“(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 ... "

(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, akimbo, measures, she is afraid all the time

miss the lost. (4) Love-tenderness gives everything, and there is no limit to it. (5) And she will never look back at herself, because

"does not seek his own." (6) Only she is alone and does not look for. (7) But one should not think that a feeling of tenderness degrades a person.

(8) On the contrary. (9) Tenderness comes from above, she takes care of her beloved, protects, takes care of him. (10) But only a defenseless creature in need of guardianship can be patronized and protected, therefore words of tenderness are diminutive words, going from strong to weak.

(11) Tenderness is rare and less and less common. (12) Modern life is difficult and complex. (13) A modern person, even in love, seeks first of all to affirm his personality. (14) Love is a martial art.

- (15) Aha! (16) Love? (17) Well, okay. (18) They rolled up their sleeves, straightened their shoulders - well, who wins?

(19) Is it tenderness here? (20) And whom to protect, whom to pity - all the good fellows and heroes. (21) Whoever knows tenderness is marked.

(22) In the minds of many, tenderness is certainly drawn in the form of a meek woman leaning over the headboard.

(23) No, tenderness is not to be found there. (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) Walked, ate, listened to the radio, played bridge, 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 deck chair, lined with pillows, wrapped in blankets, pale, bearded, always silent and, if anyone passed by, turned away and closed his eyes. (29) Around the old man, like a trembling bird, his wife curled. (30) The woman is middle-aged, dry, light, with a withered face and anxiously happy eyes (31) And she never sat still. (32) I corrected everything around my patient. (33) Then she turned over the newspaper, then she fluffed up the pillow, then she tucked the blanket, then she ran to warm the milk, then she dripped the 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, amiably talked 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 down on a piece of paper to help Sergey Sergeevich. (39) He always solves crossword puzzles, and if he finds it difficult, 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 it amuses him.

(43) She was pitied and treated 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, put pillows on. (46) He frowned and angrily pushed her hand away if she did not immediately guess his desires. (47) She, shivering happily, grabbed the newspaper.

- (48) Here, Seryozhenka, today it seems to be a very interesting crossword puzzle.

(49) He suddenly raised his head, rolled out his evil yellow eyes and shook all over.

- (50) Get the hell out of here with your idiotic crossword puzzles! he hissed furiously.

(51) She turned pale and somehow sank all over.

- (52) But you are ... - she babbled in confusion. - (53) After all, you were always interested in ...

- (54) I have never been interested! he kept shaking and hissing, looking at her pale, desperate face with bestial pleasure. - (55) Never! (56) It was you who climbed with the stubbornness of a degenerate, which you are!

(57) She did not answer. (58) She only swallowed air with difficulty, pressed her hands tightly to her chest and looked around with such pain and with such despair, as if she were looking for help. (59) But who can take such a ridiculous and stupid grief seriously? (60) Only a little boy, who was sitting at the next table and seeing this scene, suddenly closed his eyes and wept bitterly.

(According to N.A. Teffi *) * Nadezhda Aleksandrovna Teffi (1872–1952) - Russian writer, poetess, memoirist and translator.

Read a fragment of a review based on the text that you analyzed in tasks 20–23. This fragment examines the language features of the text. Some terms used in the review are missing. Fill in the gaps (A, B, C, D) with the numbers corresponding to the numbers of the terms from the list. Write in the table under each letter the corresponding number.

“The text analyzes a problem 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 means - (B) _________ (in sentences 1, 9). To create the image of a tender wife, the writer is helped by the trope - (B) _________ (“anxiously happy eyes” in sentence 30) and the syntactic means - (D) _________ (“like a quivering bird” in sentence 29).

–  –  –

The village of Vereino stands on a mountain. There are two lakes under the mountain, and on their banks, an echo of a large village, huddles a small village with three houses - Zuyaty.

Between Zuyatami and Vereino there is a huge steep slope, visible for many tens of miles as a dark humpbacked island. This whole hillside is so overgrown with dense forest that people almost never go there. Yes, and how do you get on?

It is worth moving a few steps away from the clover field, which is on the mountain, - and you will immediately roll head over heels down, you will fall into the deadwood lying crosswise, covered with moss, elderberry and raspberry.

Deaf on the slope, damp and twilight. Spruce and fir lining reliably buries its inhabitants - birds, badgers, squirrels, ermines - from the thin eye and raking hands. The hazel grouse and capercaillie, very cunning and cautious, keep here.

And once settled in the thicket of the slope, perhaps one of the most secretive animals - the white-breasted marten. For two or three summers she lived alone, occasionally appearing at the edge of the forest. The white-breasted twitched with sensitive nostrils, caught the nasty smells of the village, and if a person approached, it pierced like a bullet into the wilderness of the forest.

On the third or fourth summer Belogrudka gave birth to kittens, small as bean pods. The mother warmed them with her body, licked each to a shine, and when the kittens grew up a little, she began to get food for them. She knew this slope very well. In addition, she was a diligent mother and provided plenty of food for kittens.

V. Astafiev, Belogrudka But somehow the Verinsky boys tracked down Belogrudka, followed her down the slope, hid.

The white-breasted duck meandered through the forest for a long time, waving from tree to tree, then decided that people had already left - after all, they often pass by the slope, and returned to the nest.

Several human eyes followed her. White-breasted did not feel them, because she trembled all over, clinging to the kittens, and could not pay attention to anything.

White-breasted licked each of the cubs in the muzzle:

say, I am now, instantly, - and swung out of the nest.

Finding food was getting harder and harder day by day. He was no longer near the nest, and the marten went from tree to tree, from fir to fir, to the lakes, then to the swamp, to the large swamp beyond the lake. There she attacked a simple jay and, joyful, rushed to her nest, carrying in her teeth a red bird with a loose blue wing.

The nest was empty. The white-breasted bird dropped its prey from its teeth, rushed up the spruce, then down, then up again, to the nest cunningly hidden in the dense spruce branches.

There were no kittens. If Belogrudka knew how to scream, she would scream.

The kittens are gone.

The white-breasted woman examined everything in order and found that people were trampling around the spruce and a man was awkwardly climbing the tree, peeling off the bark, breaking off the knots, leaving a pungent smell of sweat and dirt in the folds of the bark.

By evening, Belogrudka accurately tracked down that her cubs had been taken to the village. At night, she also found the house to which they had been taken.

V. Astafiev, Belogrudka Until dawn, she rushed about near the house: from the roof to the fence, from the fence to the roof. For hours she sat on the bird cherry tree, under the window, listening to see if the kittens would squeak.

But in the yard a chain rattled and a dog barked hoarsely. The owner went out of the house several times, angrily shouting at her. The white-breasted clump clung to the bird cherry.

Now every night she sneaked up to the house, watched, watched, and the dog rattled and raged in the yard.

Somehow Belogrudka crept into the hayloft and stayed there until light, and in the afternoon did not dare to go into the forest. In the afternoon, she saw her kittens. The boy carried them out on the porch in an old hat and began to play with them, turning them upside down with their bellies, flicking them on the nose. More boys came and began to feed the kittens with raw meat.

Then the owner appeared and, pointing to the kunyats, said:

Why are you torturing animals? Take it to the nest. Will be lost.

Then there was that terrible day when Belogrudka again hid in the shed and again waited for the boys. They appeared on the porch and argued about something.

One of them took out an old hat, looked into it:

Eh, one of you...

The boy took the kitten by the paw and threw it to the dog. The fold-eared yard dog, who spent his whole life on a chain and got used to eating what they give, sniffed the kitten, turned it over with his paw and began to slowly devour it from the head.

On the same night, many chickens and hens were strangled in the village, and an old dog who had eaten a kitten was crushed on a high raft. White-breasted ran along the fence and teased the stupid mongrel so much that he rushed after her, jumped over the fence, fell off and hung.

V. Astafiev, Belogrudka Ducklings, goslings were found crushed in gardens and on the street. In the outermost houses, which are closer to the forest, the bird has completely hatched.

And for a long time people could not find out who was robbing the village at night. But Belogrudka became completely furious and began to appear at houses even during the day and crack down on everything that was within her power.

The women gasped, the old women crossed themselves, the men cursed:

It's Satan! Called to attack!

Belogrudka was guarded, knocked down with shot from a poplar near the old church. But Belogrudka did not die. Only two pellets got under her skin, and she hid in the nest for several days, licking her wounds.

When she cured herself, she again came to the house where she seemed to be dragged on a leash.

White-breasted did not yet know that the boy who took the kunyat was flogged with a belt and ordered to take them back to the nest. But the carefree boy was too lazy to climb into the forest support, left the kunyat in a ravine near the forest and left.

Here they were found and killed by a fox.

