Source text
(1) Tenderness is the most meek, timid, divine face of love. (2) Love-passion - always with an eye on yourself. (3) She wants to conquer, seduce, she wants to please, she preens, akimbo, measures, all the time she is afraid to miss the lost. (4) Love-tenderness gives everything, and there is no limit to it. (5) And she will never look back at herself, because "she does not look for her own." (6) Only she is alone and does not look for. (7) But one should not think that a feeling of tenderness degrades a person. (8) On the contrary. (9) Tenderness comes from above, she takes care of her beloved, protects, takes care of him. (10) But only a defenseless creature in need of guardianship can be patronized and protected, therefore words of tenderness are diminutive words, going from strong to weak. (11) Tenderness is rare and less and less common. (12) Modern life is difficult and complex. (13) Modern man and in love seeks above all to affirm his personality. (14) Love is a martial art.
- (15) Aha! (16) Love? (17) Well, okay. (18) They rolled up their sleeves, straightened their shoulders - well, who wins? (19) Is it tenderness here? (20) And whom to protect, whom to pity - all the good fellows and heroes. (21) Whoever knows tenderness is marked. (22) In the minds of many, tenderness is certainly drawn in the form of a meek woman leaning over the headboard. (23) No, tenderness is not to be found there. (24) I saw her differently: in forms that were not at all poetic, in simple, even funny ones. (25) We lived in a sanatorium near Paris. (26) Walked, ate, listened to the radio, played bridge, gossiped. (27) There was only one real patient - a feisty old man recovering from typhus. (28) The old man often sat on the terrace in a deck chair, lined with pillows, wrapped in blankets, pale, bearded, always silent and, if anyone passed by, turned away and closed his eyes. (29) Around the old man, like a trembling bird, his wife curled. (30) The woman is middle-aged, dry, light, with a withered face and anxiously happy eyes. (31) And she never sat still. (32) I corrected everything around my patient. (33) Then she turned over the newspaper, then she fluffed up the pillow, then she tucked the blanket, then she ran to warm the milk, then she dripped the medicine. (34) The old man accepted all these services with obvious disgust. (35) Every morning, with a newspaper in her hands, she rushed from table to table, amiably talked with everyone and asked:
“Here, maybe you can help me?” (36) Here is a crossword puzzle: “What happens in a residential building?”. (37) Four letters. (38) I write down on a piece of paper to help Sergey Sergeevich. (39) He always solves crossword puzzles, and if he finds it difficult, I come to his aid. (40) After all, this is his only entertainment. (41) Patients are like children. (42) I'm so glad that at least it amuses him. (43) She was pitied and treated with great sympathy. (44) And somehow he crawled out onto the terrace earlier than usual. (45) She sat him down for a long time, covered him with blankets, put pillows on. (46) He frowned and angrily pushed her hand away if she did not immediately guess his desires. (47) She, shivering happily, grabbed the newspaper.
- (48) Here, Seryozhenka, today it seems to be a very interesting crossword puzzle. (49) He suddenly raised his head, rolled out his evil yellow eyes and shook all over.
- (50) Get the hell out of here with your idiotic crossword puzzles! he hissed furiously. (51) She turned pale and somehow sank all over.
- (52) But you are ... - she babbled in confusion. - (53) After all, you were always interested in ...
- (54) I have never been interested! he kept shaking and hissing, looking at her pale, desperate face with bestial pleasure. - (55) Never! (56) It was you who climbed with the stubbornness of a degenerate, which you are!
(57) She did not answer. (58) She only swallowed air with difficulty, pressed her hands tightly to her chest and looked around with such pain and with such despair, as if she were looking for help. (59) But who can take such a ridiculous and stupid grief seriously? (60) Only a little boy, who was sitting at the next table and seeing this scene, suddenly closed his eyes and wept bitterly.
(According to N.A. Teffi *) * Nadezhda Aleksandrovna Teffi (1872–1952) - Russian writer, poetess, memoirist and translator.
The writing
ON THE. Taffy writes about human relationships. Is it possible to resist rudeness from loved ones? This is the problem the author raises.
