sentence 4 (future rebellious poet)
1) comparison
2) hyperbole
3) question-answer form of presentation
4) anaphora
5) epithets
6) metaphor
8) periphrase
9) rows of homogeneous members
10) gradation
TEXT 2
(1) The question "Who is to blame?" is called a purely Russian question, supposedly expressing the special essence of our national character. (2) Pop satirists tirelessly joke about this topic, political strategists philosophize profoundly ... (3) Everyone has his own answer to the question asked by Herzen. (4) A huge country filled with natural resources has the same enormous intellectual potential. (5) And the majority of the population lives in poverty! (6) Why? (7) Who is to blame?
(8) It seems to me that the root of all our problems is deeper than we imagine: neither humanistic appeals, nor economic reforms, nor the boring promises of a new life can by themselves solve the main thing. (9) It is in our disrespect for man. (10) It is necessary to make a person the highest value. (11) We calculate the gold and foreign exchange reserves, rejoice when oil prices rise in the external market, we are proud that we have reduced the inflation rate ... (12) So what? (13) What of that to an ordinary person? (14) A pensioner lived in a dilapidated hut with an inflation rate of 14 percent, in the same dilapidated hut she lives at a level of 9 percent! (15) Such questions cause an arrogant and condescending smile from our respected politicians: they say, a comrade does not understand us! (16) No, it is you, separated from reality by a thick wall of macroeconomic considerations, do not see the microscopic cell of a social organism - a living person. (17) Non-working elevators, frozen houses, closed doors, indifferent “Wait, we have no time” - all these are symptoms of the most terrible social disease - neglect of a person. (18) No one thinks about a person when a house is being built, and another rocket is launched into space, and they vote for some supposedly fateful decision. (19) They thought about a person just enough so that he could exist as some kind of useful function. (20) And if this is so, then a person stops caring about others and he does not care about who lives next to him, he considers himself a small detail in a huge state machine, relieves himself of responsibility for cleanliness in the entrance, for order on the street , for the prosperity of the state.
(21) No calls needed! (22) You just need to fix the broken elevator, otherwise how can the elderly climb to the top floor? (23) It is necessary to put a couch in the hospital corridor so that patients do not stand in line, it is necessary to cover a puddle at the bus stop with gravel, so that passing cars do not throw mud at passengers ... (24) It is necessary that a person never feel humiliated and insulted, then labor productivity will rise, the level of human well-being will rise and no one will be tormented by the meaningless question "Who is to blame?"
(According to V. Timofeev)
Tasks
1. From sentences 21–22, write out a word formed in the non-uxual way.
2. From sentences 23–24 write out the word formed by the prefix-suffix method.
3. From sentences 18–19, write out all the particles.
4. From sentences 1–7, write out the actual present participle.
5. From sentence 2, write out the phrase (s) with the CONNECTION relationship.
6. Indicate in a number the number of grammatical bases in sentence 23.
7. Among sentences 8–20, find sentences with a stand-alone application. Indicate their numbers.
8. Among sentences 8–17, find a sentence with a generalizing word. Indicate his number.
9. Among sentences 1–17, find sentences with a separate definition. Indicate their numbers.
10. Among sentences 7-11, find impersonal (s) or sentence (s) that include impersonal (s). Indicate his (their) number.
11. Among sentences 5–22, find sentences with subordinate measures and degrees.
12. Indicate the type of subordination of clauses in clause 11.
13. Among sentences 11–22, find a sentence with uniform subordination of clauses.
14. Among sentences 1–19, find a sentence with a subordinate and non-union relationship.
15. Which of sentences 1-9 is related to the previous one using a definitive pronoun?
16. What means of expression is used in sentence 16?
17. Which of sentences 1–10 contains a phraseological unit?
18. Determine the type of speech of this text.
19. List any options where the grammatical foundations of sentence 18 are incorrectly defined.
a) Nobody thinks;
b) the house is being built;
e) does not think about a person;
f) under construction;
g) launch.
20. What means of expression are found in these sentences? Write down your answer as follows: A1B2 ...
A) sentences 6, 7
B) sentences 21, 22
B) sentence 17
D) sentences 22, 23, 24
1) comparison
2) litota
3) rhetorical question
4) anaphora
5) epithets
6) antithesis
7) syntactic parallelism
8) periphrase
9) rows of homogeneous members
10) gradation
TEXT 3
(1) On the anniversary of the celebration of Pushkin's jubilee, at one of the meetings, I happened to witness a very curious conversation. (2) The deputy head of one of the city districts asked his colleague how they wanted to celebrate the anniversary. (3) The official sighed and piteously stretched out: "We don't know yet ...". (4) There was so much painful longing in his voice, so much genuine weariness! (5) They made the poor man do what he sees no point, no benefit.
(6) I would like to talk about the benefits of Pushkin. (7) In our time, when the market reigns supreme with its precise calculation, it seems to many that the spiritual sphere of a person is insignificant, it can be neglected, it can be ignored. (8) Indeed, in life, everyone and everyone understandable "arithmetic" reigns: you buy where it is cheaper and better, and the manufacturer, if he does not want to go down the drain, will take care to please the consumer. (9) But such intelligibility and consistency is actually illusory, those who believe in it are much more trusting and naive than those who believe in the moral strength of the human soul.
