Tenderness is the meekest timid argument. Unified State Exam essay based on the text by N. Teffi about tenderness
According to the text by N. Teffi “Tenderness is the most meek, timid, divine face of love...” Problem: What role does tenderness play in relationships between people?
What role does tenderness play in relationships between people? It is this question that the Russian writer N.A. Teffi raises in her text.
The author invites the reader to reflect on the essence of tenderness by telling a story from his life. The narrator describes a rude old man who treated the only woman who cared for him with disgust: “She kept adjusting something around her patient. Now she fluffed the pillow, now she tucked in the blanket, now she ran to warm the milk, now she dripped medicine.” It was his wife, trying with all her might to please him so that he would feel good and not need anything. However, the old man scolds her, not paying attention to everything she has done for him. The woman’s face immediately changes, and the author draws the reader’s attention to this everyday incident: “But who can take such a funny and stupid grief seriously?” The author evokes in the reader a feeling of injustice and resentment and shows the terrible side of the old man’s act.
Confirmation of the above can be found in the pages of fiction. Thus, in the work of A.I. Kuprin “Garnet Bracelet” tenderness appears to the reader in an unusual light. Zheltkov loves Vera madly, but realizing that his love is unrequited, Zheltkov still strives to please his beloved. He gives her gifts, showers her with countless compliments in letters, talks about his stupid exploits that he performs for her sake. This sweet obsession is a manifestation of the strong feelings that Zheltkov feels for Vera. Kuprin presents this absurd concern to the reader as tenderness, which prompts Zheltkov to look after Vera. Thus, Zheltkov’s tenderness towards Vera made her think about her life and helped her feel loved.
In N.V. Gogol’s work “Old World Landowners,” tenderness is given a special role. Afanasy Ivanovich and Pulcheria Ivanovna are elderly spouses who, even in old age, continue to love each other. They don’t quarrel, they do housework together and while away the days. In a word, their love is manifested in the pure tenderness that they give each other every day. This mutual care for each other turned them into a single whole, the parts of which cannot live separately. That is why, as soon as Pulcheria Ivanovna dies, Afanasy Ivanovich loses his taste for life and soon also passes into another world. It was tenderness that united these people until the end of their lives, encouraging them to give each other joy and
Tour of the Volgograd One Actor Theater. ...A woman appears on the stage of the district House of Culture "Yubileiny". In a long black dress, a contrasting white thin scarf hugs the neck and falls beautifully from the shoulders, a hat, and a white suitcase in her hands. Honored Artist of Russia Zinaida Tikhonovna Gurova shows her author and director's work “Darling”. She created this philosophical miniature based on the story of the same name by Anton Chekhov, the works of William Shakespeare, Osip Mandelstam and Nadezhda Teffi.
The rows are filled with spectators of different ages. But it seems to me that now everyone has the same breath... After all, the actress, in the words of the classics, speaks about the meaning of life, about the purpose of a woman, about love - the most mysterious human feeling...
The central image of the theatrical performance is Darling, Olenka, one of the most popular heroines of Chekhov’s prose. Back in the 19th century, this name entered the lexicon of readers as a common noun. An image familiar from my school days comes to life before my eyes:
She constantly loved someone and could not live without it. She used to love her dad, who was now sitting sick in a dark room in a chair, breathing heavily; loved her aunt...; loved her French teacher. She was a quiet, good-natured, compassionate young lady with a meek, soft look... Looking at her full, rosy cheeks, at her soft white neck... at the kind, naive smile that appeared on her face when she listened to something pleasant, men thought: “ Yes, wow...”, and they also smiled, and the lady guests could not resist suddenly, in the middle of the conversation, not grabbing her hand and saying in a fit of pleasure:
- Darling!
The performance combines different types of art - drama, poetry, story, song... Using original props, intonation, gesture, sound of melody, Zinaida Tikhonovna magically commands the attention of the public - after all, the images she creates are so alive, so authentic and so exciting! Darling's fate... Which woman can remain indifferent to her? Two marriages, a civil marriage, ultimately loneliness and old age... But it is not the plot of the story that is the main thing for the actress, but the soul of the heroine...
Having married theater entrepreneur Kukin out of love, Olenka understands and shares his problems and is always by his side. “Her sweet,... smile like a radiance flashed through the cash register window, then behind the scenes, then in the buffet...” But her husband dies, and she falls into mourning. Then he falls in love again. Now into the manager of the lumber yard, Pustovalov, who fills her entire soul. They are getting married. Darling begins to delve into the issues of timber trade. But Pustovalov also dies. Olenka sobs: “How can I live without you, I am bitter and unhappy.” Soon fate gives her the opportunity to fall in love again. This time it was the veterinarian Smirnin, who had quarreled with his wife...
Darling loves to the point of oblivion. And this feeling on stage is Chekhovian, tender, natural, chaste. The actress is captivating in her image - pure and iridescent, as if painted with watercolors. Olenka transforms into love, is reborn by it and lives by it. She identifies herself with her beloved men to such an extent that she even adopts their way of thinking and falls in love with their professions.
Different characters - individuals with their own destinies and thoughts are woven into the fabric of the performance, becoming one, united in the confession of the soul. Each is an ideal of femininity and self-sacrifice.
Lyubov Andreevna Ranevskaya from “The Cherry Orchard” openly talks about why she returns to France to the man who ruined and betrayed her:
This wild man is sick again... He asks for forgiveness, begs to come... He is sick, he is lonely, unhappy, and who will look after him, who will keep him from making mistakes, who will give him medicine on time?... I love him... I love him, I love him ...This is a stone around my neck, I am going to the bottom with it, but I love this stone and cannot live without it...
We must understand those who love. And you have to love yourself... You have to fall in love...
She sees her duty in suffering, compassion, and sacrifice. Writer Nadezhda Teffi thinks so:
Tenderness is the most meek, timid, divine face of love... The sister of tenderness is pity, and they are always together. Love - tenderness gives everything, and there is no limit to it...
But Darling’s last happiness does not last long. The regiment in which the veterinarian served was transferred somewhere very far away. Olenka is left alone. She's scared and sad.
She would like such love that would capture her entire being, her entire soul, mind, would give her thoughts, the direction of life, would warm her aging blood...
And suddenly... One hot July day in the evening, someone knocked on the gate... It was the retired veterinarian who had returned. He made peace with his wife, and it was time to send his son to the gymnasium. Darling with enthusiastic joy settles them in the house, and she herself goes to live in the outbuilding.
The guest's son Sashenka is small, plump, with clear blue eyes and dimples on his cheeks... He completely filled her life and thoughts. Olenka’s biggest fear is that the real mother might take the child away:
Oh, how she loves him! Of her previous attachments, not a single one was so deep; never before had her soul been subjugated so selflessly, unselfishly and with such joy as now, when the maternal feeling flared up in her more and more. For this boy, a stranger to her, for his dimples, for his cap, she would give her whole life, she would give it with joy, with tears of tenderness...
And Gurova’s image of a woman in Shakespearean comedies is the personification of pure poetry. All the forces of her nature are concentrated on the desire to love, she is warm-hearted and selfless, bringing light and happiness to the fate of the chosen one.
At all times, a woman personifies love, keeps the hearth, creating comfort and warmth in it. It gives peace, tranquility and psychological stability to a man. The Silver Age poet Osip Mandelstam spoke of his wife as “her only and invaluable friend.” After the death of the poet, who, like many then, was arrested innocently for “counter-revolutionary activities” and died in a camp near Vladivostok, she preserved his literary legacy, hiding both poetry and prose for the time being in the most reliable place - in her memory.
The lines from Nadezhda Yakovlevna Mandelstam’s last letter to her husband are shocking:
- Osya, dear, distant friend! My dear, there are no words for this letter, which you may never read. I write it into space. Maybe you'll come back and I'll be gone. Then this will be the last memory.
Osyusha is ours... life with you - what happiness it was... Our love. Now I don't even look at the sky. Who should I show if I see a cloud?
...Our happy poverty and poetry... Every thought about you. Every tear and every smile is for you. I bless every day and every hour of our bitter life, my friend, my companion... How long and difficult it is to die alone - alone. Is this fate for us inseparable ones?..