To draw the reader's attention to this issue, N.A. Taffy brings an episode from the life of an elderly couple. The author speaks directly about the relationship in the family. “Tenderness comes from above, she takes care of her beloved, protects, takes care of him,” Teffi writes. On the one hand, the writer shows us a loving, caring wife with "anxiously happy eyes", trying to please her husband in everything. On the other hand, an evil, sick old man who hates everyone around him, who publicly showed rudeness, insulted his wife. His indignation at the behavior of the man N.A. Taffy conveys to the reader by describing the reaction of a nearby child. The author writes: “Only a little boy, who was sitting at the next table and seeing this scene, suddenly closed his eyes and wept bitterly and bitterly.”
The position of the author is not directly expressed, but follows from everything that has been said. Rudeness on the part of a loved one makes a person unhappy, defenseless, inflicts a strong spiritual wound. Most often, it is almost impossible to resist such an attitude.
It is impossible not to agree with the author's point of view. I sincerely feel sorry for the woman who was not ready for such harshness from her husband. Her heart was seized with pain and despair, it became difficult to breathe. I understand her condition well, as I also found myself in a similar situation.
Strong emotional experiences due to rudeness on the part of loved ones are shown by the authors literary works. So, Pavel Sanaev in his autobiographical story “Bury me behind the plinth” describes the childhood of Sasha Savelyev, whom his grandmother constantly scolds, calls names, humiliates in front of strangers. Because of this, the boy grows up closed, insecure, painful. Sasha cannot openly resist the "caring" tyrant grandmother and dreams of living with her mother.
Mental and physical pain, strong inner feelings are also experienced by the hero of M. Gorky's autobiographical story "Childhood". At the age of ten, after the death of his father, Alexei Peshkov ended up in his grandfather's house. From a family where he was loved, where peace and tranquility reigned, the boy was taken to a house where cruel laws existed: grandfather beat his grandmother and flogged his grandchildren until he lost consciousness, grandfather's sons fought not for life, but for death because of the inheritance, children cruelly bullied the weaker ones. Alexey finds solace in the company of his grandmother, who has become a true friend to the boy, helps him endure all the sorrows and keep love in his soul, grow up to be a kind and caring person.
I would like to believe that readers will think about the problem raised by N. Teffi and understand how important it is to restrain their emotions, to treat a loved one with tenderness, care and attention.
(369 words, published after minor stylistic changes)
The essay was sent by the site user Nikita Vorotnyuk
SOURCE TEXT
(1) Tenderness is the most meek, timid, divine face of love. (2) Love-passion - always with an eye on yourself. (3) She wants to conquer, seduce, she wants to please, she preens, akimbo, measures, all the time she is afraid to miss the lost. (4) Love-tenderness gives everything, and there is no limit to it. (5) And she will never look back at herself, because "she does not look for her own." (6) Only she is alone and does not look for. (7) But one should not think that a feeling of tenderness degrades a person. (8) On the contrary. (9) Tenderness comes from above, she takes care of her beloved, protects, takes care of him. (10) But only a defenseless creature in need of guardianship can be patronized and protected, therefore words of tenderness are diminutive words, going from strong to weak.
(11) Tenderness is rare and less and less common. (12) Modern life is difficult and complex. (13) A modern person, even in love, seeks first of all to affirm his personality. (14) Love is a martial art.
– (15) Yeah! (16) Love? (17) Well, okay. (18) They rolled up their sleeves, straightened their shoulders - well, who wins?
(19) Is it tenderness here? (20) And whom to protect, whom to pity - all the good fellows and heroes. (21) Whoever knows tenderness is marked.
(22) In the minds of many, tenderness is certainly drawn in the form of a meek woman leaning over the headboard. (23) No, tenderness is not to be found there. (24) I saw her differently: in forms that were not at all poetic, in simple, even funny ones.
(25) We lived in a sanatorium near Paris. (26) Walked, ate, listened to the radio, played bridge, gossiped. (27) There was only one real patient - a feisty old man recovering from typhus.