(10) "Take care of honor from a young age," Pushkin bequeathed in his "Captain's Daughter". (11) "Why?" - another modern "ideologist" of our market life will ask. (12) Why take care of the goods for which there is a demand: if they pay me well for this "honor", then I will sell it. (13) Remember the merchant Paratov from "Dowry": "I have<...> there is nothing cherished; I will find a profit, so I will sell everything, whatever ... ". (14) And the only obstacle to this deal is the issue of price. (15) But what does such a completely reasonable logic lead to in our life? (16) For example, a pharmacy worker is offered counterfeit medicines, and he agrees to sell them not at all because he fiercely wishes people harm, but simply it is beneficial for him, and the obstacle in the face of “honor”, \u200b\u200b“shame” and other “unnecessary” has been removed. (17) Here is a university teacher for a bribe arranges yesterday's poor student in a university ...
(18) People step over their conscience only because they consider it to be something ephemeral, invented, and the banknotes that they receive in their hands are quite the material basis of well-being. (19) But what does this scanty philosophy lead to, what terrible, already material, quite tangible troubles this meager wisdom, this lack of principle, this "dishonor" bring us?
(20) The moral appeals of Russian writers are perceived by many as a tedious lesson, not realizing that they are based on the desire to save a person. (21) And the fate of our country, which has all the material prerequisites for becoming one of the richest countries in the world, but which for some reason still remains poor, just speaks of how important the human soul is, how important be honest and conscientious.
(According to S. Kudryashov)
Tasks
1. From sentences 1–2, write down a word formed by the prefix-suffix method.
2. Specify the way the word TEACHER is formed (sentence 17).
3. Write out the attributive pronoun from sentences 10-11.
4. From sentence 9, write out the relative pronoun.
5. From Proposition 18, write out all the prepositions.
6. Write out the relative adjective from sentences 2–5.
7. From Proposition 16, write a short participle.
8. From sentences 2–3, write out the phrases with the CONNECTION relationship.
9. Determine the type of subordinate relationship in the phrase such logic.
10. Find simple impersonal sentences in the text.
11. Among sentences 10–21, find a sentence with a detached circumstance. Indicate his number.
12. Among sentences 14-19, find one that is one-part indefinitely personal or includes one-part indefinitely personal. Indicate his number.
13. Among sentences 15–21, find an incomplete one or a sentence that includes an incomplete one. Indicate his number.
14. Among sentences 1–15, find a sentence with an introductory word. Indicate his number.
15. Among sentences 1-9, find a complex subordinate clause.
16. Among sentences 1–6, find complex subordinate clauses.
17. Among sentences 1–17, find a sentence with parallel and uniform subordination of clauses.
18. Which of sentences 10–15 is related to the previous one using lexical repetition?
19. Which of sentences 6-14 is related to the previous one by demonstrative pronoun and lexical repetition?
20. What means of expression are found in these sentences? Write down your answer as follows: A1B2 ...
A) sentences 16, 17
B) sentence 6
B) sentences 10, 13
D) sentence 4
1) metonymy
2) litota
3) rhetorical question
4) anaphora
5) epithets
6) metaphor
7) syntactic parallelism
8) quoting
9) rows of homogeneous members
10) gradation
TEXT 4
(1) Nationalism is a manifestation of a nation's weakness, not its strength. (2) Mostly weak peoples are infected with nationalism, trying to preserve themselves with the help of nationalist feelings and ideology. (3) But a great nation, a nation with its great culture, with its national traditions, must be kind, especially if the fate of a small nation is united with it. (4) A great people should help a small one to preserve itself, its language, its culture.
(5) Not necessarily a strong people are numerous, but a weak people are few. (6) It is not a matter of the number of people belonging to a given nation, but of the confidence and persistence of its national traditions.
(7) About fifteen years ago, even before the formation of the Society for the Protection of Cultural and Historical Monuments, I met three nice and thoughtful young people who, like me, were worried about the negligence in which, especially then, cultural monuments were found. (8) Together we listed what we are losing and what we can still lose, together we were worried, shared our anxiety about the future. (9) I began to talk about the fact that we do not care enough about the monuments of small peoples: the Izhora disappear without a trace. (10) And suddenly my young people frowned: "No, we will only take care of Russian monuments." (11) "Why?" (12) “We are Russians”. (13) "But isn't it Russia's duty to help those peoples who, by the will of history, have tied their fate with the fate of Russia?"
(14) My boys quickly agreed with me. (15) “You will understand,” I said, “doing good is much more gratifying than bad. (16) It's nice to make gifts. (17) In protecting others, in a kind attitude towards them, there is strength, self-confidence and there is real power. " (18) The boys' faces brightened. (19) It was as if a load had been lifted from their shoulders.
