Frumkin Grigory Moiseevich. Adjective In the evening, pitch darkness surrounds the house and the pine trees

An adjective is a part of speech that denotes a characteristic of an object and varies according to gender, number and case. There are quality (Beautiful), relative ( stone) and possessive

(hare) adjectives. Qualitative adjectives can have a short form (beautiful, beautiful) and forms of degrees of comparison (beautiful, more beautiful, most beautiful, most beautiful).

The short form is formed only from qualitative adjectives or in cases of transition of relative adjectives into qualitative ones (He is still young; the faces of those present have become even stony).

In modern Russian, two options are allowed when forming a short form for adjectives starting with -en: on -en and on -enen. For example: immoral - immoral, majestic - majestic, warlike - warlike etc. In neutral speech, the form on -en, short adjectives for -enen are perceived as bookish or outdated.

Typical errors that arise when forming forms of degrees of comparison:

• 1) formation of the comparative form from a relative or possessive adjective (* more geometric *less chemical)",
• 2) the use of vernacular forms (usually simple comparative degree), without taking into account alternations (* in short, *beautiful, *cheaper, *louder, *lighter, *softer);
• 3) a combination of the form of the simple comparative degree with the words more or less (* more better, *less interesting);
• 4) a combination of a simple superlative degree with the word most (* the best, * the highest).

To form a complex form of the comparative degree, the short form is not used. Yes, the statement Sergei is younger than Konstantin contains a grammatical error in forming the comparative form of an adjective.

The main function of adjectives in a text is to describe the properties and qualities of objects. As a means of expressiveness (primarily in literary and journalistic texts), adjectives are used as epithets. The predominance of adjectives may indicate the descriptive nature of the text.

Questions and tasks

1. Answer the questions.

What difficulties may arise when using adjectives?

What are the grammatical differences between adjectives belonging to different categories?

What determines the choice of forms of short adjectives in -en or at -enen?

Are the expressions “as soon as possible” and “as soon as possible” incorrect? Give reasons for your answer.

How can you use adjectives as a means of expression? Give examples.

• 2. Read the texts. Select all the adjectives in them, determine their categories and grammatical characteristics.
• 1. For some reason this cat was named Pardon. It was a scary gray cat of the most gangster kind, a real decoration of the garbage dump. As he lay on the warm deck, his whole dissolute life sleepily slumbered in his green eyes. The sailors dragged him onto the ship. He was charged with clearing out the rat population. (A. Pokrovsky. Sorry).
• 2. The Baltic is deserted and gloomy in winter. Latvians call it the “Amber Sea” (“Dzintara Jura”). Maybe not only because the Baltic throws out a lot of amber, but also because its water has a slightly amber yellow tint.

Heavy haze lies in layers on the horizon all day. The outlines of the low banks disappear in it. Only here and there in this darkness white shaggy stripes descend over the sea - it is snowing there.

Sometimes wild geese, which arrived too early this year, sit on the water and scream. Their alarming cry carries far along the shore, but does not evoke a response - there are almost no birds in the coastal forests in winter. During the day, life goes on as usual in the house where I live. Firewood crackles in multi-colored tiled stoves, a typewriter hums muffled, the silent cleaning lady Lilya sits in a cozy hall and knits lace. Everything is ordinary and very simple.

But in the evening, pitch darkness surrounds the house, the pine trees move close to it, and when you leave the brightly lit hall outside, you are overcome by a feeling of complete loneliness, face to face with winter, sea and night (K. Paustovsky. Golden Rose).

3. Change the given text by inserting adjectives where possible. Describe the changes in the content of the text.

A man entered the yard. The wind slammed the gate, and the sound sounded like a gunshot. The man looked around nervously, but continued moving. The dog barked. The lights came on in the house, and a woman came out to meet the guest. Their eyes met. Joy lit up their faces. Praise from the president is the highest praise a politician can receive.

Text 1

1) I live in a small house near the sea. 2) To see the sea, you need to go out the gate and walk a little along a path trodden in the snow. 3) The sea is not frozen. 4) The snow lies to the very edge of the water. 5) When a wave rises on the sea, what is heard is not the sound of water, but the crunching of ice and the rustle of settling snow. 6) The Baltic is deserted and gloomy in winter. 7) heavy haze lies in layers on the horizon all day. 8) The outlines of the low banks disappear in it. 9) Only in some places in this darkness white shaggy stripes descend over the sea - it’s snowing there.

10) In the evening, pitch darkness surrounds the house, the pine trees move close to it, and when you leave the illuminated house outside, you are overcome by a feeling of complete loneliness, face to face with winter, sea and night. 11) The sea goes hundreds of miles into the black and leaden distances. 12) Not a single light is visible on it. 13) And not a single splash is heard, as if the earth was breaking off in a vague, foggy abyss.

14) To the west, towards Ventspils, behind a layer of darkness there is a small fishing village. 15) An ordinary fishing village with nets drying in the wind, with low houses and low smoke from chimneys, with black motorboats pulled out on the sand, and trusting dogs with shaggy hair. 16) Latvian fishermen have lived in the village for hundreds of years. 17) Generations replace each other. 18) Blonde girls with shy eyes and melodious speech become weather-beaten, stocky old women, wrapped in heavy scarves. 19) Ruddy-faced young men in smart caps turn into bristly old men with imperturbable eyes.

20) But just like hundreds of years ago, fishermen go to sea for herring. 21) And just like hundreds of years ago, not everyone comes back. 22) Especially in the fall, when the Baltic is furious with storms and boils with cold foam, like a damn cauldron.

23) But no matter what happens, no matter how many times you have to take off your hats when people learn about the death of their comrades, you still need to continue to do your job - dangerous and difficult, bequeathed by grandfathers and fathers. 24) You cannot give in to the sea.

25) There is a large granite boulder in the sea near the village. 26) Long ago, fishermen carved the inscription on it: “In memory of all who died and will die at sea.” 27) This inscription can be seen from afar.

28) When I learned about this inscription, it seemed sad to me, like all epitaphs. 29) But the Latvian writer, who told me about it, did not agree with this and said: 30) - On the contrary. 31) This is a very courageous inscription. 32) She says that people will never give up and will do their job. 33) I would put this inscription as an epigraph to any book about human labor and perseverance. 34) For me, this inscription sounds something like this: “In memory of those who have overcome and will overcome this sea.”

35) I agreed with him and thought that this epigraph would be suitable for a book about writing.

36) Writers cannot give up for a minute in the face of adversity and retreat in the face of obstacles. 37) No matter what happens, they must continuously do their job, bequeathed to them by their predecessors and entrusted to them by their contemporaries. 38) It’s not for nothing that Saltykov-Shchedrin said that if literature falls silent for even a minute, it will be tantamount to the death of the people.

(465 words According to K. Paustovsky)

Questions to the text:

1. especially (sentence 22).
2. From sentences 6 – 9, write down everything adverbs.
3. closely (sentence 10).
4. From sentence 36, write down the word formed in a suffixless way.
5. fisherman (sentence 15).
6. Indicate the number of the complicated proposalisolated circumstance(sentences 10, 13, 14, 37).
7. From sentence 37, write down word combinations with connections contiguity .
8. Please indicate the offer numbers withcompound nominal predicate(sentences 14 -22).
9. Indicate the number of the complex sentencewith uniform and consistent subordinationsubordinate parts (sentences 19 – 25).
10. Among sentences 11-15, indicate the number of the sentence related to the previous one usinglexical repetition.
11. linguistic features of the text

Any profession is a colossal, selfless work. Work in the name of people and entrusted by people, work that requires courage and, to a certain extent, self-sacrifice. And yet, people are ready to fulfill their duty, despite all the difficulties, to go through life in such a way that they will be told that their life was not lived in vain. And this is the power of the human spirit. The ability to overcome all adversity along the way, live for the sake of others, and not give up in the face of difficulties enhances the colorful description of nature hostile to man, for example, in sentences 6,7,10,11, in which _________ “work” most clearly (The Baltic is deserted and gloomy; heavy haze; pitch darkness; black-lead distances). The idea of ​​the eternal confrontation between man and circumstances is confirmed by the persistent repetition in sentences 20,21 _______(just like hundreds of years ago). Use in sentences 26, 34 _____ (In memory of all who died at sea, In memory of those who have overcome and will overcome this sea) makes the reader constantly think about the problem of true and imaginary self-realization of man on earth.

List of terms : 1) lexical repetition 6) comparative phrase 2) contrast 7) ​​rhetorical questions 3) epithets 8) quotation 4) irony 9) polyunion 5) hyperbole 10) exclamatory sentences.

Text 2

1) When starting to work on a new book, I feel afraid of the whiteness of a blank sheet of paper, which may or may not become the beginning of a new novel. 2) It is unbearably difficult to find the right intonation of a thing, rhythm. 3) Without this, you shouldn’t write: everything will be dry, sound, but with dull nerves. 4) How rhythm and intonation arise is difficult to answer. 5) This is already a question of style, the entire complex of means of expression, which especially strikingly distinguishes one writer from another. 6) Style is developed only through labor. 7) For a miracle to happen, that is, for the pages you have written to come to life, you need to be an ox in literature. 8) The writer sometimes experiences a feeling of loneliness and nakedness at the moment of spiritual and physical devastation, when the manuscript is finished. 9) Then doubts and a feeling of defenselessness arise: what is in your book - truth or plausibility? 10) The best books remain in the writer’s head, and those that are written are only half poured onto paper, having lost their colors, smells, and shades of mood. 11) In the process of work - when transferring imagination to paper - the losses are monstrous. 12) And these losses sometimes lead to despair.

13) Since childhood, I have formed the image of a writer - a sensitive, kind, intelligent, completely extraordinary person: he knows everything about life, about people, and he himself is a magician of human destinies and feelings. 14) He has an amazing secret - using ordinary printed signs to create a world that is more real for you than the real one.

15) When I met Paustovsky during my college years, I saw in him the happy appearance of a writer and a person, close to the image of a sorcerer created by my childhood imagination. 16) This wonderful writer is the personification of philanthropy, kindness and nobility. 17) Now, perhaps, there is no master in our literature who would raise so many students 18) How many unknown talents he noted, in how many he instilled a love for the hard work of writing! 19) As for fame, money, noise and pop success, it was Paustovsky who instilled in us, his students, the very caution that is necessary when you walk on ice in shod boots. 20) Everything that is too noisy and flashy passes, and what remains are books that help people live and be human. 21) Paustovsky’s talent fixes our attention on the beautiful. 22) For Paustovsky, the criterion of truth is always morality, and the criterion of morality is beauty.