White-breasted was orphaned. She began to recklessly crush pigeons, ducklings, not only on the mountain, in Vereino, but also in Zuyat.

She got in the cellar. Having opened the trap of the cellar, the hostess of the last hut in Zuyaty saw Belogrudka.

So there you are, Satan! she threw up her hands and rushed to catch the marten.

All jars, pots, cups were overturned and beaten before the woman grabbed the marten.

White-breasted was imprisoned in a box. She gnawed ferociously at the boards, crumbled wood chips.

V. Astafiev, Belogrudka

The owner came, he was a hunter, and when his wife said that she had caught a marten, he said:

Well, in vain. She is not guilty. She was offended, orphaned, - and released the marten into the wild, thinking that she would not appear in Zuyaty again.

But Belogrudka began to rob more than ever. The hunter had to kill the marten long before the season.

In the garden near the greenhouse, he saw her one day, drove her into a lonely bush and shot. The marten fell into the nettles and saw a dog running towards her with a wet barking mouth. The white-breasted snake snaked out of the nettle, grabbed the dog's throat and died.

The dog rolled on the nettles, howling wildly. The hunter unclenched Belogrudka's teeth with a knife and broke two piercingly sharp fangs.

They still remember Belogrudka in Vereino and Zuyaty. Until now, children are strictly punished here so that they do not dare to touch the cubs of animals and birds.

Squirrels, foxes, various birds and small animals now live and breed quietly between two villages, close to habitation, on a steep wooded slope.

And when I visit this village and hear the thick-voiced morning hubbub of birds, I think the same thing:

“Now, if there were more such slopes near our villages and cities!”

Victor Astafiev Why did I kill the corncrake?

That was a long time ago, maybe forty years ago. In early autumn, I was returning from fishing along a mowed meadow and near a small bog that had dried up over the summer, overgrown with willow, I saw a bird.

She heard me, sat down in the sloping bristles of the sedge, hid, but my eye felt, she was frightened of him, and suddenly rushed to run, clumsily toppling to one side.

You don’t have to run away from the boy, like from a hound dog - he will certainly rush in pursuit, wild excitement will kindle in him. Beware then living soul!

I caught up with the bird in the furrow and, blind from the chase, the passion of hunting, swept it with a damp rod.

I took in my hand a bird with a wilted, seemingly boneless body. Her eyes were pinched by dead, colorless eyelids, her neck, like a frost-bitten leaf, dangled. The feather on the bird was yellowish, with rust on the sides, and the back seemed to be strewn with darkish rot.

I recognized the bird - it was a corncrake. Dergach in our opinion. All his dergachi friends left our places, went to warmer climes to spend the winter. This one couldn't leave. He did not have one paw - in the hayfield he fell under the Lithuanian. That's why he ran so clumsily from me, that's why I caught up with him.

And the thin, almost weightless body of a bird, whether it was a simple color, or maybe the fact that she was without a leg, but before that I felt sorry for her that I began to dig a hole in the furrow with my hands and bury the animals so simply, foolishly ruined.

Viktor Astafiev, Why did I kill the corncrake?

I grew up in a family of a hunter and later became a hunter myself, but I never shot unnecessarily. With impatience and guilt, already inveterate, every summer I wait for corostels home, in Russian lands.

Already the bird cherry has faded, the kupava has crumbled, the hellebore has started up on the fourth leaf, the grass has moved into the stem, the daisies have poured over the eels and the nightingales sing their songs on their last breath.

But something is still missing from the early summer, something is missing from it, something has not yet taken shape, or something.

And then one day, on a dewy morning, across the river, in the meadows covered with still young grass, the creak of a corncrake was heard. Appeared, tramp! Got it! Pulls-creaks! This means that the full summer has begun, which means that haymaking is soon, which means that everything is in order.

And every year like this. I'm languishing and waiting for the corncrake, suggesting to myself that it was that long-time dergach who somehow miraculously survived and gives me a voice, forgiving that unintelligent, gambling boy.

Now I know how difficult the life of a corncrake is, how far it has to get to us in order to notify Russia of the beginning of summer.

The corncrake winters in Africa and leaves it already in April, rushing there, “... where poppy dawns wither like the heat of a forgotten fire, where green-haired forests drown in the blue dawn, where the meadow has not yet been touched by a slanting one, where cornflower blue eyes ... ". He goes to build a nest and breed offspring, feed him and quickly get away from the disastrous winter.

Viktor Astafiev, Why did I kill the corncrake?

Not adapted to flight, but fast on the run, this bird is forced to fly over the Mediterranean Sea twice a year. Many thousands of corncrakes die on the way, and especially when flying over the sea.

How the corncrake goes, where, in what ways - few people know. Only one city gets in the way of these birds - a small ancient city in the south of France. The coat of arms of the city depicts a corncrake. On those days when corostels go around the city, no one works here. All people celebrate the holiday and bake figurines of this bird from the dough, as we, in Russia, bake larks for their arrival.

The corncrake bird is considered sacred in the French old town, and if I had lived there in the old days, I would have been sentenced to death.

But I live far from France. I have been living for many years and have seen all sorts of things. I was at war, I shot at people, and they shot at me.

But why, why, as soon as I hear the creak of a corncrake across the river, my heart trembles and again one old torment falls on me: why did I kill the corncrake? What for?

S. Dovlatov Letter from there S. Dovlatov, Letter from there (1) This letter came by a miracle. (2) One heroic Frenchwoman took him out of the Union ... (3) Here is the letter.

(4) I'm missing a few personal paragraphs. (5) And then:

“(6) Your emigration is not a private matter. (7) Otherwise, you are not a writer, but a tenant. (8) You broke free to talk about us and your past. (9) Everything else is petty. (10) Everything else degrades the dignity of the writer.

(11) You were not driving for jeans and not for a used car. (12) You were driving - to tell. (13) So remember us ...

(14) They say you have become Americans, free, relaxed, dynamic. (15) Almost as fast as your cars. (16) Almost as meaningful as your refrigerators ... (17) We laugh at these conversations. (18) We laugh and do not believe. (19) What kind of Americans are you?! (20) Don't be an American. (21) And don't get away from your past. (22) It seems that you are surrounded by skyscrapers.

(23) You are surrounded by the past. (24) That is, we. (25) I say it again - remember us ... "

(26) I thought a lot about this letter.

(27) There is a property by which one can once and for all distinguish a noble person. (28) A noble person perceives any misfortune as retribution for his own sins. (29) He blames only himself, no matter what grief befalls him.

(30) If a loved one cheated, a noble person says: “I was inattentive and rude. (31) I suppressed her individuality. (32) I did not notice her problems. (33) Insulted her feelings. (34) I myself pushed her to this step.

S. Dovlatov, Letter from there (35) If a friend turned out to be a traitor, a noble person says: “I annoyed him with my imaginary superiority. (36) I ridiculed his shortcomings. (37) I hurt his ambitions. (38) I myself forced him to betray. .."

(39) And what if something wildest and most ridiculous happened? (40) If the motherland rejected our love? (41) Humiliated and tortured us? (42) Betrayed our interests?

(43) Then a noble person says: “Mothers are not chosen. (44) This is my only homeland. (45) I love America, I admire America, I am grateful to America, but my homeland is far away. (46) Having lost, ruined and rejected the best sons! (47) Where can she be kind, cheerful and affectionate ?!

(48) Birches, it turns out, grow everywhere. (49) But does it make it easier? (50) The homeland is ourselves. (51) Our first toys. (52) altered jackets of older brothers. (53) Sandwiches wrapped in newspaper. (54) girls in strict brown skirts. (55) Exams, cheat sheets ... (56) Ridiculous, terrible poems ... (57) Army shag ... (58) Obliquely crossed lines ... (59) Manuscripts, police ...

(60) Everything that happened to us is the homeland! And all that was - remains forever ...

Text by V.Konetsky Text by V.Konetsky (1) One day, starlings flew to me on my watch, October, autumn, rainy. (2) We raced through the night from the coast of Iceland to Norway. (3) On a ship illuminated by powerful lights. (4) And in this foggy world, tired constellations arose ...

(5) I left the cabin on the wing of the bridge. (6) The wind, rain and night immediately became loud. (7) I raised the binoculars to my eyes. (8) The white superstructures of the ship, rescue whaleboats, covers dark from the rain and birds fluttered in the windows - wet lumps fluffy by the wind. (9) They rushed between the antennas and tried to hide from the wind behind the pipe.

(10) The deck of our ship was chosen by these small fearless birds as a temporary shelter on their long journey to the south. (11) Of course, Savrasov remembered: rooks, spring, there is still snow, and the trees woke up. (12) And everything in general was remembered what happens around us and what happens inside our souls when the Russian spring comes and rooks and starlings arrive. (13) You can't describe it.