(20) I spoke, among other things, about how much valuable for world culture the peoples of the Volga region give. (21) Volga region - understand this! - that is, the peoples living along the great Russian river Volga. (22) Isn't the Volga a river of other peoples - Tatars, Mordovians, Mari and others? (23) Is it far from it to the Komi or Bashkir people? (24) How much we, Russians, received cultural values \u200b\u200bfrom other peoples precisely because we ourselves gave them a lot! (25) And culture is like an irredeemable ruble: you pay with this ruble, and you have it all in your pocket, and even, you see, there is more money.
(According to D. Likhachev)
Tasks
1. Indicate how the word is formed manifestation (suggestion 1).
2. From sentences 15–20 write out a word formed by the prefix-suffix method.
3. From sentence 8, write out the phrase with the coordination relationship.
4. Determine the type of subordinate relationship in the phrase save yourself (proposal 4).
5. From sentence 25, write down phrases with the coordination relationship.
6. From sentences 8-9, write out the substantive adjective (used in the meaning of a noun).
7. Write out the particle from Proposition 9.
8. Write a short participle out of sentences 8–9.
9. What part of speech does the word belong to? numerous (suggestion 5)?
10. From sentence 17, write out the attributive pronoun.
11. Indicate in a number the number of grammatical bases in sentence 25.
12. Among sentences 20–25, find a sentence with an attachment. Indicate his number.
13. Among sentences 1–8, find sentences with separate definitions. Indicate their numbers.
14. Among sentences 1-13, find a sentence with a clarifying circumstance. Indicate his number.
15. Among sentences 22–25, find the definitely personal or one that includes the definitely personal. Indicate his number.
16. Among sentences 1-9, find a sentence with a subordinate and non-union relationship. Indicate his number.
17. Among sentences 14–25, find a complex subordinate clause. Indicate his number.
18. Among sentences 1-13, find a complex condition with a clause. Indicate his number.
19. Among sentences 1-7, find a compound sentence. Indicate his number.
20. What means of expression are found in these sentences? Write down your answer as follows: A1B2 ...
A) sentences 21, 24
B) sentence 19
B) sentences 22, 23
D) sentences 1, 5
1) metonymy
2) phraseological unit
3) rhetorical question
4) anaphora
5) epithets
6) metaphor
7) syntactic parallelism
8) antonyms
9) rows of homogeneous members
10) rhetorical exclamations.
S.V. ANDREEVA,
Taganrog
One of the most charming childhood memories is the delight I experienced when our first grade teacher read "The Captain's Daughter" aloud to us in class. These were happy moments, there are not so many of them, and therefore we carefully carry them through our whole life. Happy is the person who was lucky with the first teacher. I was lucky.
Alexandra Ivanovna, my first teacher, I carried love and gratitude to her throughout my life.
As a mature person, I read Marina Tsvetaeva's notes about Pushkin. It follows from them that the future rebellious poetess, reading "The Captain's Daughter", with mysterious pleasure all the time awaited the appearance of Pugachev. I had something completely different. I waited with the greatest pleasure all the time for Savelich's appearance.
This rabbit sheepskin coat, this reckless love and devotion to his Petrusha. Incredible touching. Is Savelich a slave? Yes, he really is the master of the situation! Petrusha is defenseless against Savelich's all-encompassing despotic love and devotion to him. He is helpless against her, because he is a good person and understands that despotism comes from love and devotion to him.
Even as a child, listening to the reading of The Captain's Daughter, I felt the comic inversion of the psychological relationship between master and servant, where the servant is the true master. But precisely because he is infinitely loyal and loves his master. Love is the most important thing.
Apparently, Pushkin himself yearned for such love and devotion, perhaps, nostalgically dressed Arina Rodionovna in Savelich's clothes.
The main and invariable sign of the success of a work of art is the desire to return to it, re-read it and repeat the pleasure. Due to life circumstances, we may not return to our favorite work, but the very hope, the dream of returning to it warms the heart, gives vitality.
How easy it is to rob, deceive a cultured person in life, the more difficult it is to rob him spiritually. Having lost a lot, almost everything, a cultured person, in comparison with an ordinary person, is stronger in resisting life circumstances. His wealth is not stored in a jar, but in the bank of the world spirit. And having lost a lot, he can say to himself and says to himself: I can still listen to Beethoven, re-read Tolstoy's Cossacks and War and Peace. All is not lost.
Reading Dostoevsky in his youth made an amazing impression. I am still convinced that a person who has read Crime and Punishment is much less capable of killing another person than a person who has not read this novel. And the point is not what Dostoevsky says about the just punishability of a crime.
The fact is that Dostoevsky in this novel unfolds before our eyes the grandiose mental complexity of man. The more clearly we understand the mental complexity of a living being, the more difficult it is to destroy it.
A normal person can cut down a tree, in some way feeling pity for him, with an even greater feeling of pity, but overcoming it, he can kill an animal in order to use its meat, but before killing a person for a normal person an invisible, but well-felt wall rises - this is itself mental complexity of a person. The man is too complicated to kill him. By killing a person, you are killing too much with him, and above all your soul.
The murder of a person is, in miniature, the destruction of life on Earth. The professional killer is himself mentally primitive, almost like an animal, and therefore he does not see much difference between killing a person and an animal.