23) The accelerated pace of the modern world, material wealth, crazy speeds, overpopulated cities with their new architecture, continuous movement, and finally, the power of television and cinema - all this creates a feeling of substitution of true beauty both in the real world and in man. 24) It seems to us that we know everything, that nothing will surprise us. 25) A sunset across the street will hardly make us stop for a moment. 26) The starry sky no longer seems to us a secret of secrets.

27) In everyday worries, in the quickened rhythm of life, in the noise and bustle, we slide past the beautiful. 28) We are sure: the truths are in the palm of our hands, they are so clearly visible, so familiar that we are tired of them. 29) And in the end we deceive ourselves. 30) No matter how precise science dominates the earth, the world and man in it are still a mystery that we have only just touched upon. 31) But if someone all-knowing appeared on earth and suddenly revealed all the mysteries of the universe, it would give people little. 32) For everyone is destined to go through a long path of knowledge.

(473 words According to Yu. Bondarev)

Questions to the text.

1. Determine what part of speech the word is one (sentence 5).
2. From sentences 31, 32, write down everything unions
3. Determine how the word is formed devastation (sentence 8).
4. From sentence 25, write down the words formed in a suffixless way.
5. Determine the number of morphemes in a word omniscient (sentence 31).
6. the predicate is expressed by phraseology(sentences 4, 12, 24, 26).
7. From sentence 24, write down all the word combinations with the connection management .
8. separate definition(sentences 11, 14, 16, 18).
9. Indicate the number of the complex sentence withparallel subordinationsubordinate parts (sentences 27 – 32).
10. Among sentences 1 – 4, indicate the number of the sentence related to the previous one using pronouns
11. Read a fragment of a review based on the text you read. This excerpt discusseslinguistic features of the text. Insert the numbers corresponding to the number of the term from the list in place of the gaps.

The world around us and the people in it are unknown depths, and it is unlikely that we will ever be able to comprehend them completely and unconditionally. It is obvious that each of us “unravels” the mysteries of this world in our own way, and the path of individual knowledge is priceless. A writer is called upon to help a person understand for himself the “abyss” of the world. Turning in memory to his mentor K. Paustovsky, a true writer who managed to reveal the beautiful in his works, Yu. Bondarev, with the help of ____ ( happy appearance; wonderful writer; the hardest work of writing) makes the reader take a new look at the world around him and himself. Speaking about the torment of his own comprehension of the world and the beauty in it, about his responsibility to the reader, the author more than once uses ___(intonation of a thing, rhythm - sentence 2; (a question of style, the whole complex of means of expression - sentence 5); having lost colors, smells, shades of mood (sentence 10). The author's caring attitude towards creativity, books and, in general, towards the problem raised is emphasized by the use of ___ (offers 10,11,12).

List of terms : 1) comparative phrase 6) series of homogeneous terms 2) contrast 7) ​​rhetorical questions 3) epithets 8) quotation 4) irony 9) expressive lexical repetition 5) introductory constructions 10) exclamatory sentences

Text 3

1. Anyone who really knows Pushkin worships him with rare ardor and sincerity; and it is joyful to realize that the fruits of the poet’s existence still fill the soul today. 2) Everything gives us pleasure: the peculiarities of Pushkin’s rhythm, the details of life, the names of the people around him. ³) From the drafts we strive to recognize each stage of the height of his inspiration. 4) Reading and rereading his notes, poems, fairy tales, elegies, letters, dramas is one of the advantages of our life.

1. What a pleasure it is to penetrate into the world of Pushkin! 6) And, in essence, it does not matter if what we imagine in our imagination is a deception.

1. Suppose if we had the opportunity to get into the era of Pushkin, we would not recognize him. 8) So what! 9) What a difference! 10) I like this game, and now I myself believe in it. 11) Here he is on the Neva embankment, a dreamer, leaning on a granite parapet; here he is in the theater, to the sound of violins, pushing aside his neighbor with fashionable arrogance in order to take his place; then in a village estate, exiled from the capital for freedom-loving lines, in a nightgown, disheveled, scribbling poetry on gray wrapping paper, chewing an apple. 12) I see him walking along a country road, leafing through books, kissing the slender leg of his beloved, or on a silvery Crimean afternoon, lost in thought in front of a modest small fountain flowing in the courtyard of an ancient Tatar palace.

1. These visions are so fleeting that I do not have time to discern whether he is holding a cane in his hand or a cast-iron stick, with which he walked specifically to train his hand for shooting, having a penchant for pistols, like all his contemporaries. 14) I try to follow him with my eyes, but he constantly runs away from me only to appear again. 15) Here he is: his hand is laid behind the tailcoat, next to his wife, a beautiful tall woman in a black velvet hat with a white feather. 16) And finally, sitting in the snow, shot in the stomach. 17) He aims at Dantes for a long time, so long that he can no longer endure it and slowly covers himself with a pistol...

1. A hundred years have passed since Pushkin was mortally wounded in a duel at sunset in the snow by a handsome young adventurer named Georges Dantes, who had dragged himself after his wife; a complete nonentity, who, having returned to France, outlived him for half a century, only to then die with a calm soul as an eighty-year-old man and senator...
2. Pushkin's life, its romantic impulses and insights prepare many traps and temptations for writers of biographies. 20) Lately a lot of them have been written in Russia, I have seen several that are quite tasteless. 21) But, besides this, there is also the good, disinterested work of a few selected minds who, delving into the past, collecting the smallest details, are not at all concerned with making tinsel for the sake of vulgar interest. 22) But even in this case, is it possible to really imagine the life of another, resurrect it in your imagination in an untouched form and flawlessly reflect it on paper? 23) I doubt this, because the very thought directed at the history of a person’s life inevitably distorts it. 24) All this will be just a lie, and not the truth that we feel.

(447 words According to V. Nabokov)

Questions to the text.

1. Determine what part of speech the word is several (sentence 21).
2. Write out everything from sentences 1, 2 pronouns
3. Determine how the word is formed height (sentence 3).
4. From sentence 21, write down the word formednon-morphologicalway (by moving a word from one part of speech to another).
5. Determine the number of morphemes in a word freedom-loving (sentence 11).
6. Indicate the offer number in which the predicate is compound nominal(sentences 1-4).
7. From sentence 10, write down all the word combinations with connections control.
8. Indicate the number of the proposal, complicatedseparate definition(sentences 19 – 24).
9. Please indicate the number of the one-piecedefinitely a personal offer(sentences 13 -18)
10. Among sentences 17–20, indicate the number of the sentence related to the previous one using a pronoun.
11. Read a fragment of a review based on the text you read. This fragment examines the linguistic features of the text. Insert the numbers corresponding to the number of the term from the list in place of the gaps.

Dedicating the text to A.S. Pushkin, V. Nabokov already in the first paragraph uses ___ (“features of Pushkin’s rhythm, details of life, names of the people around him”; "his writings, poems, tales, elegies, letters, dramas") in order to show how dear the author of the text is to every detail in the life and work of the great poet of Russia. By using ___(8,9) in adjacent sentences, V. Nabokov seeks to lead the reader to the idea that the most important thing in understanding the gift of any writer is the reader’s personal attitude towards him. Moreover, at the end of the text, the idea is openly heard that no one, even the most experienced biographers, will be able to imagine the image and character as fully and vividly as the person himself can do. It is no coincidence that exclamatory sentences are used more than once in the text, and in sentences 22, 23 the author resorts to ____, converting the reader to his faith.” The final chord of the text is V. Nabokov’s use of _____ (plausibility, not truth– sentence 24), which once again confirm the main idea of ​​the text.

List of terms:

1. epithets 7) antonyms
2. metaphors 8) introductory constructions
3. hyperbola 9) series of homogeneous terms
4. anaphora 10) quotation
5. question-answer form 11) expressive lexical repetition
6. synonyms 12) exclamation sentences

Text 4

1. An artist has to learn a lot. 2) You have to learn to speak your own language, look with your own eyes, listen with your own ears. 3) It often takes long efforts of entire generations to give ourselves an account of how we actually see something.

1. In the paintings of Italian artists we often see an image of some saint or saint sitting by an open window. 5) Through the window you can see a distant landscape - mountains, trees on the mountains, houses. 6) And there is something strange, naively incorrect in this landscape, which at first you cannot even account for. 7) And suddenly you catch the reason: on these distant trees, a mile away from the viewer, every twig, every leaf, a bird sitting on a tree is carefully painted, on the windows of houses and churches, all the crossbars on the frames are painted. 8) But in reality, a person is not able to see all this from afar. 9) But the artists of that time did not notice this, nor did they notice the haze enveloping distant objects. 10) And they imagined that they wrote as they saw.

1. In general, look at paintings depicting fast moving objects - a horse galloping into a quarry, hand-to-hand combat, a rushing train. 12) You feel that artists still have not been able to truly see the movement, to capture its characteristic features. 13) A great artist will come, see this, show it, and then it will be just as funny for us to look at modern images of galloping horses and battles, as it is funny to look at the carefully painted details of distant objects in the paintings of old masters.

1. The art of seeing and hearing is to be able to capture how you actually see and hear, and not how, in your preconceived opinion, a given object looks or sounds. 15) You describe in detail a retired dignitary at a high society meeting - what color his eyes are, his hair, how he dresses, how he walks, how he smugly jokes. 16) But is the old man really imprinted in your perception with all these vague signs? 17) Or was there something special, characteristic about him that you failed to notice? 18) A real artist comes and gives only two or three strokes:

1. There he was, in fragrant gray hair,

An old man, wise as before, -

Excellently subtle and clever,

Which is a little funny now. (A.S. Pushkin)

20) And the whole old man lives in front of you. 21) The artist managed to see it, managed to highlight it in his

The impressions from him are what distinguished him from all the other guests. 22) In Chekhov’s “The Seagull” the beginning

A talented writer says about the fiction writer Trigorin: “23) His neck shines on the dam

A broken bottle and the shadow of a mill wheel turns black - and the moonlit night is ready.

24) And I have a trembling light, and the quiet twinkling of stars, and the distant sounds of a piano, fading in

Quiet fragrant air... 25) This is painful.” (421 words According to V. Veresaev)

Questions to the text:

1. Determine what part of speech the word is that (sentence 19).
2. From sentence 9, write down the word corresponding to the scheme: prefix + root + suffix + suffix + root.
3. Determine how the word is formed first (sentence 6).
4. From sentences 13 – 15, write down all the participle
5. Determine the number of morphemes in the word o open (sentence 4).
6. consistent submissionsubordinate clauses (sentences 1 – 7).
7. From sentence 9, write down all the word combinations with the connection agreement .
8. Please enter your number one-part definitely-personal sentence(sentences 11 -15).
9. Indicate the number of the proposal, complicatedintroductory construction.(sentences 14-18)
10. Among sentences 4 -10, indicate the number of the sentence related to the previous one usingadversarial union and particles.