I don’t know if you’re alive... I don’t know where you are. Can you hear me? Do you know how much I love you?.. You are always with me...
In the final scene, the actress, clutching a large doll to her chest, cradles it, sings a lullaby... The text, the melody, and the voice are infinitely moving... This allegorical figure symbolizes Love, Mercy.
Our life is fast and unpredictable. Modern sociological data indicate a family crisis. But you really want it to be your little Universe, filled with an atmosphere of love. This is a woman's mission. Even a businesswoman who has achieved great success in her professional career, but at the same time remains a Darling... 
Thanks to the brilliant performance of the talented actress, the inspired communication with the literary shrines of the world classics will be remembered for a long time. The felt energy of warmth from the light of love, which shrouds the lovely female images, will not immediately dissolve in time and space...
On the soundtrack is a recording of the song “Last Love” performed by I. Kobzon and N. Buchinskaya.
Russian language
22 of 24
(1) Tenderness is the most meek, timid, divine face of love. (2) Love-passion - always with an eye on yourself. (3) She wants to conquer, seduce, she wants to please, she preens herself, puts her hands on her hips, measures, and is always afraid of missing out on what she has lost. (4) Love-tenderness gives everything, and there is no limit to it. (5) And she will never look back at herself, because “she is not looking for her own.” (6) She’s the only one who’s not looking. (7) But one should not think that a feeling of tenderness degrades a person. (8)On the contrary. (9) Tenderness comes from above, it takes care of the beloved, protects, takes care of him. (10) But only a defenseless creature in need of care can be looked after and protected, therefore words of tenderness are diminutive words, going from the strong to the weak. (11) Tenderness is rare and increasingly rare. (12) Modern life is difficult and complex. (13) Modern man, even in love, strives first of all to establish his personality. (14) Love is a martial arts. - (15) Yeah! (16) Love? (17) Well, okay. (18) Roll up your sleeves, straighten your shoulders - come on, who will win? (19) Is there any tenderness here? (20) And who to protect, who to pity - all are well done and heroes. (21) He who knows tenderness is marked. (22) In the minds of many, tenderness is always depicted in the form of a meek woman bending towards the head of the bed. (23) No, that’s not where you need to look for tenderness. (24) I saw her differently: in forms that were not at all poetic, in simple, even funny ones. (25) We lived in a sanatorium near Paris. (26) We walked, ate, listened to the radio, played bridge, and gossiped. (27) There was only one real patient - a feisty old man recovering from typhus. (28) The old man often sat on the terrace in a chaise lounge, covered with pillows, wrapped in blankets, pale, bearded, always silent and, if anyone passed by, he turned away and closed his eyes. (29) His wife hovered around the old man, like a trembling bird. (30) The woman is middle-aged, dry, light, with a faded face and anxiously happy eyes. (31) And she never sat quietly. (32) She kept adjusting something around her patient. (33) Now she turned over the newspaper, now she fluffed the pillow, now she tucked in the blanket, now she ran to warm the milk, now she dripped medicine. (34) The old man accepted all these services with obvious disgust. (35) Every morning, with a newspaper in her hands, she rushed from table to table, talked friendly with everyone and asked: “Maybe you can help me?” (36) Here is a crossword puzzle: “What happens in a residential building?” (37) Four letters. (38) I write it down on a piece of paper to help Sergei Sergeevich. (39) He always solves crosswords, and if he gets stuck, I come to his aid. (40) After all, this is his only entertainment. (41) Patients are like children. (42) I’m so glad that at least this amuses him. (43) They pitied her and treated her with great sympathy. (44) And somehow he crawled out onto the terrace earlier than usual. (45) She sat him down for a long time, covered him with blankets, and propped up pillows. (46) He winced and angrily pushed her hand away if she did not immediately guess his wishes. (47) She, shivering joyfully, grabbed the newspaper. – (48) Here, Serezhenka, today it seems like a very interesting crossword puzzle. (49) He suddenly raised his head, rolled out his angry yellow eyes and began to shake all over. – (50) Finally, get to hell with your idiotic crossword puzzles! – he hissed furiously. (51) She turned pale and somehow sank. “(52) But you...,” she babbled in confusion. - (53) After all, you were always interested... - (54) I was never interested! – he kept shaking and hissing, looking with animal pleasure at her pale, desperate face. – (55) Never! (56) It was you who climbed with the tenacity of the degenerate that you are! (57) She didn’t answer anything. (58) She just swallowed air with difficulty, pressed her hands tightly to her chest and looked around with such pain and such despair, as if she was looking for help. (59) But who can take such a funny and stupid grief seriously? (60) Only a little boy, sitting at the next table and seeing this scene, suddenly closed his eyes and cried bitterly. (According to N.A. Teffi *) * Nadezhda Aleksandrovna Teffi (1872–1952) - Russian writer, poet, memoirist and translator.
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N.A. Teffi, a famous Russian writer, talks about love.
What is love-tenderness? This is the problem that comes to the attention of the author.
Discussing this problem, N.A. Teffi shows the relationship of an elderly couple. The writer draws our attention to the fact that the wife shows a reverent attitude towards her husband. She takes care of him: “turns over the newspaper,” “fluffs the pillow,” “tucks in the blanket,” but the old man accepts his wife’s care and tenderness “with obvious disgust.”
I completely agree with N.A. Teffi that that love-tenderness is the most “divine face of love.” Only such altruistic, selfless love can be called sublime.
In Russian literature there are many
Criteria
- 1 of 1 K1 Formulation of source text problems
- 2 of 3 K2
Which of the statements correspond to the content of the text? Please provide answer numbers.
1) It cannot be said that a feeling of tenderness degrades a person.
2) Tenderness is often found in our lives; it helps a person to establish his personality.
3) Love-passion ennobles a person, makes him be caring, gentle, attentive.
4) The rudeness of the sick husband offended and upset his caring, gentle and attentive wife.
(1) Tenderness is the most meek, timid, divine face of love. (2) Love-passion - always with an eye on oneself. (3) She wants to conquer, seduce, she wants to please, she preens herself, puts her hands on her hips, measures, and is always afraid of missing out on what she has lost. (4) Love-tenderness gives everything, and there is no limit to it. (5) And she will never look back at herself, because “she is not looking for her own.” (6) She’s the only one who’s not looking. (7) But one should not think that a feeling of tenderness degrades a person. (8)On the contrary. (9) Tenderness is coming
from above, she takes care of her beloved, protects, takes care of him. (10) But only a defenseless creature in need of care can be looked after and protected, therefore words of tenderness are diminutive words, going from the strong to the weak.
(11) Tenderness is rare and increasingly rare. (12) Modern life is difficult and complex. (13) Modern man, even in love, strives first of all to establish his personality. (14) Love is a martial arts.
- (15) Yeah! (16) Love? (17) Well, okay. (18) Roll up your sleeves, straighten your shoulders - come on, who will win?
(19) Is there any tenderness here? (20) And who to protect, who to pity - all are well done and heroes. (21) He who knows tenderness is marked.
(22) In the minds of many, tenderness is always depicted in the form of a meek woman bending towards the head of the bed. (23) No, that’s not where you need to look for tenderness. (24) I saw her differently: in forms that were not at all poetic, in simple, even funny ones.
(25) We lived in a sanatorium near Paris. (26) We walked, ate, listened to the radio, played bridge, and gossiped. (27) There was only one real patient - a feisty old man recovering from typhus.
(28) The old man often sat on the terrace in a chaise lounge, covered with pillows, wrapped in blankets, pale, bearded, always silent and, if anyone passed by, he turned away and closed his eyes. (29) His wife hovered around the old man, like a trembling bird. (30) The woman is middle-aged, dry, light, with a faded face and anxiously happy eyes. (31) And she never sat quietly. (32) She kept adjusting something around her patient. (33) Now she turned over the newspaper, now she fluffed the pillow, now she tucked in the blanket, now she ran to warm the milk, now she dripped medicine. (34) The old man accepted all these services with obvious disgust. (35) Every morning, with a newspaper in her hands, she rushed from table to table, talked friendly with everyone and asked:
Here, maybe you can help me? (36) Here is a crossword puzzle: “What happens in a residential building?” (37) Four letters. (38) I write it down on a piece of paper to help Sergei Sergeevich. (39) He always solves crosswords, and if he gets stuck, I come to his aid. (40) After all, this is his only entertainment. (41) Patients are like children. (42) I’m so glad that at least this amuses him.