Once I asked our famous priest and theologian Father Alexander Men, who was later brutally killed with an ax:
Have you ever had to kill?
Once I killed a bumblebee, - he said regretfully, - was annoyed, and he was too attached to me.
He was a man of immense religious and secular culture.
A few more words about Dostoevsky. The faces of his heroes are, as it were, faintly illuminated by the still distant, but already begun fire of a worldwide catastrophe. And they, his heroes, intuitively feel the approach of this catastrophe, rush, choke, strained, scandal, trying to save their souls or trying, like father Karamazov, to eat their lives before this catastrophe. The impending catastrophe enhances the sense of life in his heroes a hundredfold. Brilliant insights coexist with the garbage stream of words. Dostoevsky's heroes have too little time to speak succinctly and aphoristically. There is too little time left before the catastrophe, too many questions have not yet been resolved, and the state of pre-catastrophic truth dooms his heroes to choking verbosity. Otherwise it would not be truthful enough.
This is the basis of Dostoevsky's stylistics. Pre-catastrophic state of heroes. The very life of Dostoevsky: the scaffold, hard labor, anticipation of seizures developed his furious pre-catastrophic style.
In general, his own style is the absolute, the only, the last truth of every real writer.
No matter how smart or eloquent this or that writer may be, if we do not feel his own style that picks up us, then this writer does not have the highest spiritual truth for which he writes. The presence of his own style, the writer's own handwriting invariably makes any of his fantasy true. The absence of his own style invariably makes any of his truths an empty fantasy. Style cannot be worked out artificially, just as a sail cannot work out the wind that blows it. A writer can, like Dostoevsky and Tolstoy, say thousands of contradictory things, but if all this rushes in the mainstream of his style, then all this is true.
In this connection I recall the episode of his conversation with Leo Tolstoy, recorded by Gorky. I can only vouch for the meaning.
The woman is terrible, - said Tolstoy, - who holds her husband by the soul.
But in the Kreutzer Sonata, Gorky recalled, hinting at a completely different matter given to us in our sensations, you meant exactly the opposite place.
I am not a finch to sing the same song all the time, - Tolstoy answered.
Before that, they talked about finches.
I divide all world literature into two types - literature at home and literature of homelessness. The literature of the achieved harmony and the literature of the yearning for harmony. Of course, the quality of a literary work does not depend on what type of literature it is, but on the strength of the artist's talent.
It is interesting that in Russian literature these two types of artists often appeared in the form of a double, almost simultaneously.
So Pushkin and Lermontov - the achieved harmony (Pushkin) and the great longing for harmony (Lermontov). The same pair: Tolstoy - Dostoevsky. In the twentieth century, the brightest couple: Akhmatova - Tsvetaeva.
Literature at home has that simple human feature that one would like to live next to its heroes, you are under the roof of a friendly house, you are sheltered from the storms of the world, you are next to benevolent, lovely owners. And here, in a hospitable and cozy house, you can reflect with the owner of the house both on the fate of the world and on the actions of world storms.
The literature of homelessness has no walls, it is open to world storms, it seems to test you in the face of a real tragedy, you are mesmerized, overwhelmed by the vision of the abyss of life, but you do not want to always live next to this abyss. However, this largely depends on the nature of the reader.
Literature at home is predominantly wisdom (Pushkin, Tolstoy). The literature of homelessness is predominantly the mind (Lermontov, Dostoevsky).
Wisdom immediately embraces the whole environment, but it does not see so far, because it is not necessary to see far away, because, seeing everything around, wisdom is convinced that a person is everywhere a person and the passions of a person around are the same.
The mind has a narrower view, but it sees much further. So, Dostoevsky made out the distant demons and, in a rage, rushed at them like a bull to a red rag.
The literature of the house is always much more detailed, since here the world is a house and one cannot help but feel and name the household utensils dear to the creator's heart.
The literature of homelessness does not detail anything, except for the diversity of its homelessness, and what lovely details of life can be when you are not at home.
On the other hand, the literature of homelessness is much more dynamic, it eagerly seeks harmony and in search of this harmony constantly accelerates steps, turning into a run, and sometimes, taking off from the ground, flies.
Dostoevsky's insane impetuosity - and Tolstoy's powerful slow rhythm. How dynamic Tsvetaeva and how static Akhmatova! And both are great poets. Akhmatova - literature at home. Tsvetaeva - the literature of homelessness. And immediately, from an early age, she became such, although she was born and lived in a cozy professor's house.
Both poets are people of tragic fate. But one of them immediately became a poet at home, and the other a poet of homelessness.
To a certain extent, Akhmatova and Tsvetaeva play the role of Pushkin and Lermontov in the twentieth century. And we kind of guess that if not for the fatal circumstances, Pushkin would have lived a long life and would have died a natural death. Lermontov, too, would have lived much longer, but his tragic end was a foregone conclusion.
Of course, in a completely pure form, these two types of literature hardly exist. But as two powerful tendencies, they are real. They are necessary for each other and will coexist forever.