Dedicating the text to the problem of artists acquiring true mastery, which consists in creating a truthful image, V. Veresaev already uses _____ in the first two sentences. Showing how implausible, in his opinion, the landscape in the paintings of Italian Renaissance masters is, the author of the text ends the second paragraph with ____. V. Veresaev calls on people of art to learn to see the world around them from great masters, turns to the experience of great writers, so it is no coincidence that ___ is used in the last part of the text (sentences 19, 23, 24, 25).

List of terms:

1. epithets 6) rows of homogeneous members
2. metaphors 7) parcellation
3. litotes 8) quotation

Text 5

1. How to express the state of the human soul in a story or novel?
2. The only way is to depict the mental life of a person. 3) Without depicting a person’s mental life, it is impossible to understand his soul. 4) Gradually it became a literary tradition, and in the nineteenth century it reached full development in the European and Russian psychological novel or short story. 5) And already talented writers could not do without a deep depiction of human mental life.

6) We say: this picture is poetic, this story or poem is poetic. 7) But what does this mean? 8) Of course, this means that they are talented. 9) But what is the essence of talent itself?

10) The point, in my opinion, is that true talent knows how to illuminate this or that picture of life with the light of eternity, knows how to tear it out of life and show it against the backdrop of eternity. 11) We rejoice at such a work of art, often without realizing the reason for the joy. 12) We say to ourselves: “How alive! How accurate! How true!

13) If it’s easy to understand why we admire Tolstoy’s Natasha as eternal femininity, it would seem more difficult to understand why such a swindler like Nozdryov also makes us happy in his own way, we laugh at how truthfully Gogol paints him. 14) We feel that human nonsense in the person of Nozdryov is also eternal and doomed to eternal artistic, and not just fable, exposure.

15) Several times in my life, meeting a cantankerous swindler who was trying to foist something on me, I began to explode with indignation and suddenly remembered: Lord, this is Nozdryov, how accurately he repeats him! 16) And strangely enough, the power of indignation weakened, I just tried to move away from him, which was also not easy, because the newly-minted Nozdryov himself did not understand that I had already guessed Nozdryov in him. 17) All this became funny, because the newly-minted Nozdryov, not realizing that he had already been exposed, persisted, and the more he persisted in fraud, the more phenomenal his resemblance to the long-described Nozdryov became.

18) The brilliant creator of human types seems to guess the eternal chemical composition of this type, forcing it to act the same in any historical circumstances. 19) Lord, we think, there is serfdom, and here is socialism or capitalism, and Nozdryov is still the same. (310 words F. Iskander)

Questions to the text:

1. Determine what part of speech the word is as it were (sentence 18).
2. From sentence 14, write down the word corresponding to the scheme: prefix + root + suffix + ending.
3. Determine how the word is formed guess (sentence 18).
4. From sentences 14 – 15, write everything down adverbs.
5. Determine the number of morphemes in a word exposed (sentence 17).
6. Indicate the number of the complex sentence consisting five parts (sentences 16-19).
7. From sentence 11, write down all the word combinations with the connection management .
8. Please provide numbers one-part impersonalsentences (sentences 1-5).
9. Please indicate the offer number with(sentences 1-4).
10. Among sentences 6 -12, indicate the numbers of sentences related to the previous one usinglexical repetition and an introductory word (or designs).
11. Read a fragment of a review based on the text you read. This fragment examines the linguistic features of the text. Insert in place of the gaps the numbers corresponding to the number of the term from the list

A true writer creates “eternal” images, recognizable at all times. But how to create such an artistic image? How to recognize him among others? The reflection of F. Iskander is devoted to this difficult issue. The author immediately immerses the reader in the problem, starting the text ___ (sentences 1, 2). F. Iskander resorts to the same technique in sentences 7-10. Our joy is great when in everyday life we ​​recognize our favorite characters and “understand” their essence. And this genuine joy is conveyed in the text ____ (sentences 12,15). The author's caring attitude to the problem raised is emphasized by the use of the pronoun we, internal speech, as well as ____ (sentences 8,10, 13,16,19).

List of terms:

1. epithets 6) exclamatory sentences
2. litotes 8) quotation
3. opposition 9) introductory constructions
4. irony 10) expressive lexical repetition

Text 6

1. Well-mannered people, in my opinion, must satisfy the following conditions.
2. They respect the human personality, and therefore are always condescending, soft, polite, and compliant. 3) They don't rebel over a hammer or a missing rubber band; when they live with someone, they don’t do it as a favor; when they leave, they don’t say: I can’t live with you! 4) They forgive noise, cold, overcooked meat, witticisms, and the presence of strangers in their home.

1. They are not only compassionate towards beggars and cats. 6) They are sick at heart and from what you cannot see with the naked eye.

1. They respect other people's property, and therefore pay debts.
2. They are sincere and fear lies like fire. 9) They don’t lie even about trifles. 10) A lie is offensive to the listener and vulgarizes the speaker in his eyes. 11) They do not show off, behave on the street the same way as at home, and do not show off dust in the eyes of the smaller brethren. 12) They are not talkative and do not come out with frankness when they are not asked. 13) Out of respect for other people’s ears, they are often silent.

1. They do not humiliate themselves in order to arouse sympathy in others. 15) They don’t play on the strings of other people’s souls so that in response they sigh and coddle them. 16) They don’t say: “they don’t understand me!” or: “I exchanged it for a small coin!” - because all this has a cheap effect, vulgar, old, false.

1. They are not fussy. 18) They are not interested in such fake diamonds as dating celebrities. 19) When they make money for a penny, they don’t run around with their folder worth a hundred rubles and don’t boast that they were allowed to go where others weren’t allowed. 20) True talents always sit in the dark, in the crowd, away from the exhibition. 21) Even Krylov said that an empty barrel is more audible than a full one.

1. If they have talent, they respect it. 23) They sacrifice peace, women, wine, vanity for him. 24) They are proud of their talent. 25) They cultivate aesthetics in themselves. 26) They, especially artists, need freshness, grace, humanity.

1. This is how educated people are.
2. In order to educate yourself and not stand below the level of the environment in which you find yourself, it is not enough to read only Pickwick and cut out the monologue from Faust. 29) What is needed here is continuous day and night work, eternal reading, studying, and will. 30) Every hour is expensive here.

(333 words According to A.P. Chekhov)

Questions to the text:

1. Determine what part of speech the word is these are (proposition 27).
2. From sentences 6 -13, write down the words in whichdevoicing a voiced consonant.
3. Determine how the word is formed study (sentence 29).
4. Write out 17–21 words from sentences withzero ending.
5. Specify offer numberswith a compound verb predicate(sentences 1 - 13).
6. Write down the numbers of sentences in which the subordinate part isvaguely personal(sentences 5 - 15).
7. From sentences 14, 15, write down all the word combinations with the connection agreement .
8. Indicate the numbers of proposals that (or part of which) areunextended proposal(sentences 17-30).
9. Indicate the number of the complex sentence withsubordinate tense(sentences 8 - 20).
10. Please indicate the offer number withsequential subordination of subordinate clauses(sentences 15 - 28).
11. Read a fragment of a review based on the text you read. This fragment examines the linguistic features of the text. Insert in place of the gaps the numbers corresponding to the number of the term from the list

Good manners are not an abstraction. We judge it by a person’s behavior, by his attitude towards others. Chekhov, with his characteristic laconicism, defines by what criteria one can recognize a well-mannered person. The writer reveals a generalized idea of ​​good manners by identifying special cases when a person’s moral qualities are manifested. Their unique overview is given with the help of ______ (sentences 2, 25, 29, etc.). To show possible human behavior in everyday situations, Chekhov also uses _____ (sentences 6, 11, 15, 16). Well-mannered people are a special group. She is opposed to others. This is emphasized by the technique of _____ (sentences 1 – 17). Chekhov names not only the qualities inherent in well-mannered people, but also those that they do not have, characterizes them through negative And meaning, using in such cases, among other means, _____ (sentences 8,18).

List of terms:

1. introductory constructions 6) series of homogeneous terms
2. metaphors 7) question-answer form
3. litotes 8) quotation
4. professional vocabulary 9) phraseological units
5. anaphora 10) comparative phrase

Text 7

1. One of the properties inherent in language is “alive like life.” 2) This is how Gogol christened him, and Korney Chukovsky chose these Gogol words as the title for his book. 3) The popular saying “It’s not honey, but it clings to everything” teaches the same thing - change. 4) Language cannot and should not remain an unshakable, immovable stronghold; changes in it are natural and inevitable, especially in such a turbulent and changeable time as ours. 5) However, now I am experiencing a sad feeling: our language has not changed, but has become unconscious, forgotten itself.

1. The Russian language is one of the richest languages ​​in the world. 7) A misfortune has happened: he becomes impoverished and dies before our eyes. 8) And in our ears. 9) If he enriches himself with anything living, it is only with well-aimed thieves or semi-criminal words, and besides them – with dry, dead political terms. 10) Terms, in my opinion, kill the word, deprive it of shades, smell, taste, as well as expressiveness and strength. 11) And this is suitable for scientific speech or for Esperanto. 12) The very foundation is collapsing: additions die off, for some reason the names of places and numerals do not decline.

13) There are more than enough foreign words that have poured into the Russian language. 14) Essentially, there is nothing wrong with this. 15) The Russian language has long grown foreign roots next to its roots. 16) Pushkin did this too. 17) But at present it is already a stream, a deluge, a flood. 18) Among the newly acquired terms, there are those that certainly meet the requirements of the new reality: for example, the concept of “sponsor” could not exist under socialism, under Soviet power there was no need for it, but now such a concept has arisen, but it is not in the language. 19) Why not take it? 20) But we don’t need many, many foreign words at all. 21) The speaker believes that saying exclusive or consensus instead of exclusive or agreement is more intelligent.

22) K. Chukovsky did not live to see this whole collapse, although he named the main disease of the bureaucratic state - clericalism. 23) From the word office by analogy with diphtheria, appendicitis, etc. 24) He laughed sadly at such turns of phrase: “we are planning to go to Crimea for the summer” instead of “we are going to Crimea.” 25) “Does every family have its own State Planning Committee?” - he asked. 26) He laughed bitterly when people in his presence flaunted unnecessary foreign words and, using them, thought that they were thereby becoming educated. 27) I wonder what he would say now: image, summit? 28) After all, we have Russian words for these concepts.

29) Maria Stepanovna comes to my mind, our dear, glorious worker, an illiterate Russian village woman originally from near Orel. 30) How beautifully, picturesquely she spoke and told! 31) But then, one day, seeing pigeons swarming among the flowers, Maria Stepanovna uttered the immortal phrase: “We need to cancel them”...32) The phrase is very characteristic of modern speech. 33) Kick out, drive away - this is too simple, like a village, but if you say cancel - and you are already educated.