(43) They pitied her and treated her with great sympathy.
(44) And somehow he crawled out onto the terrace earlier than usual. (45) She sat him down for a long time, covered him with blankets, and propped up pillows. (46) He winced and angrily pushed her hand away if she did not immediately guess his wishes.
(47) She, shivering joyfully, grabbed the newspaper.
- (48) Here, Serezhenka, today seems to be a very interesting crossword puzzle.
(49) He suddenly raised his head, rolled out his angry yellow eyes and began to shake all over.
- (50) Finally, get to hell with your idiotic crossword puzzles! - he hissed furiously.
(51) She turned pale and somehow sank.
- (52) But you... - she babbled in confusion. - (53) After all, you were always interested in...
- (54) I was never interested! - he kept shaking and hissing, looking with animal pleasure at her pale, desperate face. - (55) Never! (56) It was you who climbed with the tenacity of the degenerate that you are!
(57) She didn’t answer anything. (58) She just swallowed air with difficulty, pressed her hands tightly to her chest and looked around with such pain and such despair, as if she was looking for help. (59) But who can relate
Seriously about such a funny and stupid grief? (60) Only a little boy, sitting at the next table and seeing this scene, suddenly closed his eyes and cried bitterly.
(according to N.A. Teffi*)
* Nadezhda Aleksandrovna Teffi (1872-1952) - Russian writer, poetess, memoirist and translator.
Which of the following statements are true? Please provide answer numbers.
1) Sentences 7-10 contain reasoning.
2) Sentences 11-14 present the narrative.
3) Sentence 30 provides a description.
4) Sentences 44-45 present the narrative.
5) Propositions 57-58 contain reasoning.
In response, write down the numbers in ascending order.
Explanation.
Statement No. 2 is erroneous, since sentences 11-14 do NOT contain a narrative, but a reasoning.
Statement No. 5: 57 and 58 is also erroneous; this is not reasoning, but narration.
Therefore, the remaining 1, 3, 4 are correct.
Answer: 1, 3, 4.
Answer: 134
From sentences 5-10, write down antonyms (antonymous pair).
Explanation.
Sentence 10 contains antonyms: strong - weak.
Answer: strong, weak.
Answer: strongweak|weakstrong|strongweak
Source: Unified State Examination - 2015. Early wave
Among sentences 28-34, find one(s) that is related to the previous one using a conjunction and a personal pronoun. Write the number(s) of this sentence(s).
Sentence 31 “And she never sat still” is connected to the previous one using the personal pronoun SHE and the conjunction I.
Answer: 31.
Answer: 31
Source: Unified State Examination - 2015. Early wave
Rule: Task 25. Means of communication of sentences in the text
MEANS OF CONNECTING SENTENCES IN THE TEXT
Several sentences connected into a whole by theme and main idea are called text (from the Latin textum - fabric, connection, connection).
Obviously, all sentences separated by a period are not isolated from each other. There is a semantic connection between two adjacent sentences of a text, and not only sentences located next to each other can be related, but also those separated from each other by one or more sentences. The semantic relations between sentences are different: the content of one sentence can be contrasted with the content of another; the contents of two or more sentences can be compared with one another; the content of the second sentence may reveal the meaning of the first or clarify one of its members, and the content of the third - the meaning of the second, etc. The purpose of task 23 is to determine the type of connection between sentences.
The task could be worded like this:
Among sentences 11-18, find one(s) that is related to the previous one using a demonstrative pronoun, adverb and cognates. Write the number(s) of the offer(s)
Or: Determine the type of connection between sentences 12 and 13.
Remember that the previous one is ONE ABOVE. Thus, if the interval 11-18 is indicated, then the required sentence is within the limits indicated in the task, and answer 11 may be correct if this sentence is related to the 10th topic indicated in the task. There may be 1 or more answers. Point for successfully completing the task - 1.
Let's move on to the theoretical part.
Most often we use this model of text construction: each sentence is linked to the next one, this is called a chain link. (We will talk about parallel communication below). We speak and write, we combine independent sentences into text using simple rules. Here's the gist: two adjacent sentences must be about the same subject.
All types of communication are usually divided into lexical, morphological and syntactic. As a rule, when connecting sentences into a text, they can be used several types of communication at the same time. This greatly facilitates the search for the desired sentence in the specified fragment. Let us dwell in detail on each of the types.
23.1. Communication using lexical means.
1. Words from one thematic group.
Words of the same thematic group are words that have a common lexical meaning and denote similar, but not identical concepts.
Example words: 1) Forest, path, trees; 2) buildings, streets, sidewalks, squares; 3) water, fish, waves; hospital, nurses, emergency room, ward
Water was clean and transparent. Waves They ran ashore slowly and silently.
2. Generic words.
Generic words are words connected by the relation genus - species: genus is a broader concept, species is a narrower one.
Example words: Chamomile - flower; birch - tree; car - transport and so on.
Example sentences: It was still growing under the window birch. I have so many memories associated with this tree...
Field daisies are becoming rare. But this is unpretentious flower.
3 Lexical repetition
Lexical repetition is the repetition of the same word in the same word form.
The closest connection of sentences is expressed primarily in repetition. The repetition of one or another member of a sentence is the main feature of a chain connection. For example, in sentences Behind the garden there was a forest. The forest was deaf and neglected the connection is built according to the “subject - subject” model, that is, the subject named at the end of the first sentence is repeated at the beginning of the next; in sentences Physics is a science. Science must use the dialectical method- “model predicate - subject”; in the example The boat moored to the shore. The shore was strewn with small pebbles- model “circumstance - subject” and so on. But if in the first two examples the words forest and science stand in each of the adjacent sentences in the same case, then the word shore has different forms. Lexical repetition in Unified State Examination tasks will be considered the repetition of a word in the same word form, used to enhance the impact on the reader.
In texts of artistic and journalistic styles, the chain connection through lexical repetition often has an expressive, emotional character, especially when the repetition is at the junction of sentences:
Aral disappears from the map of the Fatherland sea.
Whole sea!
The use of repetition here is used to enhance the impact on the reader.
Let's look at examples. We are not yet taking additional means of communication into account; we are looking only at lexical repetition.
(36) I heard a very brave man who went through the war once say: “ It was scary, very scary." (37) He spoke the truth: he it was scary.
(15) As a teacher, I had the opportunity to meet young people yearning for a clear and precise answer to the question about higher values life. (16) 0 values, allowing you to distinguish good from evil and choose the best and most worthy.
note: different forms of words refer to a different type of connection. For more information about the difference, see the paragraph on word forms.
4 Similar words
Cognates are words with the same root and common meaning.
Example words: Homeland, be born, birth, generation; tear, break, burst
Example sentences: I'm lucky be born healthy and strong. The story of my birth unremarkable.
Although I understood that a relationship was necessary break, but couldn't do it myself. This gap would be very painful for both of us.
5 Synonyms
Synonyms are words of the same part of speech that are close in meaning.
Example words: be bored, frown, be sad; fun, joy, jubilation
Example sentences: In parting she said that will miss you. I knew that too I'll be sad from our walks and conversations.
Joy grabbed me, picked me up and carried me... Jubilation there seemed to be no boundaries: Lina answered, finally answered!
It should be noted that synonyms are difficult to find in the text if you need to look for connections only using synonyms. But, as a rule, along with this method of communication, others are also used. So, in example 1 there is a conjunction Same , this connection will be discussed below.
6 Contextual synonyms
Contextual synonyms are words of the same part of speech that are similar in meaning only in a given context, since they relate to the same object (feature, action).
Example words: kitten, poor fellow, naughty; girl, student, beauty
Example sentences: Kitty has been living with us for quite some time. My husband took it off poor guy from the tree where he climbed to escape the dogs.
I guessed that she student. Young woman continued to remain silent, despite all efforts on my part to get her to talk.