(14) It brings back to childhood. (15) And this is connected not only with the joy of the awakening of nature, but also with a deep sense of the homeland, Russia.

(16) And let them scold our Russian artists for the old-fashioned and literary plots. (17) But the names of Savrasov, Levitan, Serov, Korovin, Kustodiev hide not only the eternal joy of life in art. (18) It is Russian joy that is hidden, with all its tenderness, modesty and depth. (19) And how simple a Russian song is, so simple is painting.

(20) And in our complex age, when the art of the world painfully searches for general truths, when the intricacies of life necessitate the most complex analysis of the psyche of an individual and the most complex analysis of the life of society - in our century, artists should all the more not forget about one simple function of art - to wake up and to illuminate the feeling of homeland in a fellow tribesman.

(21) Let our landscape painters not know abroad. (22) In order not to pass by Serov, one must be Russian. (23) Art is then art when it evokes in a person a feeling of happiness, albeit fleeting. (24) And we are arranged in such a way that the most piercing happiness arises in us when we feel love for Russia. (25) I don't know if other nations have such an inextricable link between the aesthetic sense and the sense of the homeland?

(According to V. Konetsky) Text by V. Konetsky

Main problems:

1. the problem of the purpose of art (what work can be considered a work of art?);

2. the problem of the feeling of the homeland (what is the feeling of the homeland for a Russian person connected with?).

1. A real work of art "awakens and illuminates the feeling of homeland in a fellow tribesman."

2. The feeling of the homeland in a Russian person is a feeling of happiness.

Text by V. Konetsky (1) Now, no matter where I live, I don't even have a trace of that hot, joyful craving for the city that I had in my youth. (2) On the contrary, more and more often I feel that I miss my grandfather's house.

(3) Maybe because the grandfather's house no longer exists - the old ones died, and the young ones moved to the city or closer to it. (4) And when he was, there was still not enough time to go there more often, I kept him in reserve. (5) And now there is no one there, and it seems to me that I have been robbed, that some of my main roots have been chopped off.

(6) Even if I was rarely there, with my very life, with my hearth smoke, good shadow of his trees he helped me from afar, made me bolder and more self-confident. (7) I was almost invulnerable, because part of my life, my beginning was noisy and lived in the mountains. (8) When a person feels his beginning and his continuation, he more generously and more correctly disposes of his life and it is more difficult to rob him, because he does not keep all his wealth with him.

(9) I miss my grandfather's house with its large green yard, with an old apple tree (hugging its trunk, a mighty vine climbed to the top), with a green walnut tent.

(10) How many unripe apples we knocked down from our old apple tree, how many unripe nuts covered with a thick green peel with a still delicate shell, with a nucleolus that has not yet thickened inside!

(11) I miss the spacious kitchen in my grandfather's house with an earthen floor, with a large hot hearth, with a long heavy bench standing by the hearth. (12) We sat on it in the evenings and listened to endless hunting stories or stories about dug up treasures in old fortresses.

(13) I miss the evening roll call of women from hill to hill, or from a basin to a mountain, or from a mountain to a hollow.

(15) More and more often I feel like I miss my grandfather's house.

(According to F. Iskander) Text by V. Konetsky

Main problems:

1. the problem of memory about the motherland, about the native home (does a person need to remember the places where he was born and raised? Why? How does this feeling change over the years?);

2. the problem of childhood memory (what gives a person the memory of childhood?).

1. When a person remembers the places where his life began, he lives more correctly and feels less vulnerable, as if the house itself helps a person; the feeling of homesickness becomes stronger over the years; native home as the main root that nourishes a person all his life.

2. Childhood impressions, the memory of those people who were next to you in childhood, make a person more confident, help him save his soul.

Text by V. Kostomarov Text by V. Kostomarov (1) (1) Everyone knows that the hour hand on the dial moves, but you cannot see how it moves. (2) The same happens with language. (3) He changes. (4) But we do not feel how this happens.

(5) Now in our history a moment has come when we see how the Russian language is changing. (6) And this cannot but frighten. (7) We want so much to move away from the previous era of our life, to build new social relations, a new economy, that we would even like to have new language. (8) Once they said “dissociate themselves”, now they say “distance”, we are tired of the expression “go crazy” - we say “the roof has gone”. (9) Or they didn’t like the word “meeting”, they began to say “party”.

(10) Russian language, according to A.S. Pushkin, "receptive and sociable", he easily accepts foreign words if they are needed. (11) And there is nothing terrible in this when everything is done in moderation. (12) And the measure is lost. (13) In our speech, “sandwiches”, “lunches”, “displays” appear. (14) Usually 20-30 words change a year, but now we have maybe 20 words a week.

(15) In addition, it is important from what sources new words of the language appear. (16) Now, for example, there is a stream of words from rather dubious sources, in particular criminal jargon: “disassembly”, “freebie”. (17) Many press organs use "unprintable" words, which, by the way, are called that because they do not need to be printed.

Text by V. Kostomarov (1) (18) The “Law on the Russian Language” was discussed in the Duma for several years. (19) The law is, of course, needed. (20) But if we talk seriously about the law, then there must be a mechanism for punishing its violation. (21) However, the proposal to create a philological militia, to establish fines for mistakes in the Russian language, seems frivolous. (22) Say what you like, the language makes the people, and it is difficult to force them to obey the administrative norms regarding the language. (23) There have already been such futile attempts.

(24) At one time, in the 19th, and even in the 20th century, fiction provided an exemplary language. (25) If a person did not know how to speak correctly, then he opened Turgenev and found the answer there. (26) Now, of course, it is not fiction that forms our language taste. (27) The tone is now set primarily by television and radio. (28) This also applies to the pronunciation of sounds, and stress, and intonation. (29) And modern announcers like American intonation. (30) And the youth begins to imitate them. (31) It happens that the leading god knows what and how he says, but people like it.

(32) This certainly does not apply to all programs, channels, announcers, but many of them are subject to fashion.

(33) We are now dissatisfied with the language, but it is very important to understand here whether the language is to blame or something else. (34) After all, the language is subject to the people who use it. (35) He adapts to the needs of society. (36) If in our society today there is a need to think about the future, about a strong family, about the happiness of children, then the language will go in this direction, will give us the means for this. (37) If the main thing for us is how to earn a million without working, sex, violence, drugs, then the language will turn here. (38) 3but why revile him? (39) It reflects the state of society. (40) So it is not the language that needs to be corrected now.

(According to V. Kostomarov) M.A. Krongauz - linguist, professor, doctor of philological sciences, director of the Institute of Linguistics of the Russian State Humanitarian University, author of monographs and textbooks. (From the book “The Russian language on the verge of a nervous breakdown”) M.A. Krongauz (1) I just can’t understand why this book is given to me with such difficulty. (2) It seemed that for more than ten years I have been writing regularly about the state of the modern Russian language, speaking, to put it mildly, from the position of an enlightened linguist. (3) This position is that the Russian language is not afraid of either the flow of borrowings and jargon, or in general those large and, most importantly, rapid changes that are taking place in it. (4) The Russian language will “digest” all this, preserving something, discarding something, and finally develop new norms, and stability will come in place of chaos. (5) In addition, even in chaos one can find positive aspects, since it vividly realizes the creative possibilities of the language, not restrained by strict norms.

(6) This time, frankly, nothing worked out, until I realized that I simply didn’t want to write, because I didn’t want to again stand in the pose of an enlightened linguist and explain why the Russian language was not threatened with special troubles. (7) Not because this position is wrong. (8) It is correct, but it does not take into account me as a specific person for whom Russian is a native language. (9) And this particular person has his own tastes and preferences, as well as, of course, his own pain points. (10)Attitude to mother tongue cannot be only professional, because language is a part of us all, and what happens in it and with it touches us personally, at least me. (11) More precisely, he said this

Nikolai Glazkov:

I look at the world from under the table:

The twentieth century, an extraordinary century.

The more interesting it is for the historian, the sadder it is for the contemporary.

M.A. Krongauz (12) To clearly explain the difference between the positions of a linguist and an ordinary native speaker, it is enough to give one small example. (13) As a linguist, I am very interested in Russian swearing, I consider it an interesting cultural phenomenon that needs to be studied and described. (14) In addition, I am sure that it is impossible to eradicate Russian swearing either by soft educational measures (that is, by introducing culture to the masses) or by tough legislative ones. (15) But as a person, for some reason, I really don’t like it when they swear nearby.

(16) Thus, as an enlightened linguist, I treat him with interest, albeit research, and with a certain respect as a bright linguistic and cultural phenomenon, but as a layman, I don’t like swearing and, roughly speaking, I don’t respect it. (17) This is how the dialectic turns out.