There are mysterious phenomena in the history of the development of world culture. One of these phenomena, I consider the presence in the Mohammedan world of great poetry, but the absence, at least until recently, of great prose.
For example, we know how rich Persian poetry is, but where is the prose? Where is the great psychological romance?
I think it is about the Christian basis of European art. Although Tolstoy wrote that all religions say the same thing, yet each has its own essential connotation.
Christianity attaches the utmost importance to the life of the human soul. The whole person is a soul. Either a person with the purity of his soul achieves its immortality, or ruins his soul with a sinful life, or, realizing his sin, through repentance achieves the recovery of his soul. Christianity at its core in the Gospel has already considered all the combinations of a person's mental life and the ways of its salvation.
Christian culture in its literary development could not help but be imbued with this basis of Christian thought. But how can the state of the human soul be expressed in a story or in a novel? The only means is to portray the mental life of a person. Outside the image of a person's mental life, it is impossible to understand his soul. It gradually became a literary tradition, and in the nineteenth century it reached its full development in the European and Russian psychological novel or story. And already talented, but atheistically inclined writers could not do without a deep depiction of human mental life. This is our Chekhov. Being an atheist, he captured and perfectly captured the effect of the Gospel story on the common man purely musically. And all serious Russian and European literature is an endless commentary on the Gospel. And this comment will never end. All pseudo-novel attempts to do without ethical tension, without understanding where is the top, where is the bottom, where is good, where is evil, are doomed to failure and oblivion, for the artist's job is to draw a clear meaning out of the chaos of life with the will to good, and not add to the chaos of life his chaos own soul.
We say: this picture is poetic, this story or poem is poetic. But what does it mean? Of course, this means that they are talented. But what is the essence of talent itself? Talent is inexplicable, like God, but God can be explained by the inexplicability of talent.
The essence, in my opinion, is that a true talent can illuminate a particular picture of life with the light of eternity, can pull it out of life and show it against the background of eternity. We rejoice at such a work of art, often without realizing the reason for the joy. We say to ourselves: “How alive! How exactly! How true! "
And all this is true, but not completely. In fact, we are delighted with this liveliness, truthfulness, accuracy, because all this shines through through eternity. We are happy and encouraged by the duality of its existence. The picture pleases us here, because it is there at the same time. She is just as happy here as she is there.
We feel that beauty is eternal, that the soul is immortal, and our own soul rejoices at such a chance. The artist consoles us with the truth of his art. Art has two themes: appeal and consolation. But in the final analysis, the call is also a form of consolation.
If it is easy to understand why Tolstoy's Natasha admires us, as eternal femininity, it would seem that it is more difficult to understand why such a fraudster like Nozdryov also pleases us in his own way, we laugh, how truthfully Gogol paints him.
We feel that the human nonsense in the person of Nozdryov is also eternal and doomed to eternal artistic, and not just fable, exposure.
Several times in my life, meeting a foolish swindler who tried to foist something on me, I began to explode with indignation and suddenly remembered: Lord, this is Nozdryov, how exactly he repeats it!
And oddly enough, the power of indignation was weakening, I was only trying to distance myself from him, which was also not easy, because the newly-minted Nozdryov himself did not understand that I had already guessed Nozdryov in him. All this became ridiculous, because the newly-minted Nozdryov, not realizing that he had already been exposed, persisted, and the more he persisted in fraud, the more phenomenal his resemblance to the long-described Nozdryov became.
The ingenious creator of human types, as it were, guesses the eternal chemical composition of this type, forcing him to act the same in any historical circumstances. Lord, we think, there is serfdom, but here is socialism or capitalism, and Nozdryov is still the same.
Our knowledge of Gogol is part of our culture and, as we can see, knowledge of culture is comforting. We say to ourselves: this is Nozdryov, and Nozdryov cannot act otherwise. And this same culture tells us how illusory are any social experiments in which supposedly the Nozdrevs will disappear. Social criticism of that time quite wrongly decided that Gogol had created a satire on feudal Russia. In fact, if Gogol created a satire in Dead Souls, it is a satire on all of humanity, although human types, of course, like the Russian writer, have a national physiognomy. The eternity in which Gogol placed his heroes, we perceive as a mighty moral sky, under which his heroes are seen especially flattened and ridiculous. But the reader all the time feels this mighty moral sky inside Gogol's works, and ultimately laughs, but also pity them.
In our other famous satirist, Zoshchenko, we do not feel, and he himself does not see any moral sky over the heads of his heroes. Therefore, his works are perceived as very finely fictionalized scientific essays, something like anti-Darwinism, incredibly funny stories about the transformation of man into ape. Zoshchenko's hopelessness is so great that it even ceases to be pessimism, which, while regretting the remoteness of man from the pole of good, nevertheless recognizes its bipolarity.
I want to make an assumption that may seem paradoxical. The genius of a nation lends the most flourishing appearance to the weakest, backward forms of national life. This, perhaps, subconsciously reflects the noble pathos of treating the nation, if at all possible.
I think this is possible in a general historical perspective. The great humanistic pathos of Russian classical literature is generally recognized. Thomas Mann called Russian literature a saint. But isn't this a reaction of the national genius to the cruelty of Russian life, an attempt to cure it?