These words are even more difficult to find in the text: after all, the author makes them synonyms. But along with this method of communication, others are also used, which makes the search easier.
7 Antonyms
Antonyms are words of the same part of speech that have opposite meanings.
Example words: laughter, tears; hot Cold
Example sentences: I pretended that I liked this joke and squeezed out something like laughter. But tears They choked me, and I quickly left the room.
Her words were hot and burned. Eyes chilled cold. I felt like I was under a contrast shower...
8 Contextual antonyms
Contextual antonyms are words of the same part of speech that have opposite meanings only in a given context.
Example words: mouse - lion; home - work green - ripe
Example sentences: On work this man was gray with the mouse. At home woke up in it a lion.
Ripe The berries can be safely used to make jam. And here green It’s better not to put them in, they are usually bitter and can ruin the taste.
We draw attention to the non-random coincidence of terms(synonyms, antonyms, including contextual ones) in this task and tasks 22 and 24: this is one and the same lexical phenomenon, but viewed from a different angle. Lexical means can serve to connect two adjacent sentences, or they may not be a connecting link. At the same time, they will always be a means of expression, that is, they have every chance of being the object of tasks 22 and 24. Therefore, advice: when completing task 23, pay attention to these tasks. You will learn more theoretical material about lexical means from the reference rule for task 24.
23.2. Communication using morphological means
Along with lexical means of communication, morphological ones are also used.
1. Pronoun
A pronoun connection is a connection in which ONE word or SEVERAL words from the previous sentence are replaced by a pronoun. To see such a connection, you need to know what a pronoun is and what categories of meaning there are.
What you need to know:
Pronouns are words that are used instead of a name (noun, adjective, numeral), denote persons, indicate objects, characteristics of objects, the number of objects, without naming them specifically.
Based on their meaning and grammatical features, nine categories of pronouns are distinguished:
1) personal (I, we; you, you; he, she, it; they);
2) returnable (self);
3) possessive (my, yours, ours, yours, yours); used as possessives also forms of personal: his (jacket), her work),their (merit).
4) demonstrative (this, that, such, such, such, so much);
5) definitive(himself, most, all, everyone, each, other);
6) relative (who, what, which, which, which, how many, whose);
7) interrogative (who? what? which? whose? which? how many? where? when? where? from where? why? why? what?);
8) negative (nobody, nothing, nobody);
9) indefinite (someone, something, someone, anyone, anyone, someone).
Do not forget that pronouns change by case, therefore, “you”, “me”, “about us”, “about them”, “no one”, “everyone” are forms of pronouns.
As a rule, the task indicates WHAT category the pronoun should be, but this is not necessary if in the specified period there are no other pronouns that act as LINKING elements. You need to clearly understand that NOT EVERY pronoun that appears in the text is a connecting link.
Let's look at the examples and determine how sentences 1 and 2 are related; 2 and 3.
1) Our school has recently been renovated. 2) I finished it many years ago, but sometimes I went in and wandered around the school floors. 3) Now they are some strangers, different, not mine....
There are two pronouns in the second sentence, both personal, I And her. Which one is the one paperclip, which connects the first and second sentence? If it's a pronoun I, what it is replaced in sentence 1? Nothing. What replaces the pronoun? her? Word " school" from the first sentence. We conclude: connection using a personal pronoun her.
There are three pronouns in the third sentence: they are somehow mine. The second is connected only by a pronoun They(=floors from the second sentence). Rest do not correlate in any way with the words of the second sentence and do not replace anything. Conclusion: the second sentence connects the third with the pronoun They.
What is the practical importance of understanding this method of communication? The fact is that pronouns can and should be used instead of nouns, adjectives and numerals. Use, but not abuse, since the abundance of words “he”, “his”, “their” sometimes leads to misunderstanding and confusion.
2. Adverb
Communication using adverbs is a connection, the features of which depend on the meaning of the adverb.
To see such a connection, you need to know what an adverb is and what categories of meaning there are.
Adverbs are unchangeable words that denote an action and refer to a verb.
Adverbs of the following meanings can be used as means of communication:
Time and space: below, on the left, next to, at the beginning, long ago and the like.
Example sentences: We got to work. At the beginning it was hard: I couldn’t work as a team, I had no ideas. After got involved, felt their strength and even got excited.note: Sentences 2 and 3 are related to sentence 1 using the indicated adverbs. This type of connection is called parallel connection.
We climbed to the very top of the mountain. Around There were only the treetops of us. Near The clouds floated with us. A similar example of a parallel connection: 2 and 3 are connected to 1 using the indicated adverbs.
Demonstrative adverbs. (They are sometimes called pronominal adverbs, since they do not name how or where the action takes place, but only point to it): there, here, there, then, from there, because, so and the like.
Example sentences: Last summer I was on holiday in one of the sanatoriums in Belarus. From there It was almost impossible to make a call, let alone surf the Internet. The adverb “from there” replaces the whole phrase.
Life went on as usual: I studied, my mother and father worked, my sister got married and left with her husband. So three years have passed. The adverb “so” summarizes the entire content of the previous sentence.
It is possible to use other categories of adverbs, for example, negative: B school and university I didn’t have good relationships with my peers. Yes and nowhere did not fold; however, I didn’t suffer from this, I had a family, I had brothers, they replaced my friends.
3. Union
Communication using conjunctions is the most common type of connection, thanks to which various relationships arise between sentences related to the meaning of the conjunction.
Communication using coordinating conjunctions: but, and, and, but, also, or, however and others. The assignment may or may not indicate the type of union. Therefore, the material on alliances should be repeated.
More details about coordinating conjunctions are described in a special section.
Example sentences: By the end of the day off we were incredibly tired. But the mood was amazing! Communication using the adversative conjunction “but”.
It's always been like this... Or that's how it seemed to me...Connection using the disjunctive conjunction “or”.
We draw attention to the fact that very rarely only one conjunction is involved in the formation of a connection: as a rule, lexical means of communication are used simultaneously.
Communication using subordinating conjunctions: because, so. A very atypical case, since subordinating conjunctions connect sentences within a complex sentence. In our opinion, with such a connection there is a deliberate break in the structure of a complex sentence.
Example sentences: I was in complete despair... For I didn’t know what to do, where to go and, most importantly, who to turn to for help. The conjunction for has the meaning because, because, indicates the reason for the hero’s condition.
I didn’t pass the exams, I didn’t go to college, I couldn’t ask for help from my parents and I wouldn’t do it. So There was only one thing left to do: find a job. The conjunction “so” has the meaning of consequence.
4. Particles
Particle Communication always accompanies other types of communication.
Particles after all, and only, here, there, only, even, same add additional shades to the proposal.
Example sentences: Call your parents, talk to them. After all It's so simple and at the same time difficult - to love....
Everyone in the house was already asleep. AND only Grandma muttered quietly: she always read prayers before going to bed, asking the heavenly forces for a better life for us.
After my husband left, my soul became empty and my house deserted. Even the cat, who usually rushed like a meteor around the apartment, just yawns sleepily and keeps trying to climb into my arms. Here whose arms would I lean on...Please note that connecting particles come at the beginning of the sentence.
5. Word forms
Communication using word form is that in adjacent sentences the same word is used in different
- if this noun - number and case
- If adjective - gender, number and case
- If pronoun - gender, number and case depending on the category
- If verb in person (gender), number, tense
Verbs and participles, verbs and gerunds are considered different words.
Example sentences: Noise gradually increased. From this growing noise I felt uneasy.
I knew my son captain. With myself captain fate did not bring me together, but I knew that it was only a matter of time.
note: the assignment may say “word forms”, and then it is ONE word in different forms;
“forms of words” - and these are already two words repeated in adjacent sentences.
There is a particular difficulty in the difference between word forms and lexical repetition.
Information for teachers.
Let's consider as an example the most difficult task of the real Unified State Exam 2016. Here is the full fragment published on the FIPI website in the “Guidelines for Teachers (2016)”
Difficulties for examinees in completing task 23 were caused by cases where the task condition required distinguishing between the form of a word and lexical repetition as a means of connecting sentences in the text. In these cases, when analyzing language material, students should pay attention to the fact that lexical repetition involves the repetition of a lexical unit with a special stylistic task.