(18) In general, like any layman, I value calmness and constancy most of all. (19) But on the contrary, I’m afraid and don’t like sudden and quick changes. (20) But it just so happened to me - to live in an era of great change. (21) First of all, it changes, of course, the world, but grumbling about this is somehow indecent, especially since there are also pleasant changes. (22) Can a language remain unchanged when everything changes around: society, psychology,

quantum liquid (512). - 2. Quantization of fluid motion (513). - 3. Energetiches...» responsibility of "Leon"1. General provisions.1.1. These Gambling Rules of the bookmaker's office of a limited liability company...» April 2014 Publish an article in the journal http://publ.naukovedenie.ru Contact the editors: [email protected] UDC 681.513 Katygin Boris Georgievich GKOU VPO "Academy of the Federal Security Service ...", we will remove it within 1-2 working days.

Describing everyday situations from life, the writer tries to draw the reader's attention to the lack of tenderness in modern people. Touching stories help to see the significance of the little things in relationships that make up our whole life.

The talented Russian writer Teffi N.A. wrote a collection of stories about a quivering feeling - tenderness. Each situation described is supported by an emotional coloring that emphasizes the importance of what is happening.

Thanks to easy humor and lyrical phrases in her stories, the mood and character of the characters are very accurately conveyed. Using the example of the relationship between a woman and a man, between children and adults, between people and animals, the author shows how just a few gentle words or gestures can make each of us absolutely happy. Touching and touching statements make a strong impression and make you reconsider your attitude towards others.

Love and tenderness: the disappearance of tenderness in the modern world

In many episodes, Teffi contrasts the childish sense of reality with the adult world. Immersed in a whirlpool of endless problems, adults forget about humanity, showing dryness and cruelty. While children perceive the world around them through warmth and heartfelt experiences. Tenderness for the child is manifested primarily through tactile contact.

For harmonious development, each baby needs to feel parental hugs. Moreover, the number of hugs per day affects the child in different ways, once is not enough. Scientists have conducted many experiments proving that hugging a sick baby, we help him recover sooner.

• In stories “Our way of life”, “We are evil”, “Easter child” the author shows how mundane events ground a person. And only immersion in the world of fantasies, pink dreams and transcendental desires, filled with love and tenderness, helps us become happier.
• The inspired statement of the writer fully reflects her feminine position: “Tenderness is the most meek, timid, divine face of love. This is the feeling that comes from above and takes care of his beloved, guards him.
• Teffi says that this quivering experience is a continuation of love, its important component. The manifestation of warmth and gentleness to another person, a sincere gratuitous desire to help and protect - all this is a manifestation of tenderness.
• In her reasoning, the writer compares combination of love with passion and love with tenderness preferring the second option. For example real stories, shows a number of advantages of showing tenderness over other feelings. Love combined with tenderness is disinterested and merciful.

• In a fit of tenderness, people strive give your warmth, attention, care. Love combined with passion is more selfish. Passionate person strives for his own saturation, satisfaction and well-being. But in true love you need to give yourself to another person.

Tenderness is the most meek, timid, divine face of love Teffi

In one of the stories, Teffi shares his impressions of his observations of an elderly couple. The wife takes care of her sick husband and tries in every possible way to brighten up his difficult situation.

• Creating the image of a woman, the author emphasizes her "anxiously happy eyes". Dislike for a man, reinforces him with an untidy gloomy look. In exchange for a reverent and caring attitude, a woman listens to her husband's rude statements and tolerates a boorish attitude.
• The feeling of all-forgiving love and tenderness towards her husband helps her to resist his ignorance. It is safe to say that the heroine has inner strength. Not everyone is ready to open their heart and soul to another person.
• Your pity for the heroine, Taffy shows the example of a crying little boy who witnessed the unfair treatment of a man towards a woman. Using this situation as an example, the author shows the power of tenderness that elevates a person.

• This feeling causes a desire to take care of their loved ones, to protect them from adversity. Weak and sick people are in dire need of tenderness, it helps them become stronger and overcome their illness: “But only a defenseless creature in need of guardianship can be patronized and protected, therefore, words of tenderness are diminutive words, going from strong to weak.”
• Feeling support from the outside, people have hope and faith in a brighter future.
• Taffy's statement: "The sister of tenderness is pity and they always go together" shared by Archbishop John Shakhovskoy. In his poem, he writes that tenderness and pity are not separated, and come to each person as a whole: “... Pity and tenderness, tenderness and pity always go together…».

In the manifestation of your feelings, it is important not to overdo it. An excessive display of tenderness is devalued in the eyes of a partner. He stops appreciating your actions. Obsessive concern can cause irritation. The person will start avoiding you. Expressing your feelings, you need to analyze the reaction of the opposite sex. We observe an overabundance of attention in Teffi's story.

Instead of gratitude, the woman aroused anger and irritation in her husband. A prime example would be children or animals. Every baby needs tenderness. But when he is constantly squeezed, he ceases to experience satisfaction from this process. Animals also gladly perceive human love and affection. But when they are not let out of their hands and their freedom of action is limited, this causes fear in them.

The manifestation of tenderness comes much less often from men than from women. Men strive for a strong image. They try to avoid experiences that make them vulnerable. Often this behavior is due to imitation of his father. Since childhood, we see tenderness primarily from the mother and, only in rare cases, it comes from the father.

Wanting to raise a real man in their son, many parents consider the manifestation of tenderness inappropriate. But a person who has not experienced tenderness in childhood is unlikely to be able to make another person happy. Nobody taught him this. Of course, each person is individual and such experience can be acquired in your adult life.

There is a category of men who compare tenderness with affection. There is a fear of losing your inner freedom. Instead of tenderness, the male sex prefers sexual contact. However, these are radically different concepts. The manifestation of tenderness is aimed at caring for another person, and in a fit of passion, a man first of all takes care of satisfying his own desires.

Everyone wants to be loved, to feel a reverent attitude towards themselves. At the same time, we need people to whom we can give our care and tenderness. Seeing gratitude in the eyes of a person, feeling your importance - all this gives a special pleasure.

Every woman needs spontaneous, unpredictable displays of love. It is important for her to receive signs of attention, to hear kind words, to feel support. When a woman is treated not as a partner, assistant, housewife, but as a close relative, she begins to feel more confident. And it doesn't say at all about female inferiority or initially low self-esteem:“But one should not think that a feeling of tenderness degrades a person. Vice versa. Tenderness comes from above, she takes care of her beloved, protects, takes care of him.

You can show your tenderness in different ways. Gentle words, gentle touches, a kind look and smile, bodily contact - all this is a form of expressing your feelings. It is this kind of tenderness that is a real manifestation of the heart, and not of physiological needs. With the help of such manifestations, the union of partners is fixed at the energy level.

We are increasingly faced with indifference, cold looks, unemotional statements. People dissatisfied with themselves and surrounding events, immersed in their problems, do not notice the disappearance of tenderness in modern world. There is no room for her. Many even hate this feeling, because they are embarrassed to open their soul or simply do not know how to express their feelings. It's hard to say what makes them happy.

Tenderness comes only from strong people who were not afraid to expose their soul and heart. This feeling can change a person, giving them a new taste of life. By sharing our inner experiences with loved ones, we make them happier.

What is tenderness through the eyes of different people?

• Tenderness is manifested in excitement and embarrassment when meeting with a loved one.
• When you look at a photo of a loved one, your heart stops from a surge of tenderness.
• Tenderness is an embarrassed smile on your face, filled with the light of your soul.

Tenderness is an embarrassed smile

• - these are quivering touches, gentle kisses, stroking every mole and wrinkles on the body.
• Tenderness is when you can't get enough of the voice loved one when you whisper love with your eyes.
• Tenderness is stroking the hair, inhaling the aroma of the body, beating the heart of a loved one.
• Tenderness- these are memories of the touch of a loved one on your lips, eyes, hands.
• Tenderness manifested in caution, trust, tact, care. There is no wild passion here.
• Tenderness- this is a state of open, sincere, bright, full of care and inner fullness of a person.

Video: Manifestation of love and tenderness

According to the text of N. Teffi "Tenderness is the most meek, timid, divine face of love ..." Problem: What role does tenderness play in human relationships?

What role does tenderness play in human relationships? 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 was disgusted with the only woman who cared for him: “She corrected everything around her patient. It was his wife, trying with all her might to please him, so that he would feel good and need nothing. However, the old man scolds her, oblivious to all that 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 ridiculous and stupid grief seriously?" The author evokes in the reader a sense of injustice and resentment, shows the terrible side of the old man's act.