The great German philosophy and the great German music, the most celestial forms of culture, isn't it a reaction to the too practical, down-to-earth German life?
The famous sober French mind, what Blok called "sharp Gallic meaning", is not it a reaction to French frivolity?
The national genius, as it were, says to his nation: “Get up! It is possible. I have shown that it is possible! "
An average person of any nation can say: “Tell me who your national genius is, and I will tell you who you are. Just the opposite. "
The national genius has another paradoxical property. We know how the French influenced Pushkin. We know how Schiller influenced Dostoevsky. We know how Dostoevsky influenced all the latest world literature.
For a great national writer to mature, it is necessary for him to undergo international cross-pollination. It turns out that a precondition for in-depth national self-knowledge is the knowledge of the alien, the grafting of the alien. The existence of a national genius proves that peoples should strive for rapprochement. The fact that liberal politics (the idea of \u200b\u200brapprochement of peoples) seeks to prove rhetorically has long been proven in practice by culture.
The poet's word has a mysterious, mystical power over him and his fate. Remembering the verses of the first row of Russian poets, I cannot name a single one who would write about suicide. No one except Mayakovsky, Yesenin and Tsvetaeva. And all three committed suicide.
What is the connection between the poetic word and the life of a poet? Apparently huge, but we cannot fully understand it. Materialistically, this can be explained as follows: these tragic poets too often hovered over the abyss and, according to the theory of probability, had to fall into it sooner or later. And they fell off. It seems to me that this explanation is not convincing enough. It is difficult to imagine a more tragic fate than that of Dostoevsky. He not only sometimes, but all his life deliberately hovered over the abyss, but he never tried to end his life. He passionately studied the abyss, knowing with certainty that humanity would soon hover over it by itself. And he, studying the abyss, looked for a means to save him.
A poet, like any person, may experience unbearable pain, aversion to life, a desire to end this pain.
But, apparently, there is a tremendous difference between the desire to end this life and its fixation in a poetic work. The devil grabs this poem and runs to his superiors, as with a certificate: “Here is his signature! He wanted it himself! " The devil generally loves information.
The poet's word is the essence of his business. Having fixed in the poem the desire to leave this life and continuing to live, the poet subconsciously turns into a shameful defaulter of his debt. And the conscience sooner or later explodes: I write one thing, but live differently. There is only one way out: the penitential curse of that fatal poem, but the curse is also recorded in the poetic work.
And it is even better to never poetically fix the death wish either to relatives, or to the motherland, or to anyone. Even if such a desire arises.
It turns out that I am against the poet's sincerity? Yes, I am against the poet's sinful sincerity. Insincerity is always disgusting. But sometimes sincerity is disgusting if it is sinful.
If life seems impossible, there is a more courageous decision than passing away. A person must say to himself: if life is really impossible, then it will stop by itself. And if it doesn't stop, then you need to endure the pain.
So destined. Everyone who has endured great pain knows with what amazing freshness life is revealed to him after that. This is the gift of life itself for being faithful to it, and maybe even an approving nod from God.
In connection with all this, I would like to say a few words about the so-called Silver Age of Russian literature. We have him now immensely praised. Of course, at this time there lived the great Blok, the great Bunin, who by the way harbored a prophetic disgust for this Silver Age, there were other talented writers.
But the Silver Age brought our culture, our people immeasurably more evil than good. This was the time of the most unbridled passion for permissiveness, for insignificant mysticism, for savoring human weaknesses, and most importantly, an all-consuming curiosity for evil, even supposedly selfless calls for a devilish force that would appear and destroy everything.
The most sincere and, probably, the most powerful poem by Bryusov "The Coming Huns" perfectly demonstrates the ideology of the Silver Age.
Where are you, the coming Huns,
What is a cloud hanging over the world?
I hear your cast iron stomp
In the not yet discovered Pamir.
And the poem ends like this:
Will disappear without a trace, perhaps
What was only known to us.
But you who will destroy me
Welcome hymn!
What a suicidal hymn, what a complex person, many readers of the time thought enthusiastically. But Bryusov is a man, albeit talented, quite uncomplicated, but on the contrary, primitive and even with a primitive cunning that the Huns will take into account his hymn. And the Huns, having appeared, really took into account this hymn and Bryusov himself was spared and even slightly exalted him.
Let's talk about disgust. This topic is especially relevant in today's Russia. Where did it come from?
Imagine a missionary in the camp of a savage. He has already mastered fire and is so civilized that he eats fried meat. He greedily sends smoking pieces to the family. Either from the smoke, or from a cold, his nose suddenly started running. The savage felt an unpleasant tickling under his nose and, in order to calm this tickling, without interrupting a pleasant occupation, smeared another piece of meat under his nose and sent it into his mouth.
And then our missionary tries to explain to him that he is doing wrong. He picks off a lop-eared leaf from a nearby bush, brings it closer to his own nose (the handkerchief is too difficult) and shows how to proceed. The savage listens to him attentively and suddenly says with crushing intelligence:
But this does not change the taste of the fried meat!