34) Where is the intelligentsia, which must fulfill its cherished duty - to make selections? 35) The intelligentsia, observing this deadening stream, themselves are choking on it. She lost her immunity. 36) He is in a hurry to “accept” the swill that the street, radio, newspaper, and TV serve us all day and night. 37) I believe that the intelligentsia is responsible for preserving cultural tradition, including that part of it that is associated with language.

(477 words. According to L. Chukovskaya)

Questions to the text:

1. Determine what part of speech the word is very much (sentence 32).
2. Write out words from sentences 11-18 that correspond to the pattern root+ root+ suffix+ ending.
3. Determine which word in sentences 4, 5 is formed in a suffixless way.
4. From sentences 1 – 12, write down all the particles.
5. Among sentences 25 -36, find sentences wherethe predicate is expressed by a phraseological turn.
6. In the last paragraph, find the sentence withinconsistent definition. Enter its number.
7. From sentences 10-15, write down word combinations with connections contiguity .
8. In the third paragraph, find simple impersonal offers.
9. consistent submission(sentences 22 - 37).
10. Among sentences 1 -5, find a sentence that is related to the previous one usingpersonal pronoun. Write the number of this offer.
11. Read a fragment of a review based on the text you read. This fragment examines the linguistic features of the text. Insert in place of the gaps the numbers corresponding to the number of the term from the list

L. Chukovskaya's article is devoted to the problem of modern word usage. But this work is addressed not only to linguists, although there are ____ here: “addition”, “declined”, “numerals”, “foreign words” and others. This topic should be of interest to everyone who is deeply concerned about the processes occurring in language. ____ (sentences 19, 34) can be regarded as an invitation to conversation, as an attempt at joint comprehension. The article not only states some facts and phenomena of the modern Russian language, but expresses an emotional attitude towards them, for example, through the use of_____ “flow, deluge, flood” (sentence 17), the technique ____ (sentences 7, 8). Expression is due to the fact that the author cannot be a silent witness to how the living principle in the language is being killed, which in the text is indicated by ____ (sentence 1) and the device ____: “the language has become unconscious”, “forgotten”, “dead”, “ grew."

List of terms:

1. A rhetorical question6) series of homogeneous members
2. metaphors 7) terms
3. litotes 8) parcellation
4. personification 9) phraseological units
5. synonyms 10) comparative turnover

Text 8

1. You can define the purpose of your existence in different ways, but there must be a purpose, otherwise there will be not life, but vegetation.

2) You must also have principles in life. 3) It’s even good to write them down in a diary, but for the diary to be “real”, it cannot be shown to anyone - write only for yourself.

4) Every person should have one rule of life, it will manifest itself in his goal of life, and in his principles of life, and in his behavior: one must live life with dignity, so that one is not ashamed to remember.

5) Dignity requires kindness, generosity, the ability not to be a narrow egoist, to be truthful, a good friend, and to find joy in helping others.

6) For the sake of the dignity of life, one must be able to refuse small pleasures and considerable ones too...

7) Being able to apologize and admit a mistake to others is better than being fussy and lying.

8) When deceiving, a person first of all deceives himself, because he thinks that he has successfully lied, but people understood and, out of delicacy, remained silent. 9) Lies are always visible.

10) Nature created man for many millions of years until she created it, and this creative, constructive activity of nature must, I think, be respected, we must live our lives with dignity and live in such a way that nature, which worked on our consciousness, is not offended. 11) Nature is creative, it created us, so we must support this creative tendency in our lives. 12) How to understand this, how to apply it to your life? 13) Each person must answer this individually, in relation to his abilities and interests. 14) Life is diverse, and therefore creation is diverse, and our aspirations for creativity in life should also be diverse according to our abilities and inclinations. 15) What do you think?

16) In life there is some level of happiness from which we count, just as we count heights from sea level. 17) And the task of every person, in both large and small ways, is to increase this level of happiness, to increase it in life. 18) And your personal happiness will also not remain outside of these concerns. 19) But mainly – those around you, those who are closer to you, whose level of happiness can be increased simply and easily. 20) And besides, this means increasing the level of happiness of your country and all humanity.

21) The methods are different, but there is something available for everyone. 22) If it is not possible to solve government issues, which always increases the level of happiness, if they are resolved wisely, then you can increase this level within your work environment, within your school, in the circle of your friends and comrades. 23) Everyone has this opportunity.

24) Life is, first of all, creativity, but this does not mean that every person, in order to live, must be born an artist, ballerina or scientist.

25) Creativity can also be done. 26) You can simply create a good atmosphere around yourself, as they say now, an aura of goodness around you.

27) For example, a person can bring with him into society an atmosphere of suspicion, some kind of painful silence, or he can immediately bring joy and light. 28) This is creativity. 29) Creativity is continuous. 30) So life is eternal creation.

31) A person is born and leaves behind a memory. 32) What a person creates in his life, what he has created or done, determines what kind of memory he leaves of himself.

(460 words. According to D. Likhachev)

Questions to the text:

1. Determine what part of speech the word is such (sentence 23).
2. Write out everything from sentence 8 unions
3. Determine how the word is formedsuspicion(sentence 27).
4. From sentences 21 – 23, write down a word with five morphemes (the stem does not count)..
5. In sentences 21 - 29, find sentences that containgrammatical basis, pronounced the same parts of speech.
6. Indicate the numbers of simple sentences withcompound verb predicate(sentences 21 – 26)..
7. From sentences 29 - 32, write down all the word combinations with the connection agreement .
8. Among sentences 8 -11, find complex sentences whose structure includes. Write the numbers of these sentences.
9. Find a complex sentence withconsistent submission(sentences 16 - 20).
10. Among sentences 18 -23, indicate the numbers of sentences related to the previous one usinglexical repetition.
11. Read a fragment of a review based on the text you read. This fragment examines the linguistic features of the text. Insert in place of the gaps the numbers corresponding to the number of the term from the list

Essay by D.S. Likhachev is dedicated to a serious philosophical problem - the purpose of human existence. However, the text is not overloaded with complex scientific reasoning. Thought is, as it were, laid bare, made transparent and accessible largely thanks to language. For this, ___ are used (sentences 4, 5, 13, 24, 26). Once identified, the topic develops, and the forward movement of thought is clear due to ____ (sentences 16, 18, 19, 20, 22). For the same purpose, the author deliberately uses _____ (“created”, “creative”, “creation”, “creativity”), collides cognate words (sentence 25), showing the hidden sides of the situation: “by deceiving... he deceives himself.” Transparency of language is also achieved through the use of ____: “play around and lie”, “atmosphere” and “aura”. The simplicity of the language is not intended to present the topic as easy, elementary, but to make accessible the depth of the problem posed. After all, the text is addressed to young people. This appeal to the reader also determines the inclusion of ____ in the text (sentences 12,15).

List of terms:

1. introductory structures6) series of homogeneous members
2. litotes 8) lexical repetition
3. synonyms 9) phraseological units
4. anaphora 10) tautology

Text 9

1. What is the relationship between a feeling of pity and a sense of justice?
2. Pity is higher than justice, but justice is more durable. 3) Remembering the moment of showing pity for a person from some temporary distance, we can realize that, perhaps, we went too far. 4) This man was unworthy of this degree of pity. 5) But, remembering a fair decision in relation to a person, we cannot say to ourselves that we have gone too far in terms of justice.

6) Pity, I am sure, cannot be explained by any rational considerations; it comes to a person from above, from God. 7) However, almost every person sometimes painfully recalls incidents from his life where he should have shown pity, but did not. 8) I think there were signals from above, but at that time we ourselves were so “dehumanized” that we could not accept them. 9) However, a person who is not morally stupid retains ethical memory and, restoring the picture of his indifference, suffers, repents and thereby cleanses the receiver of his soul.

10) The sense of justice, one might say, is more horizontal: trying to find a fair solution in relation to a person, we seem to compare one with many, mentally run from this person to others and from these many - as a conclusion - to this one.

11) The initial impulse for a sense of justice may be pity for a person, but a person in difficult situations in life, starting from pity, can become so confused in the search for a formula for good that he comes to the most ruthless and unfair conclusions.

12) This was our socialism in practice. 13) It can be stated with all certainty that the initial impetus for all socialist theories was pity for the disadvantaged person, pity for the “humiliated and insulted.” 14) How could it happen that a doctrine based on pity for man gave birth to the most ruthless society?

15) And Gorky’s not entirely random words became his slogan: pity humiliates a person. 16) Among the revolutionaries there were sincere people who wanted the good of the people. 17) Didn’t they really see the contradiction between the declared ideal of this state - love for the people - and the most ruthless attitude towards them in life? 18) Of course, they saw it, but they justified it. 19) The more flawlessly the fulfillment of a single revolutionary duty, the freer the revolutionary feels from any duty to specific people around him, because he has gone further than others for the sake of a future just life. 20) In this way he compensates for his revolutionary zeal and gives rise to new (temporary!) oppressions on the way to final justice.

21) From living experience in life, a person knows that sometimes it is necessary to show ruthlessness towards a person for his own good. 22) Thus, a teacher who leaves a careless student at school after classes is merciless, a parent who punishes a naughty child is merciless, a surgeon who dissects a living person is merciless.

23) The cunning mechanism of adaptation easily clouds the mind. 24) A revolutionary who blesses the shedding of blood willingly pleases himself to the surgeon, most often forgetting that the surgeon sheds a person’s blood in order to save that particular person. 25) And the revolutionary sheds the blood of this man in order to remain faithful to an idea, the correctness of which has not been proven in any way.

26) There was a replacement of pity for a person with pity for a fairy tale, understood as a new truth. Platonov in “Chevengur” described this wonderfully.. 27) All the communists of this work are completely sincere people, and they endlessly theorize about justice and mercilessly remove those who, in their opinion, interfere with the establishment of the future kingdom of justice.