Confirmation of the above can be found in the pages of fiction. So, in the work of A. I. Kuprin “Garnet Bracelet”, tenderness appears to the reader in an unusual light. Zheltkov loves Vera without memory, but realizing that his love is unrequited, Zheltkov still seeks to please his beloved. He gives her gifts, sends her countless compliments in letters, talks about his stupid exploits that he performs for her. This sweet obsession is a manifestation of those strong feelings that Zheltkov has for Vera. Kuprin presents this absurd concern to the reader as a tenderness that prompts Zheltkov to court Vera. Thus, Zheltkov's tenderness towards Vera made her think about her life, helped her feel loved.

In the work of N. V. Gogol "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 do not quarrel, they do housework together, while away their days. In a word, their love is manifested in the pure tenderness that they give each other every day. This mutual concern for each other has 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 departs for another world. It was tenderness that until the end of their lives united these people, prompting them to give each other joy and happiness.

Which of the statements correspond to the content of the text? Specify the 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 assert his personality.

3) Love-passion ennobles a person, makes him be caring, gentle, attentive.

4) The rudeness of the sick husband offended, upset his caring, tender and attentive wife.

(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, akimbo, measures, all the time she is afraid to miss the lost. (4) Love-tenderness gives everything, and there is no limit to it. (5) And she will never look back at herself, because "she does not look for her own." (6) Only she is alone and does not look for. (7) But one should not think that a feeling of tenderness degrades a person. (8) On the contrary. (9) Tenderness goes

from above, she takes care of her beloved, guards, takes care of him. (10) But only a defenseless creature in need of guardianship can be patronized and protected, therefore words of tenderness are diminutive words, going from strong to weak.

(11) Tenderness is rare and less and less common. (12) Modern life is difficult and complex. (13) A modern person, even in love, seeks first of all to affirm his personality. (14) Love is a martial art.

- (15) Aha! (16) Love? (17) Well, okay. (18) They rolled up their sleeves, straightened their shoulders - well, who wins?

(19) Is it tenderness here? (20) And whom to protect, whom to pity - all the good fellows and heroes. (21) Whoever knows tenderness is marked.

(22) In the minds of many, tenderness is certainly drawn in the form of a meek woman leaning over the headboard. (23) No, tenderness is not to be found there. (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) Walked, ate, listened to the radio, played bridge, 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 deck chair, lined with pillows, wrapped in blankets, pale, bearded, always silent and, if anyone passed by, turned away and closed his eyes. (29) Around the old man, like a trembling bird, his wife curled. (30) The woman is middle-aged, dry, light, with a withered face and anxiously happy eyes. (31) And she never sat still. (32) I corrected everything around my patient. (33) Then she turned over the newspaper, then she fluffed up the pillow, then she tucked the blanket, then she ran to warm the milk, then she dripped the 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, amiably talked 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 down on a piece of paper to help Sergey Sergeevich. (39) He always solves crossword puzzles, and if he finds it difficult, 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 it amuses him.

(43) She was pitied and treated 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, put pillows on. (46) He frowned and angrily pushed her hand away if she did not immediately guess his desires.

(47) She, shivering happily, grabbed the newspaper.

- (48) Here, Seryozhenka, today it seems to be a very interesting crossword puzzle.

(49) He suddenly raised his head, rolled out his evil yellow eyes and shook all over.

- (50) Get the hell out of here with your idiotic crossword puzzles! he hissed furiously.

(51) She turned pale and somehow sank all over.

- (52) But you are ... - she babbled in confusion. - (53) After all, you were always interested in ...

- (54) I've never been interested! he kept shaking and hissing, looking at her pale, desperate face with bestial pleasure. - (55) Never! (56) It was you who climbed with the stubbornness of a degenerate, which you are!

(57) She did not answer. (58) She only swallowed air with difficulty, pressed her hands tightly to her chest and looked around with such pain and with such despair, as if she were looking for help. (59) But who can relate

seriously to such a ridiculous and stupid grief? (60) Only a little boy, who was sitting at the next table and seeing this scene, suddenly closed his eyes and wept bitterly.

(according to N. A. Teffi*)

* Nadezhda Alexandrovna Teffi (1872-1952) - Russian writer, poetess, memoirist and translator.

Which of the following statements are true? Specify the 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) Sentences 57-58 contain reasoning.

Write your answer in ascending order.

Explanation.

Statement No. 2 is erroneous, since sentences 11-14 contain NOT a narrative, but an argument.

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 out antonyms (antonymic pair).

Explanation.

Sentence 10 contains antonyms: strong - weak.

Answer: strong, weak.

Answer: strong weak | weak strong | strong weak

Source: USE - 2015. Early wave

Among sentences 28-34, find one (s) that is (s) connected with the previous one using a conjunction and a personal pronoun. Write the number(s) of this offer(s).

Sentence 31 "And she never sat still" is connected with the previous one using the personal pronoun SHE and the union I.

Answer: 31.

Answer: 31

Source: USE - 2015. Early wave

Rule: Task 25. Means of communication of sentences in the text

MEANS OF COMMUNICATION OF OFFERS IN THE TEXT

Several sentences connected into a whole by a topic and a main idea are called a text (from Latin textum - fabric, connection, connection).

Obviously, all sentences separated by a dot are not isolated from each other. There is a semantic connection between two adjacent sentences of the text, and not only sentences located next to each other can be related, but also separated from each other by one or more sentences. The semantic relations between sentences are different: the content of one sentence can be opposed to the content of another; the content of two or more sentences can be compared with one another; the content of the second sentence can reveal the meaning of the first or clarify one of its members, and the content of the third can reveal the meaning of the second, etc. The purpose of task 23 is to determine the type of relationship between sentences.

The wording of the task may be as follows:

Among sentences 11-18, find one (s) that is (s) connected with 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 HIGHER. Thus, if the interval 11-18 is indicated, then the desired sentence is within the limits indicated in the task, and the answer 11 may be correct if this sentence is related to the 10th topic indicated in the task. Answers can be 1 or more. The score for the successful completion of the task is 1.

Let's move on to the theoretical part.

Most often, we use this text construction model: each sentence is linked to the next one, this is called chain link. (We will talk about the parallel connection below). We speak and write, we combine independent sentences into a text according to simple rules. Here's the gist: two adjacent sentences must refer to the same subject.

All types of communication are usually divided into lexical, morphological and syntactic. As a rule, when connecting sentences into text, one can use several types of communication at the same time. This greatly facilitates the search for the desired sentence in the specified fragment. Let's take a closer look at each type.

23.1. Communication with the help of lexical means.

1. Words of one thematic group.

Words of the same thematic group are words that have a common lexical meaning and denote similar, but not identical, concepts.

Word examples: 1) Forest, path, trees; 2) buildings, streets, sidewalks, squares; 3) water, fish, waves; hospital, nurses, emergency room, ward

Water was clean and transparent. Waves ran ashore slowly and silently.

2. Generic words.

Generic words are words related by the relationship genus - species: genus is a broader concept, species is a narrower one.

Word examples: Chamomile - flower; birch - tree; car - transport etc.

Suggestion examples: Under the window still grew Birch. How many memories I have associated with this tree...

field chamomile become a rarity. But it's 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. Repetition of one or another part of the sentence - main feature chain connection. For example, in sentences Behind the garden was a forest. The forest was deaf, 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 one; in sentences Physics is science. Science must use the dialectical method- "model predicate - subject"; in the example The boat has landed on the shore. The beach 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 worthwhile proposals in the same case, then the word shore It has different forms. lexical repetition in USE assignments the repetition of a word in the same word form, used to enhance the impact on the reader, will be considered.

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:

Here the Aral Sea disappears from the map of the Fatherland sea.

Whole sea!

The use of repetition here is used to enhance the impact on the reader.

Consider examples. We do not yet take into account additional means of communication, we look only at lexical repetition.

(36) I heard a very brave man who went through the war once say: “ It used to be scary very scary." (37) He spoke the truth: he used to be scared.

(15) As an educator, I happened to meet young people who yearn for a clear and precise answer to the question of higher education. 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 kind of connection. For more on the difference, see the paragraph on word forms.

4 Root words

Single-root words are words with the same root and common meaning.

Word examples: Motherland, be born, birth, kind; break, break, break

Suggestion examples: I'm lucky be born healthy and strong. History of my birth nothing remarkable.

Although I understood that a relationship is needed break but he couldn't do it himself. This gap would be very painful for both of us.

5 Synonyms

Synonyms are words of the same part of speech that are similar in meaning.

Word examples: to be bored, to frown, to be sad; fun, joy, rejoicing

Suggestion examples: At parting, she said that will miss. I knew that too I will be sad through our walks and conversations.

Joy grabbed me, picked me up and carried me... jubilation seemed to have no boundaries: Lina answered, answered at last!

It should be noted that synonyms are difficult to find in the text if you need to look for a connection only with the help of synonyms. But, as a rule, along with this method of communication, others are used. So, in example 1 there is a union too , this relationship will be discussed below.