Here is the condition of task 23 and a fragment of the text of one of the versions of the Unified State Exam 2016:
“Among sentences 8–18, find one that is related to the previous one using lexical repetition. Write the number of this offer."
Below is the beginning of the text given for analysis.
- (7) What kind of an artist are you when you don’t love your native land, eccentric!
(8) Maybe that’s why Berg wasn’t good at landscapes. (9) He preferred a portrait, a poster. (10) He tried to find the style of his time, but these attempts were full of failures and ambiguities.
(11) One day Berg received a letter from the artist Yartsev. (12) He called him to come to the Murom forests, where he spent the summer.
(13) August was hot and windless. (14) Yartsev lived far from a deserted station, in the forest, on the shore of a deep lake with black water. (15) He rented a hut from a forester. (16) Berg was driven to the lake by the forester’s son Vanya Zotov, a stooped and shy boy. (17) Berg lived on the lake for about a month. (18) He was not going to work and did not take oil paints with him.
Proposition 15 is related to Proposition 14 by personal pronoun "He"(Yartsev).
Proposition 16 is related to Proposition 15 by word forms "forester": prepositional case form, controlled by a verb, and non-prepositional form, controlled by a noun. These word forms express different meanings: the meaning of object and the meaning of belonging, and the use of the word forms in question does not carry a stylistic load.
Proposition 17 is related to sentence 16 by word forms (“on the lake - to the lake”; "Berga - Berg").
Proposition 18 is related to the previous one by personal pronoun "he"(Berg).
The correct answer in task 23 of this option is 10. It is sentence 10 of the text that is connected with the previous one (sentence 9) using lexical repetition (the word “he”).
It should be noted that there is no consensus among the authors of various manuals, What is considered a lexical repetition - the same word in different cases (persons, numbers) or in the same one. The authors of the books of the publishing house “National Education”, “Exam”, “Legion” (authors Tsybulko I.P., Vasilyev I.P., Gosteva Yu.N., Senina N.A.) do not give a single example in which the words in various forms would be considered lexical repetition.
At the same time, very complex cases in which words in different cases have the same form are treated differently in the manuals. The author of the books N.A. Senina sees this as a form of the word. I.P. Tsybulko (based on materials from a 2017 book) sees lexical repetition. So, in sentences like I saw the sea in a dream. The sea was calling me the word “sea” has different cases, but at the same time it undoubtedly has the same stylistic task that I.P. writes about. Tsybulko. Without delving into the linguistic solution to this issue, we will outline the position of RESHUEGE and give recommendations.
1. All obviously non-matching forms are word forms, not lexical repetition. Please note that we are talking about the same linguistic phenomenon as in task 24. And in 24, lexical repetitions are only repeated words in the same forms.
2. There will be no matching forms in the tasks on RESHUEGE: if the linguist specialists themselves cannot figure it out, then school graduates cannot do it.
3. If you come across tasks with similar difficulties during the exam, we look at those additional means of communication that will help you make your choice. After all, the compilers of KIMs may have their own, separate opinion. Unfortunately, this may be the case.
23.3 Syntactic means.
Introductory words
Communication with the help of introductory words accompanies and complements any other connection, adding shades of meaning characteristic of introductory words.
Of course, you need to know which words are introductory.
He was hired. Unfortunately, Anton was too ambitious. On the one side, the company needed such individuals, on the other hand, he was not inferior to anyone or anything, if something was, as he said, below his level.
Let us give examples of the definition of means of communication in a short text.
(1) We met Masha several months ago. (2) My parents had not seen her yet, but did not insist on meeting her. (3) It seemed that she also did not strive for rapprochement, which upset me somewhat.
Let's determine how the sentences in this text are connected.
Sentence 2 is connected to sentence 1 using a personal pronoun her, which replaces the name Masha in sentence 1.
Sentence 3 is related to sentence 2 using word forms she her: “she” is a nominative case form, “her” is a genitive case form.
In addition, sentence 3 also has other means of communication: it is a conjunction Same, introductory word it seemed, series of synonymous constructions didn't insist on getting to know each other And didn't try to get closer.
Read an excerpt from the review. It examines the linguistic features of the text. Some terms used in the review are missing. Fill in the blanks with numbers corresponding to the number of the term from the list.
“The text analyzes an issue that has troubled people for centuries. To express his understanding of love and tenderness, the author uses the technique - (A)_________ (sentences 2, 3 - 4, 5) and the syntactic device - (B)_________ (in sentences 1, 9). The trope helps the writer create the image of a tender wife - (B)_________
(“with anxious-happy eyes” in sentence 30) and the syntactic device - (D)_________ (“like a trembling bird” in sentence 29).”
List of terms:
1) spoken words
2) rhetorical questions
3) series of homogeneous members of the sentence
4) parcellation
5) comparative turnover
6) opposition
9) phraseological units
Write down the numbers in your answer, arranging them in the order corresponding to the letters:
| A | B | IN | G |
Explanation (see also Rule below).
“The text analyzes an issue that has troubled people for centuries. To express his understanding of love and tenderness, the author uses the technique (A - 6) CONTRASTITION (in sentences 2 and 3, love-passion is contrasted in sentences 4 and 5 with love-tenderness) and the syntactic device (B - 3) RANKS OF HOMOGENEOUS MEMBERS (in sentences 19). The writer is helped to create the image of a tender wife by the trope (B - 7) EPITHET (“with anxious-happy eyes” in sentence 30) and the syntactic device (D - 5) COMPARATIVE VERSATILE (“like a trembling bird” in sentence 29).”
Answer: 6, 3, 7, 5.
Answer: 6375
Source: Unified State Examination - 2015. Early wave
Rule: Task 26. Language means of expression
ANALYSIS OF MEANS OF EXPRESSION.
The purpose of the task is to determine the means of expression used in the review by establishing correspondence between the gaps indicated by letters in the text of the review and the numbers with definitions. You need to write matches only in the order in which the letters appear in the text. If you do not know what is hidden under a particular letter, you must put “0” in place of this number. You can get from 1 to 4 points for the task.
When completing task 26, you should remember that you are filling in the gaps in the review, i.e. restore the text, and with it semantic and grammatical connection. Therefore, an analysis of the review itself can often serve as an additional clue: various adjectives of one kind or another, predicates consistent with the omissions, etc. It will make it easier to complete the task and divide the list of terms into two groups: the first includes terms based on the meaning of the word, the second - the structure of the sentence. You can carry out this division, knowing that all means are divided into TWO large groups: the first includes lexical (non-special means) and tropes; secondly, figures of speech (some of them are called syntactic).
26.1 TROPIC WORD OR EXPRESSION USED IN A FIGUREABLE MEANING TO CREATE AN ARTISTIC IMAGE AND ACHIEVE GREATER EXPRESSIVENESS. Tropes include such techniques as epithet, comparison, personification, metaphor, metonymy, sometimes they include hyperbole and litotes.
Note: The assignment usually states that these are TRAILS.
In the review, examples of tropes are indicated in parentheses, like a phrase.
1.Epithet(in translation from Greek - application, addition) - this is a figurative definition that marks an essential feature for a given context in the depicted phenomenon. The epithet differs from a simple definition in its artistic expressiveness and imagery. The epithet is based on a hidden comparison.
Epithets include all “colorful” definitions that are most often expressed adjectives:
sad orphaned land(F.I. Tyutchev), gray fog, lemon light, silent peace(I.A. Bunin).
Epithets can also be expressed:
-nouns, acting as applications or predicates, giving a figurative characteristic of the subject: winter sorceress; mother is the damp earth; The poet is a lyre, and not just the nanny of his soul(M. Gorky);
-adverbs, acting as circumstances: In the wild north stands alone...(M. Yu. Lermontov); The leaves were tensely stretched in the wind (K. G. Paustovsky);
-participles: waves rush thundering and sparkling;
-pronouns, expressing the superlative degree of a particular state of the human soul:
After all, there were fighting fights, Yes, they say, still which! (M. Yu. Lermontov);
-participles and participial phrases: Nightingales in vocabulary rumbling announce the forest limits (B. L. Pasternak); I also admit the appearance of... greyhound writers who cannot prove where they spent the night yesterday, and who have no other words in their language except the words not remembering kinship(M. E. Saltykov-Shchedrin).