(460 words According to F. Iskander)

Questions to the text:

1. Determine what part of speech the word is should (sentence 7).
2. From sentence 10, write down the word corresponding to the scheme: root+ suffix+ suffix+ suffix.
3. Determine how the word is formed substitution (sentence 26).
4. From sentences 23 – 27, write down everything participles
5. Determine the number of morphemes in the word occurred (sentence 26).
6. Indicate the numbers of complex sentences includingtwo-part incomplete sentence(sentences 7 – 11)..
7. Write out the predicate from sentence 12.
8. Among sentences 1 - 9, indicate the number of a complex sentence containingsubordinate measures and degrees.
9. Indicate the numbers of complex sentences consisting of three parts (sentences 3, 7, 8, 21, 22)..
10. Among sentences 12 – 19, indicate the numbers of sentences related to the previous one usingpersonal pronoun.
11. Read a fragment of a review based on the text you read. This fragment examines the linguistic features of the text. Insert in place of the gaps the numbers corresponding to the number of the term from the list

No one will probably argue about the need to show kindness. Feel pain for a person. What are pity and justice? How do they relate to each other? And do pity and the desire to restore justice always bring kindness? F. Iskander asks similar questions. Familiar concepts appear from an unexpected perspective. This is the reasoning in sentence 22. To enhance the effect, _____ is used here. The author wants to think together with the reader, strives to show him the dialectical difficulty of the question posed, therefore he includes __ (sentences 1, 14, 17) in the text. And in order to more clearly demonstrate the ambiguity of similar situations, in sentences 24, 25 he uses ___ (“sheds blood”). Pity and justice are considered in comparison and opposition. Firstly, as momentary feelings. To discover pity in ourselves, we must be attuned to this wave, as the author says, using ___, to clean the “receiver of the soul.” The reverse process is characterized by the author's ____ (“dehumanized”). Secondly, from a historical perspective, in a cause-and-effect series. And here Iskander relies on the literature of the past, uses ___ in sentences 13, 15. The writer contrasts the 19th century, which called for leniency and mercy towards a person, with the 20th century, which argued that an insult lies in the very pity for a person, in the lack of faith in his strength.

List of terms:

1. parcellation 6) exclamatory sentences
2. metaphors 7) rhetorical questions
3. neologism 8) quotation

Text 10

1. Irreversible Time is passing. 2) It goes and leaves traces: the Egyptian pyramids, the Hisarlik hill, the stones of the Roman Colosseum - monuments of past ambition, heroism, suffering, sublime and base passions, seething and cooled life. 3) Irreversible Time passes.

4) I belong to that category of people who are contrasted with lyricists. 5) He was engaged in pure theory, he was one of the many chosen ones who tried to embrace the immensity - he dreamed of enclosing illusory elementary particles and the vast Universe in a single scope.

6) I constantly had to operate with time; the symbol “t” was an integral part of almost all the formulas that I created myself and borrowed from others. 7) It, time, is fickle and rich in surprises. 8) The proton and electron are not subject to its influence, they are practically eternal, and, say, a pion exists for an unimaginably short moment - a fraction of a second with sixteen zeros after the decimal point. 9) But this super-instantaneous life is just as necessary for the universe as the life of eternal particles. 10) An astronaut in flight lives a little slower than his comrade on Earth. 11) And in the vastness of the Universe there are wells - black holes, where time seems to fall through and freeze in infinity.

12) The relativity of time is outside of us, around us, inside us. 13) It took our distant forefathers a million years or much more to create a crude ax for themselves, several hundred thousand years to arm themselves with a bow and arrow, and in just less than ten thousand years they rushed at a rapid pace to the theory of relativity, to space rockets! 14) Nature gave us intelligence and received dynamism in return.

15) Our time... 16) As far as we know, people were almost never satisfied with their time, they looked with envy either at the past - they say, there once was a life unlike the current one, a golden age - or with hope for the future. 17) The insightful Belinsky declared with careless enthusiasm: “We envy our grandchildren and great-grandchildren who will live in 1940...” 18) And that year, the most brutal of human wars was already underway - World War II. 19) I would also like to know what will happen to our great-grandchildren in a hundred years, but Belinsky’s mistake warns against optimistic forecasts.

20) In order to at least somehow understand the future, one should turn to the past and grasp the features of development in it.

21) In some reputable works, I came across the meaningful words “Golden Age of the Eneolithic”. 22) Slavery had not yet arisen, a sharp division into rich and poor had not yet occurred, and the spread of agriculture - whether good or bad - fed people. 23) But which of us will be satisfied with such precarious well-being, which is achieved with a hoe, depends on the slightest whims of nature - rain at the wrong time, an accidental hail, a drought. 24) Golden Age – oh?

25) The fourteen years of Pericles’ reign in Athens are considered the happiest in history. 26) Yes, but this is the happiness of the treasurer, who has taken control of the general cash register. 27) Athens headed the Hellenic union and uncontrollably disposed of the contributions flowing in from all cities. 28) And at that time Socrates was sentenced to death, and the great Phidias was thrown into prison...

29) No time, if you look closely, is happier than ours. 30) I have never found a moment in history about which I could say: stop, you’re wonderful!

(451 words. According to V. Tendryakov)

Questions to the text:

1. Determine what part of speech the word is where (sentence 11).
2. In sentences 5 - 10, find words with the sound [f], write them down.
3. Find in sentence 9 the word formed addition
4. Write out everything from sentences 11, 12 prepositions
5. Indicate the numbers of sentences complicated by the application (sentences 6 - 10).
6. Find offers withclause attributive(sentences 4,11, 16, 26)..
7. Determine the type of connection in the phrase which one of us from sentence 23.
8. Among sentences 19 – 23, find a complex sentence whose parts areimpersonal offers.
9. In the third paragraph, find sentences complicatedcomparative construction(sentences 6 - 11).. Indicate the number.
10. Among sentences 15 – 19, indicate the number of the sentence related to the previous one usingdemonstrative pronoun.
11. Read a fragment of a review based on the text you read. This fragment examines the linguistic features of the text. Insert in place of the gaps the numbers corresponding to the number of the term from the list

Time is a physical dimension. It was this side that always interested the hero of Tendryakov’s work. Therefore, the text uses ___ (“proton”, “electron”, “black holes”, “particles”). But even for a man of science, time turns out to be a mystery. The life of a peony is expressed mathematically - “a fraction of a second with sixteen zeros after the decimal point.” The ___ technique helps translate the word “moment” into mathematical language. And the author’s neologism (“superinstant”) once again emphasizes the infinite smallness of a flower’s life, which is opposed to eternity, but is a necessary part of it. Time is like magma: “falls through and freezes” (sentence 11), these amazing metamorphoses in the Universe are shown by the technique of ____. But time is not only a scientific quantity, which is given the symbolic designation “t”, but also a philosophical, historical, cultural category. In this fragment of text, an attempt is made to comprehend this concept, to consider various aspects of “time”. In the first paragraph, the author notes such signs of aremen as mobility, inevitability, variability. The progressive passage of time is emphasized by the construction of phrases. The technique of ____ in sentences 1, 2, 3 creates a rhythmic pattern. And the idea of ​​the cycle of time (a kind of cyclical model) is expressed through ____ (sentences 1, 3). The author shows what mistakes are possible when comprehending someone else’s era, which is beyond “our time”, beyond the present. In sentence 23, the author gives arguments that destroy the idea of ​​the century, the name of which uses ____. The image of the happiest period in history is reduced by the use of ____ in speech (sentence 26). The author concludes the brief historical review with a conclusion that includes ___: “I haven’t found a moment in history about which I could say: stop, you’re great!”

List of terms:

1. introductory constructions 6) figurative meaning of the word
2. metaphors 7) question-answer form
3. litotes 8) quotation
4. professional vocabulary 9) detailed comparison
5. anaphora 10) expressive lexical repetition

Text 11

1. Lev Nikolaevich Tolstoy first came into my life many years ago, when, having fallen ill one day, I was taken away from school for a month and read four volumes of his “War and Peace.” 2) I won’t say that reading the great epic as a child turned out to be very fruitful for me, but the unique images of the heroes, the wide panorama of Russian life, and military pictures of the distant past captivated my imagination. 3) It was a good read, although, of course, it is not out of place to read and re-read Tolstoy at any age. 4) Like no other great artist, he has an inexhaustible generosity of mind, vividness of observation, and the ability to constantly influence the formation and improvement of human souls.

1. And it’s wonderful when communication with the spiritual treasury does not end once, but continues throughout life. 6) Extreme sincerity, deep penetration into the mystery of human essence, social significance and the incessant search for a moral ideal continue to attract many generations of readers to him.

1. Created more than a century ago, “Sevastopol Stories” clearly demonstrates how the fighting Russian people should be understood and how to portray them in literature. 8) The great talent and artistic courage of the great Tolstoy gave him the right to write immortal lines, which are the enduring imperative of all realistic literature: “The hero of my story, whom I love with all the strength of my soul, whom I tried to reproduce in all his beauty and who has always been, is and It will be wonderful, really.”

1. It would seem that everything is very simple, it cannot be otherwise: the truth was and remains the great content of literature. 10) In fact, the writer has no greater concerns than his relationship with something so constantly elusive as the truth. 11) Tolstoy had an amazing ability to discern the deep essence of truth in the complex manifestations of life, and his tremendous talent turned her into an indispensable hero of his artistic prose. 12) It was probably not easy for Tolstoy either, otherwise he would not have once written that, “as strange as it may be to say, art requires much more precision... than science.” 13) These words of his sounded somewhat paradoxical in our age of scientific and technological revolution and the conquest of space, but their prophetic meaning cannot but be shared by every serious writer or thoughtful reader. 14) The most important life principle professed by Tolstoy does not happen either: “To live honestly, you have to strive, be afraid, fight, make mistakes, start and give up, and start again and give up again, and always struggle and lose. 15) And calmness is spiritual meanness.”

1. Tolstoy’s whole life is a constant search: first for himself in this world, then for the meaning and purpose of his whole life. 17) Despite a number of defeats and losses: until the end of his days he remained an enemy of mental complacency. 18) Isn’t this, among many others, his great lesson for everyone - his contemporaries and those living in a different era, but all on the same beautiful and sinful earth?

(410 words According to V. Bykov)

Questions to the text:

1. Determine what part of speech the word is torn off (sentence 1).
2. Write out everything from sentences 3, 4 adverbs.
3. Determine how the word is formedcomplacency(sentence 17).
4. From sentences 17, 18, write down the word formed in a suffixless way.
5. Determine the number of morphemes in a wordconstantly(sentence 10).
6. Indicate the number of the proposal, complicatedisolated circumstance(sentences 17, 18)..
7. From sentence 2, write down a word combination with a connectionadjacency.
8. Please provide numbersimpersonal offers(sentences 9, 10, 11, 12).
9. Indicate the number of the complex sentence withuniform subordination of subordinate clauses(sentences 4, 5, 6, 7)..
10. Among sentences 9 – 13, indicate the number of the sentence related to the previous one usingintroductory word and lexical repetition.
11. Read a fragment of a review based on the text you read. This fragment examines the linguistic features of the text. Insert in place of the gaps the numbers corresponding to the number of the term from the list

Finding yourself, the purpose of your life - this is the problem that worries V. Bykov. Seeing the brightest example to follow in the life and work of L.N. Tolstoy, the author shows how painful the path to oneself can be, and in this the author is helped by the method of using the series ___________ (sentences 2, 4, 6). Appealing to the authority of the great writer, V. Bykov uses ___________ (sentences 8, 12, 14), which allow the reader to penetrate more deeply into the essence of the problem. The author’s caring attitude to the problem raised is emphasized by the use of vivid epithets, metaphors, as well as ____________ used at the end of the text and addressed to the reader (sentence 18).1

The sea is not frozen. The snow lies all the way to the water's edge. The tracks of hares are visible on it.