6 Contextual synonyms

Contextual synonyms are words of the same part of speech that come together in meaning only in a given context, since they refer to the same object (feature, action).

Word examples: kitten, poor fellow, naughty; girl, student, beauty

Suggestion examples: Kitten recently lived with us. Husband took off poor guy from the tree where he climbed to escape from the dogs.

I guessed that she student. Young woman continued to be silent, despite all efforts on my part to talk her.

It is even more difficult to find these words in the text: after all, the author makes them synonyms. But along with this method of communication, others are used, which facilitates the search.

7 Antonyms

Antonyms are words of the same part of speech that are opposite in meaning.

Word examples: laughter, tears; hot Cold

Suggestion examples: I pretended to like this joke and squeezed out something like laughter. But tears strangled me, and I quickly left the room.

Her words were warm 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 are opposite in meaning only in this context.

Word examples: mouse - lion; house - work green - ripe

Suggestion examples: On the work this man was gray mouse. Houses woke up in it a lion.

ripe berries can be safely used to make jam. But green it is better not to put, they are usually bitter, and can spoil 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: it is the same lexical phenomenon, but viewed from a different angle. Lexical means may serve to connect two adjacent sentences, or they may not be a 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 help rule for task 24.

23.2. Communication by means of morphological means

Along with lexical means of communication, morphological ones are also used.

1. Pronoun

A pronoun link is a link in which ONE word or MULTIPLE words from the previous sentence is replaced by a pronoun. To see such a connection, you need to know what a pronoun is, what are the ranks in meaning.

What you need to know:

Pronouns are words that are used instead of a name (noun, adjective, numeral), designate persons, point to objects, signs of objects, the number of objects, without specifically naming them.

According to the meaning and grammatical features, nine categories of pronouns are distinguished:

1) personal (I, we; you, you; he, she, it; they);

2) returnable (oneself);

3) possessive (mine, yours, ours, yours, yours); used as possessive also forms of personal: his (jacket), her work),them (merit).

4) demonstrative (this, that, such, such, such, so many);

5) defining(himself, most, all, everyone, each, different);

6) relative (who, what, what, what, which, how much, whose);

7) interrogative (who? what? what? whose? who? how much? where? when? where? from where? why? why? what?);

8) negative (no one, nothing, no one);

9) indefinite (someone, something, someone, someone, someone, someone).

Do not forget that pronouns change by case, so "you", "me", "about us", "about them", "no one", "everyone" are forms of pronouns.

As a rule, the task indicates WHAT digit the pronoun should be, but this is not necessary if in specified period there are no other pronouns that play the role of CONNECTING elements. It must be clearly understood that NOT EVERY pronoun that occurs in the text is a link.

Let us turn to 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 and wandered around the school floors. 3) Now they are some kind of strangers, others, not mine ....

There are two pronouns in the second sentence, both personal, I am and her. Which one is the one paperclip, which connects the first and second sentence? If this is a pronoun I am, what is it replaced in sentence 1? Nothing. What replaces the pronoun her? Word " school from the first sentence. We conclude: communication using a personal pronoun her.

There are three pronouns in the third sentence: they are somehow mine. Only the pronoun connects with the second they(=floors from the second sentence). Rest in no way correlate with the words of the second sentence and do not replace anything. Conclusion: the second sentence connects the pronoun with the third they.

What is the practical importance of understanding this mode of communication? The fact that you can and should use pronouns instead of nouns, adjectives and numerals. Use, but do not abuse, as the abundance of the words "he", "his", "them" sometimes leads to misunderstanding and confusion.

2. Adverb

Communication with the help of 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, what are the ranks in meaning.

Adverbs are invariable words that denote a sign by action and refer to the verb.

Adverbs of the following meanings can be used as means of communication:

Time and space: below, on the left, near, at the beginning, long ago and the like.

Suggestion examples: We got to work. initially it was hard: it was not possible to work in a team, there were no ideas. Later 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 we were only the tops of the trees. Near clouds floated with us. A similar example of a parallel connection: 2 and 3 are related 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.

Suggestion examples: I vacationed last summer in one of the sanatoriums in Belarus. From there it was almost impossible to make a phone call, let alone work on 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 and 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 add up; however, I did not suffer from this, I had a family, I had brothers, they replaced my friends.

3. Union

Connection with the help of unions is the most common type of connection, due to which various relationships arise between sentences related to the meaning of the union.

Communication with the help of coordinating unions: but, and, but, but, also, or, however and others. The task may or may not specify the type of union. Therefore, the material on unions should be repeated.

Details about coordinating conjunctions are described in a special section.

Suggestion examples: By the end of the weekend, we were incredibly tired. But the mood was amazing! Communication with the help of the adversative union "but".

That's how it's always been... Or that's how it seemed to me...Communication with the help of a separating union "or".

We draw attention to the fact that very rarely only one union participates in the formation of a connection: as a rule, lexical means of communication are used simultaneously.

Communication using subordinating unions: for, so. A very unusual case, since subordinating conjunctions connect sentences as part of a complex subordinate. In our opinion, with such a connection, there is a deliberate break in the structure of a complex sentence.

Suggestion examples: I was in total despair... For I did not know what to do, where to go and, most importantly, who to turn to for help. The union for matters because, because, indicates the reason for the state of the hero.

I didn’t pass the exams, I didn’t enter the institute, I couldn’t ask for help from my parents and I wouldn’t do it. So that There was only one thing left to do: find a job. The union "so" has the meaning of the consequence.

4. Particles

Communication with particles always accompanies other types of communication.

Particles after all, and only, here, out, only, even, the same bring additional shades to the proposal.

Suggestion examples: Call your parents, talk to them. After all It's so simple and so difficult at the same time - to love ...

Everyone in the house was already asleep. AND only grandmother muttered softly: she always read prayers before going to bed, begging the powers of heaven for a better share for us.

After the departure of her husband, it became empty in the soul and deserted in the house. Even the cat, which used to run like a meteor around the apartment, only yawns sleepily and still strives to climb into my arms. Here Whose hands should I lean on...Pay attention, connecting particles are at the beginning of the sentence.

5. Word forms

Communication using the word form consists in the fact 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 grade
• if verb in person (gender), number, tense

Verbs and participles, verbs and participles are considered different words.

Suggestion examples: Noise gradually increased. From this growing noise became uncomfortable.

I knew my son captain. With myself captain fate did not bring me, but I knew that it was only a matter of time.

note: in the task, “word forms” can be written, and then this is ONE word in different forms;

“forms of words” - and these are already two words repeated in adjacent sentences.

The difference between word forms and lexical repetition is of particular complexity.

Information for the teacher.

Consider, as an example, the most difficult task real USE 2016. We give the full fragment published on the FIPI website in "Guidelines for teachers (2016)"

Examinees' difficulties in completing task 23 were caused by cases when the condition of the task 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 the language material, students should pay attention to the fact that lexical repetition involves the repetition of a lexical unit with a special stylistic task.

We give the condition of task 23 and a fragment of the text of one of USE options 2016:

“Among sentences 8–18, find one that is related to the previous one with the help of 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, an eccentric!

(8) Maybe that's why Berg did not succeed in 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) Once 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 calm. (14) Yartsev lived far from the 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 taken 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": a prepositional case form controlled by a verb, and a non-prepositional form controlled by a noun. These word forms express different meanings: the meaning of the object and the meaning of belonging, and the use of the considered word forms does not carry a stylistic load.

Proposition 17 is related to Proposition 16 by word forms ("on the lake - on the lake"; "Berga - Berg").

Proposition 18 is related to the previous one by means of 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) with the help of lexical repetition (the word "he").

It should be noted that among the authors of various manuals there is no consensus, 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., Vasiliev I.P., Gosteva Yu.N., Senina N.A.) do not give a single example in which words in various forms would be considered lexical repeat.

At the same time, very difficult cases, in which words in different cases coincide in form, are considered differently in manuals. The author of the books N.A. Senina sees in this the form of the word. I.P. Tsybulko (based on 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 there is undoubtedly the same stylistic task that I.P. Tsybulko. Without delving into the linguistic solution of this issue, we will indicate the position of the 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 coinciding forms in tasks for RESHUEGE: if specialist linguists themselves cannot figure this out, then school graduates cannot do it.

3. If the exam comes across tasks with similar difficulties, we look at those additional means of communication that will help you make your choice. After all, the compilers of KIMs can 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, complements any other connection, complementing the shades of meanings 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 personalities, on the other hand, he was not inferior to anyone and in nothing, if something was, as he said, below his level.

We give examples of the definition of means of communication in a small text.

(1) We met Masha a few months ago. (2) My parents have not yet seen her, but did not insist on meeting her. (3) It seemed that she also did not strive for rapprochement, which upset me a little.