2. Comparison is a visual technique based on the comparison of one phenomenon or concept with another. Unlike metaphor, comparison is always binary: it names both compared objects (phenomena, characteristics, actions).
The villages are burning, they have no protection.
The sons of the fatherland are defeated by the enemy,
And the glow like an eternal meteor,
Playing in the clouds frightens the eye. (M. Yu. Lermontov)
Comparisons are expressed in various ways:
Instrumental case form of nouns:
Nightingale vagrant Youth flew by,
Wave in bad weather Joy fades away (A.V. Koltsov)
Comparative form of an adjective or adverb: These eyes greener sea and our cypress trees darker(A. Akhmatova);
Comparative phrases with conjunctions like, as if, as if, etc.:
Like a predatory beast, to the humble abode
The winner breaks in with bayonets... (M. Yu. Lermontov);
Using the words similar, similar, this is:
On the eyes of a cautious cat
Similar your eyes (A. Akhmatova);
Using comparative clauses:
Golden leaves swirled
In the pinkish water of the pond,
Like a light flock of butterflies
Flies breathlessly towards a star. (S. A. Yesenin)
3.Metaphor(in translation from Greek - transfer) is a word or expression that is used in a figurative meaning based on the similarity of two objects or phenomena for some reason. Unlike a comparison, which contains both what is being compared and what is being compared with, a metaphor contains only the second, which creates compactness and figurativeness in the use of the word. A metaphor can be based on the similarity of objects in shape, color, volume, purpose, sensations, etc.: a waterfall of stars, an avalanche of letters, a wall of fire, an abyss of grief, a pearl of poetry, a spark of love and etc.
All metaphors are divided into two groups:
1) general language(“erased”): golden hands, a storm in a teacup, moving mountains, strings of the soul, love has faded;
2) artistic(individual author’s, poetic):
And the stars fade diamond thrill
IN painless cold dawn (M. Voloshin);
Empty skies transparent glass (A. Akhmatova);
AND blue, bottomless eyes
They bloom on the far shore. (A. A. Blok)
Metaphor happens not just single: it can develop in the text, forming entire chains of figurative expressions, in many cases - covering, as if permeating the entire text. This extended, complex metaphor, a complete artistic image.
4. Personification- this is a type of metaphor based on the transfer of signs of a living being to natural phenomena, objects and concepts. Most often, personifications are used to describe nature:
Rolling through the sleepy valleys, the sleepy mists lay down, And only the sound of a horse's tramp is lost in the distance. The autumn day has faded, turning pale, with the fragrant leaves curled up, and the half-withered flowers are enjoying dreamless sleep.. (M. Yu. Lermontov)
5. Metonymy(translated from Greek - renaming) is the transfer of a name from one object to another based on their contiguity. Adjacency can be a manifestation of connection:
Between action and the instrument of action: Their villages and fields for a violent raid He doomed to swords and fires(A.S. Pushkin);
Between an object and the material from which the object is made: ... or on silver, I ate on gold(A. S. Griboyedov);
Between a place and the people in that place: The city was noisy, flags crackled, wet roses fell from the bowls of flower girls... (Yu. K. Olesha)
6. Synecdoche(in translation from Greek - correlation) - this a type of metonymy, based on the transfer of meaning from one phenomenon to another based on the quantitative relationship between them. Most often, transfer occurs:
From less to more: Even a bird does not fly to him, And a tiger does not come... (A.S. Pushkin);
From part to whole: Beard, why are you still silent?(A.P. Chekhov)
7. Periphrase, or periphrasis(translated from Greek - a descriptive expression) is a phrase that is used instead of any word or phrase. For example, Petersburg in verse
A. S. Pushkin - “Peter’s Creation”, “Beauty and Wonder of the Full Countries”, “The City of Petrov”; A. A. Blok in the poems of M. I. Tsvetaeva - “a knight without reproach”, “blue-eyed snow singer”, “snow swan”, “almighty of my soul”.
8.Hyperbole(translated from Greek - exaggeration) is a figurative expression containing an exorbitant exaggeration of any attribute of an object, phenomenon, action: A rare bird will fly to the middle of the Dnieper(N.V. Gogol)
And at that very moment there were couriers, couriers, couriers on the streets... can you imagine, thirty five thousands only couriers! (N.V. Gogol).
9. Litota(translated from Greek - smallness, moderation) is a figurative expression containing an exorbitant understatement of any attribute of an object, phenomenon, action: What tiny cows! There is, right, less than a pinhead.(I. A. Krylov)
And walking importantly, in decorous calm, the horse is led by the bridle by a peasant in large boots, in a short sheepskin coat, in large mittens... and from the nails myself!(N.A. Nekrasov)
10. Irony(in translation from Greek - pretense) is the use of a word or statement in a sense opposite to the direct one. Irony is a type of allegory in which mockery is hidden behind an outwardly positive assessment: Why, smart one, are you delirious, head?(I. A. Krylov)
26.2 “NON-SPECIAL” LEXICAL VISUATIVE AND EXPRESSIVE MEANS OF LANGUAGE
Note: In assignments it is sometimes indicated that this is a lexical device. Typically, in a review of task 24, an example of a lexical device is given in parentheses, either as a single word or as a phrase in which one of the words is in italics. Please note: these are the products most often needed find in task 22!
11. Synonyms, i.e. words of the same part of speech, different in sound, but identical or similar in lexical meaning and differing from each other either in shades of meaning or stylistic coloring ( brave - brave, run - rush, eyes(neutral) - eyes(poet.)), have great expressive power.
Synonyms can be contextual.
12. Antonyms, i.e. words of the same part of speech, opposite in meaning ( truth - lie, good - evil, disgusting - wonderful), also have great expressive capabilities.
Antonyms can be contextual, that is, they become antonyms only in a given context.
Lies happen good or evil,
Compassionate or merciless,
Lies happen dexterous and awkward,
Prudent and reckless,
Intoxicating and joyless.
13. Phraseologisms as a means of linguistic expression
Phraseologisms (phraseological expressions, idioms), i.e. phrases and sentences reproduced in ready-made form, in which the integral meaning dominates the meanings of their constituent components and is not a simple sum of such meanings ( get into trouble, be in seventh heaven, bone of contention), have great expressive capabilities. The expressiveness of phraseological units is determined by:
1) their vivid imagery, including mythological ( the cat cried like a squirrel in a wheel, Ariadne's thread, sword of Damocles, Achilles heel);
2) the classification of many of them: a) to the category of high ( the voice of one crying in the wilderness, sink into oblivion) or reduced (colloquial, colloquial: like a fish in water, neither sleep nor spirit, lead by the nose, lather your neck, hang your ears); b) to the category of linguistic means with a positive emotional-expressive connotation ( to store like the apple of your eye - trade.) or with a negative emotional-expressive coloring (without the king in the head - disapproved, small fry - disdained, worthless - despised.).
14. Stylistically colored vocabulary
To enhance expressiveness in the text, all categories of stylistically colored vocabulary can be used:
1) emotional-expressive (evaluative) vocabulary, including:
a) words with a positive emotional-expressive assessment: solemn, sublime (including Old Slavonicisms): inspiration, future, fatherland, aspirations, hidden, unshakable; sublimely poetic: serene, radiant, enchantment, azure; approving: noble, outstanding, amazing, brave; endearments: sunshine, darling, daughter
b) words with a negative emotional-expressive assessment: disapproving: speculation, bickering, nonsense; dismissive: upstart, hustler; contemptuous: dunce, crammer, scribbling; abusive/
2) functionally and stylistically colored vocabulary, including:
a) book: scientific (terms: alliteration, cosine, interference); official business: the undersigned, report; journalistic: report, interview; artistic and poetic: azure, eyes, cheeks
b) colloquial (everyday): dad, boy, braggart, healthy
15. Vocabulary of limited use
To enhance expressiveness in the text, all categories of vocabulary of limited use can also be used, including:
Dialectal vocabulary (words that are used by residents of a particular area: kochet - rooster, veksha - squirrel);
Colloquial vocabulary (words with a pronounced reduced stylistic connotation: familiar, rude, dismissive, abusive, located on the border or outside the literary norm: beggar, drunkard, cracker, trash talker);
Professional vocabulary (words that are used in professional speech and are not included in the system of general literary language: galley - in the speech of sailors, duck - in the speech of journalists, window - in the speech of teachers);
Slang vocabulary (words characteristic of youth slang: party, frills, cool; computer: brains - computer memory, keyboard - keyboard; soldier: demobilization, scoop, perfume; criminal jargon: bro, raspberry);
The vocabulary is outdated (historicisms are words that have fallen out of use due to the disappearance of the objects or phenomena they denote: boyar, oprichnina, horse-drawn horse; archaisms are outdated words naming objects and concepts for which new names have appeared in the language: forehead - forehead, sail - sail); - new vocabulary (neologisms - words that have recently entered the language and have not yet lost their novelty: blog, slogan, teenager).