Indeed, the missionary is forced to admit that for the savage it does not change the taste of the roasted meat.
Disgust is the fruit of civilization and culture. This is easily confirmed by the example of a child. A small child in a state of half-intelligence, like a little savage, pulls into his mouth everything that falls under his arm. Later, taught by the people around him, he learns the level of disgust of his time.
How clear that the physical disgust of a person develops along with civilization, and what a drama of mankind that moral disgust is developing much more slowly, although its very development may seem controversial to many.
But I suppose that moral disgust in man developed along with religion and culture. Are we not owing more than anything to the gospel for the disgust we feel at betrayal? The image of Judas has become a household name. And although the flow of denunciations is powerful enough so far, would it not have been even more powerful if people had not shuddered, likening themselves to Judas?
A real work of art cannot do without ethical tension. Reading real literature, we not only enjoy beauty, but also involuntarily develop our moral muscles. And this, roughly speaking, is the practical benefit of culture.
But culture is fraught with its own tragedy. It reaches those who need it most of all, the broad masses of the people, slowly, too slowly. It seems that the smallest dose of culture creates a saturated solution among the people and everything else precipitates. Culture is mainly used by cultured people, and it turns out that culture devours itself. This is her tragedy.
How to overcome it is a question of enormous complexity, which society as a whole and the state should try to resolve. The technical development of the human mind has leaped forward, is torn away from culture and threatens humanity with death either at the hands of terrorists, or at the hands of a mad dictator who has mastered atomic weapons. Whether simply from the new barbarism of the permissiveness of pseudo-culture, which people are stuffed with stupid books and the media and which people are actively absorbing both because it is primitive, and because it encourages base human instincts. Showing moral disgust, we must fight this pseudo-culture more ruthlessly today.
The position of the people is even more dramatic than that of the culture itself. The peoples of the world are losing the moral norms of their traditions, which have been developed over millennia, and, as I have already said, they have hardly acquired a real common human culture. It is no accident that terrorism in the world has assumed an international character. I am sure that the dashing militants played their part in this. Peoples are leaving their folk culture and do not come to a common human culture. To the question: "Can you read?" - one of Faulkner's characters replies: “In print I can. And so no. "
It has long been noted that complete illiteracy is morally higher than semi-literacy. This also applies to the intelligentsia.
... In connection with the upcoming rudeness. A small example, as the leader liked to say. As I recall from literature, in the late eighteenth and early nineteenth centuries, the word "audacity" had a negative connotation.
They said: “The cook has gotten into trouble. I had to send him to the stable. "
Already with Dahl, of course, in connection with the development of a living language, this word has two practically opposite meanings. Insolence is extraordinary courage. Impudence is an extraordinary arrogance and rudeness.
Since the beginning of the twentieth century, the positive meaning of this word has essentially become the only one. The more rudeness won in life, the more beautiful this word looked in literature. And it is already impossible for him to return the original meaning. Sometimes people, not noticing the comic effect, oppose this word to its original meaning. “Impudent, but what an impudent one,” they say sometimes, not without admiration.
Thus, the word "insolence" is a small philological victory of great rudeness.
Here is the mathematical definition of talent. Talent is the number of points of contact with the reader per unit of literary area. The Onegin stanza gives us the greatest number of contact points, and that is why Eugene Onegin is the most brilliant poem of Russian literature.
Pushkin gave us an amazingly accurate description of the very state of inspiration. But where it comes from, he did not say.
Let me put it simply: inspiration is a reward for an artist's exacting honesty. The believer would specify - God's reward. An atheist would say: the reward of our moral nature. To which the believer might ask: where did your moral nature come from? But this debate is eternal.
When we have a truly talented work in front of us, it is always subjectively honest, but the coverage of truth depends on the strength of talent, knowledge of the subject, and the ideal of honesty developed by the given writer. Inspiration throws the writer to the top of his ideal. But the heights of the ideal of Leo Tolstoy or just a good writer Pisemsky are at different levels, and here our own honesty in measuring their achievements should take this into account. Tolstoy sees everyone from his height and therefore is visible to everyone. Just a gifted writer from his height also sees something and is visible to some people. Moreover, a gifted writer can see some parts of the landscape that opens better than a genius. I am only afraid that this consolation of mine would not have stopped Salieri. Extreme.
Inspiration can be wrong, but it cannot lie. To be more precise, everything truly inspired is always truly truthful, but the addressee may be false. Imagine a poet who wrote a brilliant poem about the life-giving rationality of the movement of a luminary from west to east. Can we enjoy such a poem knowing that it does not comply with the laws of astronomy? Of course we can! We enjoy the plasticity of describing a summer day, we even enjoy the charm of the poet's credulity: as he sees, he sings!
Such mistakes do occur, but they are relatively rare, because inspiration in general is an obsession with truth, and at the moment of inspiration the artist sees the truth with all the fullness available to him. But obsession with the truth most often comes to the one who thinks about it the most.
I will say this: there is a pitiful prejudice that, when sitting down to write, one must write honestly. If we sit down to write with the thought of writing honestly, we are too late to think about honesty: the train has already left.