Let's determine how the sentences in this text are related.

Sentence 2 is related to sentence 1 by a personal pronoun her, which replaces the name Masha in offer 1.

Sentence 3 is related to sentence 2 using word forms she her: "she" is the form nominative case, "her" is the genitive form.

In addition, sentence 3 has other means of communication: it is a union too, introductory word seemed, rows of synonymous constructions did not insist on meeting and didn't want to get close.

Read the review snippet. It examines the linguistic features of the text. Some terms used in the review are missing. Fill in the gaps with the numbers corresponding to the number of the term from the list.

“The text analyzes a problem 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 means - (B) _________ (in sentences 1, 9). The trope helps the writer to create the image of a tender wife - (B) _________

(“anxiously happy eyes” in sentence 30) and a syntactic means - (D) _________ (“like a quivering bird” in sentence 29).

List of terms:

1) colloquial words

2) rhetorical questions

3) rows homogeneous members suggestions

4) parceling

5) comparative turnover

6) opposition

9) phraseological units

Write down the numbers in response, arranging them in the order corresponding to the letters:

A	B	V	G

Explanation (see also Rule below).

“The text analyzes a problem that has troubled people for centuries. To express his understanding of love and tenderness, the author uses the technique (A - 6) OPPOSITE (in sentences 2 and 3, love-passion is opposed in sentences 4 and 5 to love-tenderness) and syntactic means (B - 3) SERIES OF HOMOGENEOUS MEMBERS (in sentences nineteen). To create the image of a tender wife, the writer is helped by the tropes (B - 7) EPITHET ("anxiously happy eyes" in sentence 30) and the syntactic means (D - 5) COMPARATIVE TURNOVER ("like a quivering bird" in sentence 29).

Answer: 6, 3, 7, 5.

Answer: 6375

Source: USE - 2015. Early wave

Rule: Task 26. Language means of expression

ANALYSIS OF THE MEANS OF EXPRESSION.

The purpose of the task is to determine the means of expression used in the review by establishing a correspondence between the gaps indicated by the letters in the text of the review and the numbers with definitions. You need to write down matches only in the order in which the letters go in the text. If you do not know what is hidden under a particular letter, you must put "0" in place of this number. For the task you can get from 1 to 4 points.

When completing task 26, you should remember that you fill 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 that agree with omissions, etc. It will facilitate the task and the division of 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; into the second figure of speech (some of them are called syntactic).

26.1 A TROPWORD OR EXPRESSION USED IN A PORTABLE MEANING TO CREATE AN ARTISTIC IMAGE AND ACHIEVE GREATER EXPRESSION. Tropes include such techniques as epithet, comparison, personification, metaphor, metonymy, sometimes they include hyperbole and litotes.

Note: In the task, as a rule, it is indicated that these are TRAILS.

In the review, examples of tropes are indicated in brackets, as a phrase.

1.Epithet(in translation from Greek - application, addition) - this is a figurative definition that marks a feature that is essential for a given context in the depicted phenomenon. From a simple definition, the epithet differs in artistic expressiveness and figurativeness. The epithet is based on a hidden comparison.

Epithets include all the "colorful" definitions that are most often expressed adjectives:

sad orphan 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 description of the subject: sorceress-winter; mother - cheese earth; The poet is a lyre, and not only the nurse of his soul(M. Gorky);

-adverbs acting as circumstances: In the north stands wild alone...(M. Yu. Lermontov); The leaves were tense elongated in the wind (K. G. Paustovsky);

-gerunds: the waves are rushing thundering and sparkling;

-pronouns expressing the superlative degree of this or that state of the human soul:

After all, there were fighting fights, Yes, they say, more what kind! (M. Yu. Lermontov);

-participles and participial phrases: Nightingale vocabulary rumbling announce the forest limits (B. L. Pasternak); I also admit the appearance of ... scribblers who cannot prove where they spent the night yesterday, and who have no other words in the language, except for words, not remembering kinship(M. E. Saltykov-Shchedrin).

2. Comparison- This is a visual technique based on the comparison of one phenomenon or concept with another. Unlike metaphor, comparison is always binomial: it names both compared objects (phenomena, features, actions).

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:

The form of the instrumental case of nouns:

nightingale stray youth flew by,

wave in bad weather Joy subsided (A. V. Koltsov)

form comparative degree adjective or adverb: Those eyes greener sea ​​and our cypresses darker(A. Akhmatova);

Comparative turnovers with unions like, as if, as if, as if, etc .:

Like a predatory animal, to a humble abode

The winner breaks in with bayonets ... (M. Yu. Lermontov);

Using the words similar, similar, this is:

Into the eyes of a cautious cat

Similar your eyes (A. Akhmatova);

With the help of comparative clauses:

Golden foliage swirled

In the pinkish water of the pond

Just like a light flock of butterflies

With fading flies to a star. (S. A. Yesenin)

3.Metaphor(in translation from Greek - transfer) is a word or expression that is used in figurative meaning based on the similarity of two objects or phenomena on some basis. In contrast to comparison, in which both what is being compared and what is being compared is given, a metaphor contains only the second, which creates compactness and figurativeness of the use of the word. The 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, mountains to move, strings of the soul, love has faded;

2) artistic(individual-author's, poetic):

And the stars fade diamond thrill

V painless cold dawn (M. Voloshin);

Empty skies transparent glass (A. Akhmatova);

AND eyes blue, bottomless

Blooming on the far shore. (A. A. Blok)

Metaphor happens not only single: it can develop in the text, forming whole chains of figurative expressions, in many cases - covering, as if permeating the entire text. This extended, complex metaphor, an integral artistic image.

4. Personification- this is a kind 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 sleepy valleys, Sleepy mists lay down And only the horse's clatter, Sounding, is lost in the distance. The autumn day went out, turning pale, Rolling up fragrant leaves, Taste a dreamless dream Half-withered flowers. (M. Yu. Lermontov)

5. Metonymy(in translation from Greek - renaming) is the transfer of a name from one object to another based on their adjacency. Adjacency can be a manifestation of a connection:

Between action and tool of action: Their villages and fields for a violent raid He doomed swords and fires(A. S. Pushkin);

Between the object and the material from which the object is made: ... not that on silver, - on gold ate(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) is kind of metonymy, based on the transfer of meaning from one phenomenon to another on the basis of ratio between them. Most often, the transfer occurs:

From less to more: Even a bird does not fly to him, And a tiger does not go ... (A. S. Pushkin);

Part to whole: Beard, why are you still silent?(A.P. Chekhov)

7. Paraphrase, or paraphrase(in translation from Greek - a descriptive expression), is a turnover that is used instead of a word or phrase. For example, Petersburg in verse

A. S. Pushkin - "Peter's creation", "Beauty and wonder of midnight countries", "city of Petrov"; A. A. Blok in the verses of M. I. Tsvetaeva - “a knight without reproach”, “blue-eyed snow singer”, “snow swan”, “almighty of my soul”.

8. Hyperbole(in translation from Greek - exaggeration) is a figurative expression containing an exorbitant exaggeration of any sign of an object, phenomenon, action: A rare bird will fly to the middle of the Dnieper(N. V. Gogol)

And at that very moment couriers, couriers, couriers... you can imagine thirty five thousands one couriers! (N.V. Gogol).

9. Litota(in translation from Greek - smallness, moderation) - this is a figurative expression containing an exorbitant understatement of any sign of an object, phenomenon, action: What tiny cows! There is, right, less than a pinhead.(I. A. Krylov)

And marching importantly, in orderly calmness, The horse is led by the bridle by a peasant In large boots, in a sheepskin coat, In large mittens ... and himself with a fingernail!(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: Where, smart, are you wandering, head?(I. A. Krylov)

26.2 "Non-special" lexical figurative and expressive means of the language

Note: The tasks sometimes indicate that this is a lexical means. Usually in the review of task 24, an example of a lexical means is given in brackets, either in one word or in a phrase in which one of the words is in italics. Please note: these funds are most often needed find in task 22!

11. Synonyms, i.e. words of the same part of speech, different in sound, but the same or similar in lexical meaning and differing from each other or 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 - lies, good - evil, disgusting - wonderful), also have great expressive possibilities.

Antonyms can be contextual, that is, they become antonyms only in a given context.

Lies happen good or evil,

Compassionate or merciless,

Lies happen cunning and clumsy

Cautious and reckless

Captivating and joyless.

13. Phraseologisms as a means of linguistic expression

Phraseological units (phraseological expressions, idioms), i.e. phrases and sentences reproduced in finished form, in which the integral meaning dominates the values ​​of their components and is not a simple sum of such meanings ( get into trouble, be in seventh heaven, a bone of contention) have great expressive potential. 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, the sword of Damocles, Achilles' heel);

2) the relevance 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 language means with a positive emotionally expressive coloring ( store as the apple of an eye - torzh.) or with a negative emotionally expressive coloring (without the king in the head is disapproved, the small fry is neglected, the price is worthless - contempt.).