26.3 FIGURES (RHETORICAL FIGURES, STYLISTIC FIGURES, FIGURES OF SPEECH) ARE STYLISTIC DEVICES based on special combinations of words that go beyond the scope of normal practical use, and aimed at enhancing the expressiveness and figurativeness of the text. The main figures of speech include: rhetorical question, rhetorical exclamation, rhetorical appeal, repetition, syntactic parallelism, polyunion, non-union, ellipsis, inversion, parcellation, antithesis, gradation, oxymoron. Unlike lexical means, this is the level of a sentence or several sentences.
Note: In the tasks there is no clear definition format indicating these means: they are called syntactic means, and a technique, and simply a means of expressiveness, and a figure. In task 24, the figure of speech is indicated by the number of the sentence given in brackets.
16.Rhetorical question is a figure that contains a statement in the form of a question. A rhetorical question does not require an answer; it is used to enhance the emotionality, expressiveness of speech, and to attract the reader’s attention to a particular phenomenon:
Why did he give his hand to insignificant slanderers, Why did he believe false words and caresses, He who comprehended people from a young age?.. (M. Yu. Lermontov);
17.Rhetorical exclamation is a figure that contains a statement in the form of an exclamation. Rhetorical exclamations enhance the expression of certain feelings in a message; they are usually distinguished not only by special emotionality, but also by solemnity and elation:
That was on the morning of our years - Oh happiness! oh tears! O forest! oh life! oh sunshine! O fresh spirit of birch. (A.K. Tolstoy);
Alas! The proud country bowed to the power of a stranger. (M. Yu. Lermontov)
18.Rhetorical appeal- this is a stylistic figure consisting of an emphasized appeal to someone or something to enhance the expressiveness of speech. It serves not so much to name the addressee of the speech, but rather to express the attitude towards what is said in the text. Rhetorical appeals can create solemnity and pathosity of speech, express joy, regret and other shades of mood and emotional state:
My friends! Our union is wonderful. He, like the soul, is uncontrollable and eternal (A.S. Pushkin);
Oh, deep night! Oh, cold autumn! Mute! (K. D. Balmont)
19.Repetition (positional-lexical repetition, lexical repetition)- this is a stylistic figure consisting of the repetition of any member of a sentence (word), part of a sentence or a whole sentence, several sentences, stanzas in order to attract special attention to them.
Types of repetition are anaphora, epiphora and pickup.
Anaphora(translated from Greek - ascent, rise), or unity of beginning, is the repetition of a word or group of words at the beginning of lines, stanzas or sentences:
Lazy the hazy noon breathes,
Lazy the river is rolling.
And in the fiery and pure firmament
Clouds are melting lazily (F.I. Tyutchev);
Epiphora(translated from Greek - addition, final sentence of a period) is the repetition of words or groups of words at the end of lines, stanzas or sentences:
Although man is not eternal,
That which is eternal - humanely.
What is a day or an age?
Before what is infinite?
Although man is not eternal,
That which is eternal - humanely(A. A. Fet);
They got a loaf of light bread - joy!
Today the film is good in the club - joy!
A two-volume edition of Paustovsky was brought to the bookstore. joy!(A.I. Solzhenitsyn)
Pickup- this is a repetition of any segment of speech (sentence, poetic line) at the beginning of the corresponding segment of speech following it:
He fell down on the cold snow,
On the cold snow, like a pine tree,
Like a pine tree in a damp forest (M. Yu. Lermontov);
20. Parallelism (syntactic parallelism)(in translation from Greek - walking next to) - identical or similar construction of adjacent parts of the text: adjacent sentences, poetic lines, stanzas, which, when correlated, create a single image:
I look at the future with fear,
I look at the past with longing... (M. Yu. Lermontov);
I was a ringing string for you,
I was your blooming spring,
But you didn't want flowers
And you didn't hear the words? (K. D. Balmont)
Often using antithesis: What is he looking for in a distant land? What did he throw in his native land?(M. Lermontov); Not the country is for business, but business is for the country (from the newspaper).
21. Inversion(translated from Greek - rearrangement, inversion) is a change in the usual order of words in a sentence in order to emphasize the semantic significance of any element of the text (word, sentence), giving the phrase a special stylistic coloring: solemn, high-sounding or, conversely, colloquial, somewhat reduced characteristics. The following combinations are considered inverted in Russian:
The agreed definition comes after the word being defined: I’m sitting behind bars in dungeon dank(M. Yu. Lermontov); But there were no swells running through this sea; the stuffy air did not flow: it was brewing great thunderstorm(I. S. Turgenev);
Additions and circumstances expressed by nouns come before the word to which they relate: Hours of monotonous battle(monotonous clock strike);
22.Parcellation(in translation from French - particle) - a stylistic device that consists in dividing a single syntactic structure of a sentence into several intonational and semantic units - phrases. At the point where the sentence is divided, a period, exclamation and question marks, and an ellipsis can be used. In the morning, bright as a splint. Scary. Long. Ratnym. The rifle regiment was defeated. Our. In an unequal battle(R. Rozhdestvensky); Why isn't anyone outraged? Education and healthcare! The most important areas of society! Not mentioned in this document at all(From newspapers); The state needs to remember the main thing: its citizens are not individuals. And people. (From newspapers)
23. Non-union and multi-union- syntactic figures based on deliberate omission, or, conversely, deliberate repetition of conjunctions. In the first case, when omitting conjunctions, speech becomes condensed, compact, and dynamic. The actions and events depicted here quickly, instantly unfold, replacing each other:
Swede, Russian - stabs, chops, cuts.
Drumming, clicks, grinding.
The thunder of guns, stomping, neighing, groaning,
And death and hell on all sides. (A.S. Pushkin)
When multi-union speech, on the contrary, slows down, pauses and repeated conjunctions highlight words, expressively emphasizing their semantic significance:
But And grandson, And great-grandson, And great-great-grandson
They grow in me while I grow... (P.G. Antokolsky)
24.Period- a long, polynomial sentence or a very common simple sentence, which is distinguished by completeness, unity of topic and intonational division into two parts. In the first part, the syntactic repetition of the same type of subordinate clauses (or members of the sentence) occurs with an increasing increase in intonation, then there is a significant pause separating it, and in the second part, where the conclusion is given, the tone of voice noticeably decreases. This intonation design forms a kind of circle:
If I wanted to limit my life to the home circle, / When a pleasant lot ordered me to be a father, a husband, / If I were captivated by the family picture for even a single moment, then it’s true that I wouldn’t look for another bride besides you. (A.S. Pushkin)
25.Antithesis or opposition(in translation from Greek - opposition) is a turn in which opposing concepts, positions, images are sharply contrasted. To create an antithesis, antonyms are usually used - general linguistic and contextual:
You are rich, I am very poor, You are a prose writer, I am a poet(A.S. Pushkin);
Yesterday I looked into your eyes,
And now everything is looking sideways,
Yesterday I was sitting before the birds,
All larks these days are crows!
I'm stupid and you're smart
Alive, but I'm dumbfounded.