When a wave rises on the sea, what is heard is not the sound of the surf, but the crunch of ice and the rustle of settling snow.

The Baltic is deserted and gloomy in winter. Latvians call it the “Amber Sea” (“Dzintars Jura”). Maybe not only because the Baltic throws out a lot of amber, but also because its water has a slightly amber yellow tint.

During the day, life goes on as usual in the house where I live. Firewood crackles in multi-colored tiled stoves, a typewriter hums muffled, the silent cleaning lady Lilya sits in a cozy hall and knits lace. Everything is ordinary and very simple.

But in the evening, pitch darkness surrounds the house, the pine trees move close to it, and when you leave the brightly lit hall outside, you are overcome by a feeling of complete loneliness, face to face with winter, sea and night.

The sea goes hundreds of miles into black and leaden distances. Not a single light is visible on it. And not a single splash is heard.

The small house stands like the last beacon on the edge of a foggy abyss. The ground breaks off here. And therefore it seems surprising that the lights are calmly burning in the house, the radio is singing, soft carpets muffle the steps, and open books and manuscripts lie on the tables.

There, to the west of Ventspils, behind a layer of darkness there is a small fishing village. An ordinary fishing village with nets drying in the wind, with low houses and low smoke from chimneys, with black motorboats pulled out onto the sand, and trusting dogs with shaggy hair.

...In the sea near the village lies a large granite boulder. A long time ago, fishermen carved the inscription on it: “In memory of all who died and will die at sea.” This inscription can be seen from afar.”1

Have you noticed that Paustovsky only has two or three phrases in each paragraph? Two or three phrases - and the story continues from the red line. Why? Yes, because each paragraph is a separate picture, drawn in just two or three phrases, and with each new “red line” a new picture begins.

But the next picture is always connected with the previous one, and together they are a single whole.

Absolutely a screenplay technique, although Paustovsky did not even think about the screenplay!

Whatever paragraph you read, you can easily imagine what the writer drew in words - outlines, colors, lighting, small and large details - as if you saw it all with your own eyes. Any director and cameraman will tell you that without any additional explanation it is clear how to transfer the description made by Paustovsky to film.

1 Paustovsky, K.G. Golden Rose / K.G. Paustovsky. - M.: Pedagogy, 1991.

K. G. Paustovsky wrote:

“...If a writer, while working, does not see behind the words what he is writing about, then the reader will not see anything behind them. But if the writer sees well what he is writing about, then the simplest and sometimes even erased words acquire newness, act on the reader with striking force and evoke in him those thoughts, feelings and states that the writer wanted to convey to him.”

Paustovsky considered this the law of literary creativity.

And how important it is for a screenwriter that the director is imbued with his “thoughts, feelings and states”!

Even just one passage quoted above - a description of the Riga seaside in winter - proves how strictly the writer obeyed such a law. But, of course, he had in mind not only his own creativity, this is the conclusion that he made from the experience of world literature, primarily Russian. Pushkin, Lermontov, Gogol, Leo Tolstoy, Chekhov, and every other good writer followed this same principle.

But if a writer who does not create for television or cinema must see what is being described, then how should a screenwriter write?! If you don't see very clearly what you're talking about in the script, then it's even less visible to the director or cinematographer! I will refer to another authoritative opinion:

“The ability to see and hear everything, literally everything that will subsequently be present on the screen, the ability to write it down so clearly that no misunderstandings can arise during its on-screen implementation - this is the main requirement for the skill of a film playwright. Only if this condition is met is the author of the script truly the author of the film.

...A well-written script gives aesthetic pleasure because it evokes the impression of the picture happening in front of you on the screen in all its details, in all its convex concreteness. You need to learn to be a great master of visual writing."

What lessons can a screenwriter learn from the creative experience of the classics? Oh, there can be many such lessons! But one of the very important ones is

1 Romm, M.I. Conversations about cinema.

do what you write about in the script yourself, and write in such a way that your reader (director, cameraman, etc.) can see the same.

But I ask, as they say, “to understand me correctly.” By citing quotes from the works of great writers, I just wanted to demonstrate as best as possible - ideally! - write a script. Visibly, accurately, figuratively. But, of course, if some director and screenwriter decide to stage Taras Bulba or Boyhood, they will still have to write the script again: abandon some part of the work, swap some episodes. And the heroes may not look the way the classics described them. In the American film “War and Peace” the lean, nervous G. Fonda played Tolstoy, the slow Pierre Bezukhov, and, according to film experts, he played well... He managed to convey to the viewer the nobility of Pierre Bezukhov, his philosophy...

The director and screenwriter are forced to take into account many circumstances when turning to the classics - at least with the fact that in our time you can no longer find grass in which the rider and horse could hide. Not to mention the fact that you have to think about which actor is capable of playing this or that hero. But the way the classics were able to paint with words can undoubtedly serve as a model for any screenwriter.

But I would like to once again warn you against the misconception common to many screenwriters. You should not think that everything you describe in the script will be seen by the director for whom the script is intended, just as it was seen by you... We are all very different people, and therefore the image that has formed in your imagination may appear differently to another to a person. A wonderful writer, screenwriter, literary critic and film expert Yu.N. Tynyanov wrote in an article about book illustrations:

“The concreteness of a work of verbal art is not

corresponds to his concreteness in terms of painting...

The most concrete - to the point of illusions - writer, Gogol,

least of all can be translated into painting."

1 Tynyanov, Yu.N. Poetics. History of literature. Cinema / Yu.N. Tynyanov. M.: Nauka, 1977. P. 311.

One can probably argue with many of the provisions of this complex and intelligent article, but one thing it definitely proves: different people perceive the images created by the writer in completely different ways. Especially a great writer...

Then the question arises: is it worth writing well? Maybe it’s enough to somehow outline the plot, indicate approximately the place and time of action, name the names of the characters and their positions - and let the director figure it out. During the shooting process everything will become clearer!.. What can you say to this?.. It happens in life too. But let me quote the classic once again. In the work “What is Art” L.N. Tolstoy wrote:

“The sign that distinguishes real art from counterfeit art is one undoubted- the infectiousness of art (emphasis added.- G.F.). If a person, without any activity on his part and without any change in his position, having read, heard, or seen the work of another person, experiences a state of soul that connects him with this person and others, just like him, who perceive the object of art, then the object that caused such a state is an object of art."

Contagiousness is the “grain” of the goal that you set for yourself when you sat down at your desk (K.G. Paustovsky, in essence, spoke about the same thing).

Means of artistic expression. Workshop.

1 .Establish a correspondence between examples and means of artistic expression.

1.Period, extended metaphor.

B) The night star has risen. The city gradually fell into sleep.

2.Antithesis.

B) “To the village, to my aunt, to the wilderness, to Saratov” (A.S. Griboyedov)

3.Euphemism.

D) You know the land where everything breathes abundantly,
Where rivers flow purer than silver,
Where the breeze of the steppe feather grass sways,
Farmsteads are drowning in cherry groves... (A.K. Tolstoy)

4.Periphrase.

D) Dying is not new in this life,
But life, of course, is not newer. (S.A. Yesenin)

5.Parcellation.

E) "our common European home", "highway of civilization"

6. Gradation.

G) And his shadow dances in the window

Along the embankment. In the autumn night.

There. Beyond the Araks. In that country

(P. Antokolsky).

7.Metaphor.

3) And your dossier is stronger than Goethe’s Faust. There will be enough material for forty years... And remember, a criminal case is not like trousers with a welt. A criminal case is completed in five minutes. Once - and you are already on the construction sites of communism... (S. Dovlatov)

8. Comparison.

And) “In a hundred and forty suns the sunset glowed...” (In Mayakovsky).

9. Expanded metaphor.

J) A brown brick face rose above the cliffs of the shoulders. Its dome was crowned with a tough and dusty bed of last year's grass. . The molded arches of the ears were lost in the twilight, the outpost of the broad, strong forehead lacked loopholes. Parted lips darkened like a ravine.

10.Pun.

L) Klim heard how Moscow, greeting the Tsar, roared hurray.

11.Inversion.

M) The soul is like a vessel with a deep bottom.

12.Hyperbole.

N) The lonely sail is white

In the blue sea fog.

13.M etonymy.

Answers: A-3, B-4, C-6, D-1, D-2, E-7, Zh-6, Z-10, I-12, K-9, L-13, M-8, N-11

2 . Establish a correspondence between examples and language means.

1.Antonyms.

B) And so, huge,

I'm hunched over at the window

I melt the window glass with my forehead.

Will there be love or not?

Which -

Big or tiny?

Where does a body like this come from?

must be small

Peaceful little darling.

She shys away from car horns.

Loves the bells of the ends.”

(V. Mayakovsky)

2. Augmentative suffixation.

B) Then I shouted to the sun:

“Get off,

Enough of hanging around in hell!” (V. Mayakovsky)

3. Contextual antonyms.

D) White eats pineapple

ripe,

Black -

soaked with rot.

The white man does the white work,

Menial work -

black. (V. Mayakovsky)

4. Colloquial vocabulary.

D) A tired elephant wants peace -
the royal one will lie down in the fried sand.

(V. Mayakovsky)

5. Non-literary form of the word.

E) There is blood in our veins, not water... (V. Mayakovsky)

6. Diminutive suffixation.

G) The storms have calmed down

revolutionary bosoms.

Covered in mud

Soviet mishmash.

And it came out from behind the RSFSR

bourgeois mug. (V. Mayakovsky)

Answers: A-2,4; B-1,4,6; B-4.5; G-1.3; D 7; E-3; F-3,4.

3. Test. Option 1.

1. The houses are new, but the prejudices are old (A. Griboyedov).

oxymoron 2) antithesis 3) periphrasis 4) irony

2. A hundred years have passed since our last meeting..

periphrasis 2) allegory 3) litotes 4) hyperbole

3. Steel speaker dozing in a holster (V. Mayakovsky).

1) metaphor 2) periphrasis 3) simile 4) synecdoche

4. The waves splash in the blue sea.

The stars shine in the blue sky (A. Pushkin)

1) epiphora 2) anaphora 3) parcellation 4) rhetorical exclamation

5. A storm is coming. It hits the shore

The black boat, alien to enchantment (K. Balmont).

alliteration 2) anaphora 3) assonance 4) antithesis

Answers: 1-1, 2-4, 3-1, 4-2, 5-1.

Test. Option 2.

Determine the means of artistic expression:

1. There was needle-shaped, icy soft snow outside the windows (S. Sergeev-Tsensky).

1) comparison 2) hyperbole 3) epithet 4) metonymy

2. Two steps from here.

1) inversion 2) hyperbole 3) epithet 4) litotes

3. You can only hear it somewhere on the street

Lonely accordion wanders (V. Isakovsky).