14. Stylistically colored vocabulary

To enhance expressiveness in the text, all categories of stylistically colored vocabulary can be used:

1) emotionally expressive (evaluative) vocabulary, including:

a) words with a positive emotional and expressive assessment: solemn, sublime (including Old Church Slavonics): inspiration, coming, fatherland, aspirations, secret, unshakable; sublimely poetic: serene, radiant, spell, azure; approving: noble, outstanding, amazing, courageous; affectionate: sun, darling, daughter

b) words with a negative emotional-expressive assessment: disapproving: conjecture, bicker, nonsense; disparaging: upstart, delinquent; contemptuous: dunce, cramming, scribbling; swear words/

2) functionally-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-household): 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:

Dialect vocabulary (words that are used by the inhabitants of any locality: kochet - rooster, veksha - squirrel);

Colloquial vocabulary (words with a pronounced reduced stylistic coloring: familiar, rude, dismissive, abusive, located on the border or outside the literary norm: goofball, bastard, slap, talker);

Professional vocabulary (words that are used in professional speech and are not included in the system of the 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 jargons - youth: party, bells and whistles, cool; computer: brains - computer memory, keyboard - keyboard; soldier: demobilization, scoop, perfume; jargon of criminals: dude, raspberry);

Vocabulary is outdated (historicisms are words that have fallen out of use due to the disappearance of the objects or phenomena they designate: boyar, oprichnina, horse; archaisms - obsolete words, naming objects and concepts for which new names have appeared in the language: brow - 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 TECHNIQUES based on special combinations of words that are beyond the scope of normal practical use, and aimed at enhancing the expressiveness and descriptiveness 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 that indicates these means: they are called both syntactic means, and a technique, and simply a means of expression, 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 in which a statement is contained in the form of a question. A rhetorical question does not require an answer, it is used to enhance the emotionality, expressiveness of speech, to draw 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 from a young age comprehended people?.. (M. Yu. Lermontov);

17. Rhetorical exclamation- this is a figure in which an assertion is contained in the form of an exclamation. Rhetorical exclamations strengthen the expression of certain feelings in the message; they are usually distinguished not only by special emotionality, but also by solemnity and elation:

That was in the morning of our years - Oh happiness! oh tears! O forest! oh life! Oh the light of the sun! O fresh spirit of birch. (A. K. Tolstoy);

Alas! a proud country bowed before the power of a stranger. (M. Yu. Lermontov)

18. Rhetorical appeal- This is a stylistic figure, consisting in an underlined appeal to someone or something to enhance the expressiveness of speech. It serves not so much to name the addressee of the speech, but to express the attitude towards what is said in the text. Rhetorical appeals can create solemnity and pathos of speech, express joy, regret and other shades of mood and emotional state:

My friends! Our union is wonderful. He, like a soul, is unstoppable and eternal (A. S. Pushkin);

Oh deep night! Oh cold autumn! Silent! (K. D. Balmont)

19. Repeat (positional-lexical repetition, lexical repetition)- this is a stylistic figure consisting in the repetition of any member of a sentence (word), part of a sentence or a whole sentence, several sentences, stanzas in order to draw special attention to them.

The types of repetition are anaphora, epiphora and catch-up.

Anaphora(in translation from Greek - ascent, rise), or monotony, is the repetition of a word or group of words at the beginning of lines, stanzas or sentences:

lazily hazy noon breathes,

lazily the river is rolling.

And in the fiery and pure firmament

The clouds are lazily melting (F. I. Tyutchev);

Epiphora(in translation from Greek - addition, final sentence of the 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 a century

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!

Paustovsky's two-volume book 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,

Like a pine in a damp forest (M. Yu. Lermontov);

20. Parallelism (syntactic parallelism)(in translation from Greek - walking side by side) - an identical or similar construction of adjacent parts of the text: adjacent sentences, lines of poetry, stanzas, which, when correlated, create a single image:

I look to the future with fear

I look at the past with longing... (M. Yu. Lermontov);

I was your ringing string

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 country? What did he throw in his native land?(M. Lermontov); Not the country - for business, but business - for the country (from the newspaper).

21. Inversion(translated from Greek - rearrangement, reversal) - this is a change in the usual word order in a sentence in order to emphasize the semantic significance of any element of the text (word, sentence), to give 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 is after the word being defined: I am sitting behind bars in damp dungeon(M. Yu. Lermontov); But there was no swell on this sea; stuffy air did not flow: it was brewing great thunderstorm(I. S. Turgenev);

Additions and circumstances expressed by nouns are in front of the word, which includes: Hours of monotonous fight(monotonous strike of the clock);

22. Parceling(in translation from French - particle) - a stylistic device that consists in dividing a single syntactic structure of a sentence into several intonation-semantic units - phrases. At the place of division of the sentence, a period, exclamation and question marks, ellipsis can be used. In the morning, bright as a splint. Terrible. Long. Ratny. Was broken rifle regiment. Our. In an unequal battle(R. Rozhdestvensky); Why is nobody outraged? Education and healthcare! The most important spheres of society's life! Not mentioned in this document at all(From newspapers); It is necessary that the state remember the main thing: its citizens are not individuals. And people. (From newspapers)

23. Non-union and multi-union- syntactic figures based on intentional omission, or, conversely, conscious repetition of unions. In the first case, when unions are omitted, speech becomes compressed, compact, dynamic. The depicted actions and events here quickly, instantly unfold, replace each other:

Swede, Russian - stabs, cuts, cuts.

Drum beat, clicks, rattle.

The thunder of cannons, the clatter, the neighing, the groan,

And death and hell on all sides. (A.S. Pushkin)

When polyunion speech, on the contrary, slows down, pauses and a repeated union highlight words, expressively emphasizing their semantic significance:

But and grandson, and great-grandson, and great-great-grandson

They grow in me while I myself grow ... (P.G. Antokolsky)

24.Period- a long, polynomial sentence or a very common simple sentence, which is distinguished by completeness, unity of the theme and intonation split into two parts. In the first part, the syntactic repetition of the same type of subordinate clauses (or members of the sentence) goes with an increasing increase in intonation, then there is a separating significant pause, and in the second part, where the conclusion is given, the tone of voice noticeably decreases. This intonation design forms a kind of circle:

Whenever I wanted to limit my life to a domestic circle, / When a pleasant lot ordered me to be a father, a spouse, / If I were captivated by the family picture for at least a single moment, then, it would be true, except for you, one bride would not be looking for another. (A.S. Pushkin)

25. Antithesis, or opposition(in translation from Greek - opposition) - this is a turn in which opposite concepts, positions, images are sharply opposed. To create an antithesis, antonyms are usually used - general language 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 squinting to the side,

Yesterday, before the birds sat,

All larks today are crows!

I'm stupid and you're smart

Alive and 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 - a 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 sign. Increasing gradation usually used to enhance the imagery, emotional expressiveness and influencing power of the text:

I called you, but you did not look back, I shed tears, but you did not descend(A. A. Blok);

Glowing, burning, shining huge blue eyes. (V. A. Soloukhin)

Descending gradation is used less often and usually serves to enhance the semantic content of the text and create imagery:

He brought the tar of death

Yes, a branch with withered leaves. (A. S. Pushkin)

27. Oxymoron(in translation from Greek - witty-stupid) - this is a stylistic figure in which usually incompatible concepts are combined, as a rule, contradictory to each other ( bitter joy, ringing silence etc.); at the same time, a new meaning is obtained, and speech acquires special expressiveness: From that hour began for Ilya sweet torment, lightly scorching the soul (I. S. Shmelev);

There is melancholy cheerful in the scares of dawn (S. A. Yesenin);

But their ugly beauty I soon comprehended the mystery. (M. Yu. Lermontov)

28. Allegory- allegory, the transfer of an abstract concept through a specific image: Must defeat foxes and wolves(cunning, malice, greed).

29.Default- a deliberate break in the statement, conveying the excitement of the speech and suggesting that the reader will guess what was not said: But I wanted ... Perhaps you ...

In addition to the above syntactic expressive means, the following are also found in the tests:

-exclamatory sentences;

- dialogue, hidden dialogue;

-question-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 a member is missing, which is necessary for the completeness of the structure and meaning. Missing members of the sentence can be restored and context.

The volume of the essay is at least 150 words.

A work written without relying on the text read (not on this text) is not evaluated. If the essay is a paraphrase or a complete rewrite original text without any comments, then such work is rated 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 nevertheless manifests itself not “in the form of a meek woman bowing to the headboard”, but in simple and ordinary situations.