O cry of women of all times:
“My dear, what have I done to you?” (M. I. Tsvetaeva)
26.Gradation(in translation from Latin - gradual increase, strengthening) - a technique consisting in the sequential arrangement of words, expressions, tropes (epithets, metaphors, comparisons) in order of strengthening (increasing) or weakening (decreasing) of a characteristic. Increasing gradation usually used to enhance the imagery, emotional expressiveness and impact of the text:
I called you, but you didn’t look back, I shed tears, but you didn’t condescend(A. A. Blok);
Glowed, burned, shone huge blue eyes. (V. A. Soloukhin)
Descending gradation is used less frequently and usually serves to enhance the semantic content of the text and create imagery:
He brought mortal resin
Yes, a branch with withered leaves. (A.S. Pushkin)
27.Oxymoron(translated from Greek - witty-stupid) is a stylistic figure in which usually incompatible concepts are combined, usually contradicting each other ( bitter joy, ringing silence and so on.); at the same time, a new meaning is obtained, and the speech acquires special expressiveness: From that hour began for Ilya sweet torment, lightly scorching the soul (I. S. Shmelev);
Eat joyful melancholy in the red of dawn (S. A. Yesenin);
But their ugly beauty I soon comprehended the mystery. (M. Yu. Lermontov)
28. Allegory– allegory, transmission of an abstract concept through a concrete image: Foxes and wolves must win(cunning, malice, greed).
29.Default- a deliberate break in the statement, conveying the emotion of the speech and suggesting that the reader will guess what was unspoken: But I wanted... Perhaps you...
In addition to the above syntactic means of expressiveness, the tests also contain the following:
-exclamation sentences;
- dialogue, hidden dialogue;
-question-and-answer form of presentation a form of presentation in which questions and answers to questions alternate;
-rows of homogeneous members;
-citation;
-introductory words and constructions
-Incomplete sentences– sentences in which any member is missing that is necessary for completeness of structure and meaning. Missing sentence members can be restored and contextualized.
The volume of the essay is at least 150 words.
Work written without reference to the text read (not based on this text) is not graded. If the essay is a retelling or a complete rewrite of the original text without any comments, then such work is graded 0 points.
Write an essay carefully, legible handwriting.
Explanation.
Main problems:
1. What is the difference between love-passion and love-tenderness.
2. Is there a place for tenderness in our time?
1. Love-passion - for yourself, love-tenderness - for the sake of another.
2. Despite the fact that tenderness is becoming less and less common, it still manifests itself not “in the form of a meek woman bending towards the head of the bed,” but in simple and ordinary situations.
Tenderness is the most meek, timid, divine face of love. Love is passion - always with an eye on yourself. She wants to conquer, seduce, she wants to please, she preens herself, puts her hands on her hips, measures, all the time she is afraid of missing out on what she has lost. Love-tenderness gives everything, and there is no limit to it. And she will never look back at herself, because “she is not looking for her own.” She's the only one who's not looking. But one should not think that the feeling of tenderness degrades a person. Vice versa. Tenderness comes from above, it takes care of the beloved, protects, takes care of him. But only a defenseless creature in need of care can be looked after and protected, therefore words of tenderness are diminutive words, going from the strong to the weak.
Tenderness is rare and increasingly rare. Modern life is difficult and complex. Modern man, even in love, strives first of all to establish his personality. Love is a martial arts.
Yeah! Be in love? Well, okay. Roll up your sleeves, straighten your shoulders - come on, who will win?
Is there any tenderness here? And who to protect, who to feel sorry for - all well done and heroes. He who knows tenderness is marked.
In the minds of many, tenderness is always depicted in the form of a meek woman bending towards the head of the bed. No, that’s not where you need to look for tenderness. I saw her differently: in forms that were not at all poetic, in simple, even funny ones.
We lived in a sanatorium near Paris. They walked, ate, listened to the radio, played bridge, and gossiped. There was only one real patient - a feisty old man recovering from typhus.
The old man often sat on the terrace in a chaise lounge, covered with pillows, wrapped in blankets, pale, bearded, always silent and, if anyone passed by, he turned away and closed his eyes. Around the old man, like a trembling bird, his wife hovered. The woman is middle-aged, dry, light, with a faded face and anxiously happy eyes. And she never sat quietly. I kept correcting something around my patient. Now she turned over the newspaper, now she fluffed the pillow, now she tucked in the blanket, now she ran to warm the milk, now she dripped medicine. The old man accepted all these services with obvious disgust. Every morning, with a newspaper in her hands, she rushed from table to table, chatted friendly with everyone and asked:
Here, maybe you can help me? Here is the crossword puzzle: “What happens in a residential building?” Four letters. I write it down on a piece of paper to help Sergei Sergeevich. He always solves crossword puzzles, and if he gets stuck, I come to his aid. After all, this is his only entertainment. Patients are like children. I'm so glad that at least this amuses him.
They pitied her and treated her with great sympathy.
And then somehow he crawled out onto the terrace earlier than usual. She sat him down for a long time, covered him with blankets, and propped up pillows. He winced and angrily pushed her hand away if she did not immediately guess his wishes.
She, shivering joyfully, grabbed the newspaper.
Here, Serezhenka, today seems to be a very interesting crossword puzzle.
He suddenly raised his head, rolled out his angry yellow eyes and began to shake all over.
Get the hell out of your stupid crossword puzzles! - he hissed furiously.
She turned pale and somehow sank.
But you... - she babbled in confusion. - After all, you were always interested in...
I was never interested! - he kept shaking and hissing, looking with animal pleasure at her pale, desperate face. - Never! It was you who climbed with the tenacity of the degenerate that you are!
She didn't answer. She just swallowed air with difficulty, pressed her hands tightly to her chest and looked around with such pain and such despair, as if she was looking for help. But who can take such a funny and stupid grief seriously? Only the little boy, sitting at the next table and seeing this scene, suddenly closed his eyes and cried bitterly.
by N. A. Teffi
What is tenderness...? It is this question that N. Teffi suggests thinking about, raising the problem of understanding love and tenderness.
Reflecting on the problem, the author compares such concepts as love-passion and love-tenderness, between which there is a big difference: passion “always looks at itself,” while tenderness, in contrast to it, never “looks for its own.” The writer also notes with regret that tenderness is becoming less and less common, because in the modern world a person in love strives “first of all to establish his personality,” believing that the feeling of tenderness only detracts from one’s dignity. However, without a doubt, this is far from the case. The ability to show tenderness is not given to everyone. Only sincerely loving, selfless people who are ready to selflessly care for and protect loved ones have the power of tenderness, which always “comes from above.” It is about such a person - about an already elderly woman who tirelessly takes care of her sick husband - that N. Teffi narrates, showing an example of tenderness, love and care. The old woman “never sat quietly”: she directed all her strength into doing something good, useful for her loved one, and never left him unattended for a minute, although he was often dissatisfied with this. Isn't this a true manifestation of tenderness?..
The author’s position is clear: tenderness is the “divine face of love,” manifested in the ability to give without expecting anything in return, care, dedication... N. Teffi is sad when tenderness is not reciprocated. She feels sorry for the elderly woman just like the boy, who saw how the old man was childishly capricious and even rude in response to his wife’s care and affection. It seems that the writer also wants to cry “bitterly” with the boy.
I cannot but agree with N. Teffi’s position. Indeed, tenderness is the highest manifestation of love. The desire to take care of a person, to give him warmth and joy free of charge... What could be a more vivid confirmation of love? The problem of understanding tenderness and love could not help but end up on the pages of classics of Russian and foreign literature.
Thus, O. Henry’s work “The Gift of the Magi” tells the story of Jim and Della, a poor married couple. They want to give each other something special for Christmas, but they both don't have enough money for it. Jim's only treasure is his gold watch, and Della's is her luxurious hair. Wanting to please each other, they sacrifice their treasures and buy gifts with the proceeds: Jim gives his wife a comb with precious stones, and she gives him a platinum chain for his already pawned watch... O. Henry presents this ridiculous story to the reader as a true manifestation of tenderness. To bring joy to each other at Christmas, each spouse makes a unique sacrifice. I am convinced that tenderness, manifested in a willingness to do anything for a loved one, is the best proof of true love.
Thus, I would like to point out that tenderness plays an important role in love. She gives people all those sublime feelings that a loving person experiences. So let's show tenderness towards our loved ones!
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