1) antithesis 2) metonymy 3) rhetorical appeal 4) gradation

4. White lambs are running across the blue sea, frolicking (I. Severyanin).

1) metaphor 2) comparison 3) allegory 4) metonymy

5. I love nature’s lush withering (A. Pushkin).

1) antithesis 2) gradation 3) oxymoron 4) litotes

Answers: 1-3, 2-4, 3-2, 4-1, 5-3

4 . Make up sentences using the following words as epithets:

brilliant, golden, magical, menacing, bold, hot, exciting, timid, mysterious.

5 . Read the text. Write down examples of epithets and personifications from it sequentially. Find a comparison. What role do they play in the text?

The Baltic is deserted and gloomy in winter.

Latvians call it the “Amber Sea” (“Dzintara Jura”). Maybe not

only because the Baltic throws out a lot of amber, but also because its

The water has a slightly amber yellow tint.

Heavy haze lies in layers on the horizon all day. They disappear in it

outlines of low banks. Only here and there in this darkness they descend over the sea

white shaggy stripes - it's snowing there.

Sometimes wild geese that arrived too early this year land on the water

and scream. Their alarming cry carries far along the shore, but does not cause

response - there are almost no birds in the coastal forests in winter...

…In the evening, pitch darkness surrounds the house, the pine trees move closer to it

close, and when you leave the brightly lit hall outside, you are overcome

a feeling of complete loneliness, face to face with winter, sea and night.

The sea goes hundreds of miles into black and leaden distances. You can't see anything on it

one light. And not a single splash is heard.

The small house stands like the last beacon on the edge of a foggy abyss.

(K. Paustovsky)

6. Read the text. Write an essay about the role of epithets in the text.

A quarter of an hour before sunset, in the spring, you enter the grove, with a gun, without a dog. You find yourself a place somewhere near the edge... A quarter of an hour has passed. The sun has set, but it is still light in the forest; the air is clean and transparent; the birds babble talkatively, the young grass glistens with a cheerful emerald sparkle... You wait. The interior of the forest gradually darkens; the scarlet light of the evening dawn slowly slides along the roots and trunks of trees, rising higher and higher... So the very tops have dimmed; The ruddy sky turns blue. The forest smell intensifies, the wind that flies in near you freezes... (I.S. Turgenev).

To my devoted friend Tatyana Alekseevna Paustovskaya

Literature has been removed from the laws of decay. She alone does not recognize death.

Saltykov-Shchedrin

You should always strive for beauty.

Honore Balzac

Much in this work is expressed fragmentarily and, perhaps, not clearly enough.

Much will be considered controversial.

This book is not a theoretical study, much less a guide. These are simply notes on my understanding of writing and my experiences.

Important issues of the ideological basis of our writing are not touched upon in the book, since we do not have any significant disagreements in this area. The heroic and educational significance of literature is clear to everyone.

In this book I have told so far only the little that I have managed to tell.

But if I, even in a small way, managed to convey to the reader an idea of ​​the beautiful essence of writing, then I will consider that I have fulfilled my duty to literature.

Precious Dust

I can't remember how I came across this story about the Parisian garbage man Jeanne Chamet. Shamet made a living by cleaning the workshops of artisans in his neighborhood.

Shamet lived in a shack on the outskirts of the city. Of course, it would be possible to describe this outskirts in detail and thereby lead the reader away from the main thread of the story. But perhaps it’s only worth mentioning that the old ramparts are still preserved on the outskirts of Paris. At the time when this story took place, the ramparts were still covered with thickets of honeysuckle and hawthorn, and birds nested in them.

The scavenger's shack was nestled at the foot of the northern ramparts, next to the houses of tinsmiths, shoemakers, cigarette butt collectors and beggars.

If Maupassant had become interested in the life of the inhabitants of these shacks, he would probably have written several more excellent stories. Perhaps they would have added new laurels to his established fame.

Unfortunately, no outsiders looked into these places except the detectives. And even those appeared only in cases where they were looking for stolen things.

Judging by the fact that the neighbors nicknamed Shamet “Woodpecker,” one must think that he was thin, sharp-nosed, and from under his hat he always had a tuft of hair sticking out, like the crest of a bird.

Jean Chamet once saw better days. He served as a soldier in the army of "Little Napoleon" during the Mexican War.

Shamet was lucky. At Vera Cruz he fell ill with a severe fever. The sick soldier, who had not yet been in a single real firefight, was sent back to his homeland. The regimental commander took advantage of this and instructed Shamet to take his daughter Suzanne, an eight-year-old girl, to France.

The commander was a widower and therefore was forced to take the girl with him everywhere.

But this time he decided to part with his daughter and send her to her sister in Rouen. Mexico's climate was deadly for European children. Moreover, the chaotic guerrilla warfare created many sudden dangers.

During Chamet's return to France, the Atlantic Ocean was smoking hot. The girl was silent the whole time. She even looked at the fish flying out of the oily water without smiling.

Shamet took care of Suzanne as best he could. He understood, of course, that she expected from him not only care, but also affection. And what could he come up with that was affectionate, a soldier of a colonial regiment? What could he do to keep her busy? A game of dice? Or rough barracks songs?

But it was still impossible to remain silent for long. Shamet increasingly caught the girl’s perplexed gaze. Then he finally made up his mind and began awkwardly telling her his life, remembering in the smallest detail a fishing village on the English Channel, shifting sands, puddles after low tide, a village chapel with a cracked bell, his mother, who treated neighbors for heartburn.

In these memories, Shamet could not find anything to cheer up Suzanne. But the girl, to his surprise, listened to these stories greedily and even forced him to repeat them, demanding more and more details.

Shamet strained his memory and extracted these details from it, until in the end he lost confidence that they really existed. These were no longer memories, but their faint shadows. They melted away like wisps of fog. Shamet, however, never imagined that he would need to recapture this long-gone time in his life.

One day a vague memory of a golden rose arose. Either Shamet saw this rough rose, forged from blackened gold, suspended from a crucifix in the house of an old fisherman, or he heard stories about this rose from those around him.

No, perhaps he even saw this rose once and remembered how it glittered, although there was no sun outside the windows and a gloomy storm was rustling over the strait. The further, the more clearly Shamet remembered this brilliance - several bright lights under the low ceiling.

Everyone in the village was surprised that the old woman was not selling her jewel. She could fetch a lot of money for it. Only Shamet’s mother insisted that selling a golden rose was a sin, because it was given to the old woman “for good luck” by her lover when the old woman, then still a funny girl, worked at a sardine factory in Odierne.

“There are few such golden roses in the world,” said Shamet’s mother. “But everyone who has them in their house will definitely be happy.” And not only them, but also everyone who touches this rose.

The boy was looking forward to making the old woman happy. But there were no signs of happiness. The old woman's house shook from the wind, and in the evenings there was no fire lit in it.

So Shamet left the village, without waiting for a change in the old woman’s fate. Only a year later, a fireman he knew from a mail boat in Le Havre told him that the old woman’s son, an artist, bearded, cheerful and wonderful, had unexpectedly arrived from Paris. From then on the shack was no longer recognizable. It was filled with noise and prosperity. Artists, they say, receive a lot of money for their daubs.

One day, when Chamet, sitting on the deck, combed Suzanne’s wind-tangled hair with his iron comb, she asked:

- Jean, will someone give me a golden rose?

“Anything is possible,” replied Shamet. “There will be some eccentric for you too, Susie.” There was one skinny soldier in our company. He was damn lucky. He found a broken golden jaw on the battlefield. We drank it down with the whole company. This is during the Annamite War. Drunk artillerymen fired a mortar for fun, the shell hit the mouth of an extinct volcano, exploded there, and from the surprise the volcano began to puff and erupt. God knows what his name was, that volcano! Kraka-Taka, I think. The eruption was just right! Forty civilian natives died. To think that so many people disappeared because of one jaw! Then it turned out that our colonel had lost this jaw. The matter, of course, was hushed up - the prestige of the army is above all. But we got really drunk then.

– Where did this happen? – Susie asked doubtfully.

- I told you - in Annam. In Indochina. There, the ocean burns like hell, and jellyfish look like lace ballerina skirts. And it was so damp there that mushrooms grew in our boots overnight! Let them hang me if I'm lying!

Before this incident, Shamet had heard a lot of soldiers’ lies, but he himself never lied. Not because he couldn’t do it, but there was simply no need. Now he considered it a sacred duty to entertain Suzanne.

Chamet brought the girl to Rouen and handed her over to a tall woman with pursed yellow lips - Suzanne's aunt. The old woman was covered in black glass beads and sparkled like a circus snake.

The girl, seeing her, clung tightly to Shamet, to his faded overcoat.

- Nothing! – Shamet said in a whisper and pushed Suzanne on the shoulder. “We, the rank and file, don’t choose our company commanders either. Be patient, Susie, soldier!

Shamet left. Several times he looked back at the windows of the boring house, where the wind did not even move the curtains. On the narrow streets the bustling knocking of clocks could be heard from the shops. In Shamet's soldier's backpack lay a memory of Susie - a crumpled blue ribbon from her braid. And the devil knows why, but this ribbon smelled so tenderly, as if it had been in a basket of violets for a long time.

Mexican fever undermined Shamet's health. He was discharged from the army without the rank of sergeant. He entered civilian life as a simple private.

Years passed in monotonous need. Chamet tried a variety of meager occupations and eventually became a Parisian scavenger. Since then, he has been haunted by the smell of dust and trash heaps. He could smell this smell even in the light wind that penetrated the streets from the Seine, and in the armfuls of wet flowers - they were sold by neat old women on the boulevards.

The days merged into a yellow haze. But sometimes a light pink cloud appeared in it before Shamet’s inner gaze - Suzanne’s old dress. This dress smelled of spring freshness, as if it, too, had been kept in a basket of violets for a long time.

Where is she, Suzanne? What with her? He knew that she was now a grown girl, and her father had died from his wounds.

Chamet was still planning to go to Rouen to visit Suzanne. But each time he postponed this trip, until he finally realized that time had passed and Suzanne had probably forgotten about him.

He cursed himself like a pig when he remembered saying goodbye to her. Instead of kissing the girl, he pushed her in the back towards the old hag and said: “Be patient, Susie, soldier!”

Scavengers are known to work at night. They are forced to do this for two reasons: most of the garbage from hectic and not always useful human activity accumulates towards the end of the day, and, in addition, it is impossible to offend the sight and smell of Parisians. At night, almost no one except rats notices the work of the scavengers.

Shamet got used to night work and even fell in love with these hours of the day. Especially the time when dawn was breaking sluggishly over Paris. There was fog over the Seine, but it did not rise above the parapet of the bridges.