I think that for a writer, as, apparently, for any artist, the first most important act of creativity is his life itself. Thus, the writer, sitting down to write, only completes what has already been written by his life. Written by his personal life has already determined the plot and the hero in the first act of his work. You can only add further.
A writer not only, like every person, creates in his head an image of his worldview, but invariably reproduces it on paper. He cannot reproduce anything else. Everything else - stilts or someone else's inkwell. This is immediately apparent, and we say - this is not an artist.
Therefore, a real artist intuitively, and then consciously, builds his world outlook, as a will to good, as an endless process of self-purification and purification of the environment. And this is a build-up of ethical pathos, earned by one's own life. And the writer simply has no other source of energy.
Viktor Shklovsky wrote somewhere that an ordinary person simply could not physically rewrite War and Peace so many times in his entire life. Of course, he could not, because an ordinary person did not have such a first grandiose act of creativity as Tolstoy's life, which gave rise to this energy.
It is common for a living person to make mistakes, to stumble. Naturally, the same is characteristic of the writer. Can the life of a writer, which in the first act of life itself passed as a mistake and delusion, become the subject of an image in the second act of creativity on paper?
Maybe only if the second act is a penitential description of this delusion. The sincerity of repentance also generates the energy of inspiration. I would have nothing against a pre-planned delusion, but this is an empty number, while there is no creative energy released.
One of the most harmonious poets in the world, Pushkin, lived in Russia. Never again repeated in our country is the great and wise Pushkin's balance. However, harmony in Russian life has not yet been successful. And it never did. There was, they say, Peter the Great. Maybe a genius, but as a person the embodiment of the most extreme extremes. And there was not a single harmonious king, not to mention the secretaries general.
However, it seems that under Catherine there was some kind of balance: she worn out her husband, but introduced the potatoes. This scholar of ours, Gretchen, was very fond of the military leaders and brought them very close to her. In general, under Catherine, every brave military man had a chance to be very close. Perhaps that is why, they say, Russia under Catherine waged the most successful wars. She introduced the principle of self-interest to the army. No, the wise Pushkin's balance does not work out here either.
How so? In Russia there was the greatest harmonic poet, but there has never been harmony. But since Pushkin was in Russia, it means that harmony in Russia is in principle possible. Why isn't she? It turns out that we did not read Pushkin well. Especially politicians.
I would suggest, as a joke, similar to the truth, the future politicians of Russia, putting their hand on a volume of Pushkin, take an oath to the people that before every serious political decision they will reread Pushkin in order to bring themselves into a state of wise Pushkin's equilibrium.
25 (1) one of the most charming childhood memories is the pleasure that I experienced when our teacher read aloud to us in class "the captain's daughter." (2) those were happy moments, there are not so many of them, and therefore
we carefully carry them through our whole life. (3) As a mature person, I read Marina Tsvetova's notes about Pushkin. (4) it follows from them that the future rebellious poetess, reading "the captain's daughter", with mysterious pleasure all the time waited
the appearance of Pugachev. (5) I had something completely different. (6) I waited with the greatest pleasure all the time for the appearance of Savelich. (7) this hare sheepskin coat, this reckless love and devotion to my petrusha! (8) incredible
touchingness. (9) Is Savelich a slave? (10) yes, he really is the master of the situation! (11) parsley is defenseless against Savelich's all-encompassing despotic love and devotion to him. (12) he is against her because he is a good person and
understands that despotism stems from love and devotion to him. (13) still almost a child, listening to the reading of the "captain's daughter", I felt the comic inversion of the psychological relationship between the master and the servant, where the servant is
true master. (14) but precisely because he is infinitely devoted and loves his master. (15) love is the most important thing. (16) it can be seen that Pushkin himself yearned for such love and devotion, perhaps nostalgically dressed Arina Rodionovna in
savelich's clothes. (17) The main and invariable sign of the success of a work of art is the desire to return to it, re-read it and repeat the pleasure. (18) due to life circumstances, we may not return to
favorite work, but the very hope, the dream of returning to it warms the heart, gives vitality. F. Iskander (237 words) a27. what problem is not covered in this text? 1) what role does a book play in a person's life? 2) what
are the qualities most valuable in a person? 3) how to tell a talented book from a mediocre one? 4) how does Pushkin feel about Pugachev? a28. which statement contradicts the author's point of view? 1) Savelich as a character at least
significant than Pugachev? 2) Pushkin has great sympathy for Savelich. 3) slavish devotion to Grinev reveals Savelich's servile essence. 4) some features of Pushkin's beloved nanny were embodied in the image of Savelich. a29.
determine the style and type of speech of the text. 1) scientific style, description 2) journalistic style, reasoning-thinking 3) artistic style, description 4) scientific style, reasoning-thinking a30. in which sentence is the author
uses antonyms (antonymic pair)? 1) 9 2) 10 3) 13 4) 18 a31. Which of the following sentences is related to the previous (s) with lexical repetition and demonstrative pronoun? 1) 2 2) 7 3) 16 4) 18