One day, at such a foggy dawn, Shamet walked along the Pont des Invalides and saw a young woman in a pale lilac dress with black lace. She stood at the parapet and looked at the Seine.

Shamet stopped, took off his dusty hat and said:

“Madam, the water in the Seine is very cold at this time.” Let me take you home instead.

“I don’t have a home now,” the woman quickly answered and turned to Shamet.

Shamet dropped his hat.

- Susie! - he said with despair and delight. - Susie, soldier! My girl! Finally I saw you. You must have forgotten me. I am Jean-Ernest Chamet, that private of the twenty-seventh colonial regiment who brought you to that vile woman in Rouen. What a beauty you have become! And how well your hair is combed! And I, a soldier’s plug, didn’t know how to clean them up at all!

- Jean! – the woman screamed, rushed to Shamet, hugged his neck and began to cry. - Jean, you are as kind as you were then. I remember evrything!

- Uh, nonsense! Shamet muttered. - What benefit does anyone have from my kindness? What happened to you, my little one?

Chamet pulled Suzanne towards him and did what he had not dared to do in Rouen - he stroked and kissed her shiny hair. He immediately pulled away, afraid that Suzanne would hear the mouse stink from his jacket. But Suzanne pressed herself even tighter against his shoulder.

- What's wrong with you, girl? – Shamet repeated confusedly.

Suzanne didn't answer. She was unable to hold back her sobs. Shamet realized that there was no need to ask her about anything just yet.

“I,” he said hastily, “have a lair at the shaft of the cross.” It's a long way from here. The house, of course, is empty – even if it’s a ball rolling. But you can warm the water and fall asleep in bed. There you can wash and relax. And in general, live as long as you want.

Suzanne stayed with Shamet for five days. For five days an extraordinary sun rose over Paris. All the buildings, even the oldest ones, covered with soot, all the gardens and even Shamet’s lair sparkled in the rays of this sun like jewelry.

Anyone who has not experienced excitement from the barely audible breathing of a young woman will not understand what tenderness is. Her lips were brighter than wet petals, and her eyelashes shone from her night tears.

Yes, with Suzanne everything happened exactly as Shamet expected. Her lover, a young actor, cheated on her. But the five days that Suzanne lived with Shamet were quite enough for their reconciliation.

Shamet participated in it. He had to take Suzanne's letter to the actor and teach this languid handsome man politeness when he wanted to tip Shamet a few sous.

Soon the actor arrived in a cab to pick up Suzanne. And everything was as it should be: a bouquet, kisses, laughter through tears, repentance and a slightly cracked carelessness.

When the newlyweds were leaving, Suzanne was in such a hurry that she jumped into the cab, forgetting to say goodbye to Shamet. She immediately caught herself, blushed and guiltily extended her hand to him.

“Since you have chosen a life to suit your taste,” Shamet finally grumbled to her, “then be happy.”

“I don’t know anything yet,” Suzanne answered, and tears sparkled in her eyes.

“You needn’t worry, my baby,” the young actor drawled displeasedly and repeated: “My lovely baby.”

- If only someone would give me a golden rose! – Suzanne sighed. “That would certainly be fortunate.” I remember your story on the ship, Jean.

- Who knows! – answered Shamet. - In any case, it is not this gentleman who will present you with a golden rose. Sorry, I'm a soldier. I don't like shufflers.

The young people looked at each other. The actor shrugged. The cab started moving.

Shamet usually threw out all the trash that had been swept out of the craft establishments during the day. But after this incident with Suzanne, he stopped throwing dust out of jewelry workshops. He began to secretly collect it in a bag and take it to his shack. The neighbors decided that the garbage man had gone crazy. Few people knew that this dust contained a certain amount of gold powder, since jewelers always grind off a little gold when working.

Shamet decided to sift gold from jewelry dust, make a small ingot from it, and forge a small golden rose from this ingot for Suzanne's happiness. Or maybe, as his mother once told him, it will also serve for the happiness of many ordinary people. Who knows! He decided not to meet with Suzanne until this rose was ready.

Shamet did not tell anyone about his idea. He was afraid of the authorities and the police. You never know what will come to the minds of judicial quibblers. They can declare him a thief, put him in prison and take his gold. After all, it was still alien.

Before joining the army, Shamet worked as a farm laborer for a rural priest and therefore knew how to handle grain. This knowledge was useful to him now. He remembered how the bread was winnowed and heavy grains fell to the ground, and light dust was carried away by the wind.

Shamet built a small winnowing fan and fanned jewelry dust in the yard at night. He was worried until he saw a barely noticeable golden powder on the tray.

It took a long time until enough gold powder had accumulated that it was possible to make an ingot out of it. But Shamet hesitated to give it to the jeweler to forge a golden rose from it.

The lack of money did not stop him - any jeweler would have agreed to take a third of the bullion for the work and would have been pleased with it.

That wasn't the point. Every day the hour of meeting with Suzanne approached. But for some time Shamet began to fear this hour.

He wanted to give all the tenderness that had long been driven into the depths of his heart only to her, only to Susie. But who needs the tenderness of an old freak! Shamet had long noticed that the only desire of people who met him was to quickly leave and forget his skinny, gray face with sagging skin and piercing eyes.

He had a fragment of a mirror in his shack. From time to time Shamet looked at him, but immediately threw him away with a heavy curse. It was better not to see myself - this clumsy image, hobbling on rheumatic legs.

When the rose was finally ready, Chamet learned that Suzanne had left Paris for America a year ago - and, as they said, forever. No one could tell Shamet her address.

In the first minute, Shamet even felt relieved. But then all his anticipation of a gentle and easy meeting with Suzanne inexplicably turned into a rusty iron fragment. This prickly fragment stuck in Shamet’s chest, near his heart, and Shamet prayed to God that it would quickly pierce this old heart and stop it forever.

Shamet stopped cleaning the workshops. For several days he lay in his shack, turning his face to the wall. He was silent and smiled only once, pressing the sleeve of his old jacket to his eyes. But no one saw this. The neighbors didn’t even come to Shamet – everyone had their own worries.

Only one person was watching Shamet - that elderly jeweler who forged the thinnest rose from an ingot and next to it, on a young branch, a small sharp bud.

The jeweler visited Shamet, but did not bring him medicine. He thought it was useless.

And indeed, Shamet died unnoticed during one of his visits to the jeweler. The jeweler raised the scavenger's head, took out a golden rose wrapped in a blue crumpled ribbon from under the gray pillow, and slowly left, closing the creaky door. The tape smelled like mice.

It was late autumn. The evening darkness stirred with the wind and flashing lights. The jeweler remembered how Shamet’s face had changed after death. It became stern and calm. The bitterness of this face seemed even beautiful to the jeweler.

“What life does not give, death brings,” thought the jeweler, prone to stereotyped thoughts, and sighed noisily.

Soon the jeweler sold the golden rose to an elderly writer, sloppily dressed and, in the opinion of the jeweler, not rich enough to have the right to buy such a precious thing.

Obviously, the story of the golden rose, told by the jeweler to the writer, played a decisive role in this purchase.

We owe it to the notes of the old writer that this sad incident from the life of a former soldier of the 27th colonial regiment, Jean-Ernest Chamet, became known to someone.

In his notes, the writer, among other things, wrote:

“Every minute, every casual word and glance, every deep or humorous thought, every imperceptible movement of the human heart, just like the flying fluff of a poplar or the fire of a star in a night puddle - all these are grains of gold dust.

We, writers, have been extracting them for decades, these millions of grains of sand, collecting them unnoticed by ourselves, turning them into an alloy and then forging from this alloy our “golden rose” - a story, novel or poem.

Golden Rose of Shamet! It seems to me partly to be a prototype of our creative activity. It is surprising that no one took the trouble to trace how a living stream of literature is born from these precious specks of dust.

But, just as the golden rose of the old scavenger was intended for the happiness of Suzanne, so our creativity is intended so that the beauty of the earth, the call to fight for happiness, joy and freedom, the breadth of the human heart and the strength of the mind will prevail over the darkness and sparkle as never-setting sun."

Inscription on a boulder

For a writer, complete joy comes only when he is convinced that his conscience is in accordance with the conscience of his neighbors.

Saltykov-Shchedrin

I live in a small house on the dunes. The entire Riga seaside is covered in snow. It constantly flies from tall pines in long strands and crumbles into dust.

It flies away because of the wind and because squirrels are jumping on the pines. When it's very quiet, you can hear them peeling the pine cones.

The house is located right next to the sea. To see the sea, you need to go out the gate and walk a little along a path trodden in the snow past a boarded-up dacha.

There are still curtains on the windows of this dacha from the summer. They move in a weak wind. The wind must be penetrating through imperceptible cracks into the empty dacha, but from afar it seems as if someone is lifting the curtain and cautiously watching you.

The sea is not frozen. The snow lies all the way to the water's edge. The tracks of hares are visible on it.

When a wave rises on the sea, what is heard is not the sound of the surf, but the crunch of ice and the rustle of settling snow.

The Baltic is deserted and gloomy in winter.

Latvians call it the “Amber Sea” (“Dzintara Jura”). Maybe not only because the Baltic throws out a lot of amber, but also because its water has a slightly amber yellow tint.

Heavy haze lies in layers on the horizon all day. The outlines of the low banks disappear in it. Only here and there in this darkness white shaggy stripes descend over the sea - it is snowing there.

Sometimes wild geese, which arrived too early this year, sit on the water and scream. Their alarming cry carries far along the shore, but does not evoke a response - there are almost no birds in the coastal forests in winter.

During the day, life goes on as usual in the house where I live. Firewood crackles in multi-colored tiled stoves, a typewriter hums muffledly, and the silent cleaning lady Lilya sits in a cozy hall and knits lace. Everything is ordinary and very simple.

But in the evening, pitch darkness surrounds the house, the pine trees move close to it, and when you leave the brightly lit hall outside, you are overcome by a feeling of complete loneliness, face to face, with winter, sea and night.

The sea goes hundreds of miles into black and leaden distances. Not a single light is visible on it. And not a single splash is heard.

The small house stands like the last beacon on the edge of a foggy abyss. The ground breaks off here. And therefore it seems surprising that the lights are calmly burning in the house, the radio is singing, soft carpets muffle the steps, and open books and manuscripts lie on the tables.

There, to the west, towards Ventspils, behind a layer of darkness lies a small fishing village. An ordinary fishing village with nets drying in the wind, with low houses and low smoke from chimneys, with black motorboats pulled out onto the sand, and trusting dogs with shaggy hair.

Latvian fishermen have lived in this village for hundreds of years. Generations replace each other. Blonde girls with shy eyes and melodious speech become weather-beaten, stocky old women, wrapped in heavy scarves. Ruddy-faced young men in smart caps turn into bristly old men with imperturbable eyes.