(28) The old man often sat on the terrace in a deck chair, lined with pillows, wrapped in blankets, pale, bearded, always silent and, if anyone passed by, turned away and closed his eyes. (29) Around the old man, like a trembling bird, his wife curled. (30) The woman is middle-aged, dry, light, with a withered face and anxiously happy eyes. (31) And she never sat still. (32) I corrected everything around my patient. (33) Then she turned over the newspaper, then she fluffed up the pillow, then she tucked the blanket, then she ran to warm the milk, then she dripped the medicine. (34) The old man accepted all these services with obvious disgust. (35) Every morning, with a newspaper in her hands, she rushed from table to table, amiably talked with everyone and asked:
– Here, maybe you can help me? (36) Here is a crossword puzzle: “What happens in a residential building?”. (37) Four letters. (38) I write down on a piece of paper to help Sergey Sergeevich. (39) He always solves crossword puzzles, and if he finds it difficult, I come to his aid. (40) After all, this is his only entertainment. (41) Patients are like children. (42) I'm so glad that at least it amuses him.
(43) She was pitied and treated with great sympathy.
(44) And somehow he crawled out onto the terrace earlier than usual. (45) She sat him down for a long time, covered him with blankets, put pillows on. (46) He frowned and angrily pushed her hand away if she did not immediately guess his desires. (47) She, shivering happily, grabbed the newspaper.
– (48) Here, Seryozhenka, today it seems to be a very interesting crossword puzzle.
(49) He suddenly raised his head, rolled out his evil yellow eyes and shook all over.
– (50) Get out you finally to hell with your idiotic crossword puzzles! he hissed furiously.
(51) She turned pale and somehow sank all over.
– (52) But you are ... - she babbled in confusion. - (53) After all, you were always interested in ...
– (54) I have never been interested! he kept shaking and hissing, looking at her pale, desperate face with bestial pleasure. - (55) Never! (56) It was you who climbed with the stubbornness of a degenerate, which you are!
(57) She did not answer. (58) She only swallowed air with difficulty, pressed her hands tightly to her chest and looked around with such pain and with such despair, as if she were looking for help. (59) But who can take such a ridiculous and stupid grief seriously? (60) Only a little boy, who was sitting at the next table and seeing this scene, suddenly closed his eyes and wept bitterly.
(according to N.A. Teffi*)
* Nadezhda Alexandrovna Teffi (1872-1952) - Russian writer, poetess, memoirist and translator.
Main problems1. The problem of understanding love and tenderness (What is tenderness?)
1. Tenderness is one of the manifestations of the face of love. But this is the most meek and timid face, while love is more like a single combat.
2. The problem of attitude towards a loving person (How can one person relate to another person who loves him?)
2. Sometimes a person's attitude towards the one who loves him can be expressed in selfish, rude and even consumer use.
3. The problem of distinguishing between love-passion and love-tenderness (What is the difference between love-tenderness and love-passion?)
3. Unlike love-passion, which is always looking at itself, love-tenderness does not seek its own, gives everything and there is no limit to it; she comes from above, takes care of her beloved, guards, takes care of him.
4. The problem of the disappearance of such a thing as tenderness (Why in modern world less and less tenderness?)
4. Modern man seeks to assert himself as a person in everything. Tenderness is considered a sign of weakness.
Job #1
score
Comment
K1
K2
K3
K4
K5
K6
K7
K8
K9
K10
K11
K12
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Job #2
score
Comment
K1
K2
K3
K4
K5
K6
K7
K8
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Job #1
Criterionscore
Comment
In 1 paragraph, the problem of understanding tenderness is formulated:What is tenderness - this question is discussed by ...
The problem is commented, 2 examples-illustrations are given: 1) a quote from the text (2nd paragraph), 2) a description of the relationship between the heroes of the text and a commentary (4th paragraph).
reduced literary argument in paragraph 5 cannot be counted, because it is not on the formulated problem (a person is able to change his life for the sake of love, turned from a nihilist into a romantic).
The work of the examinee is characterized by semantic integrity.
1 logical error was made: the conclusion of the last paragraph is weakly connected with the reasoning of the previous paragraph.
The work of the examinee is characterized by a variety of grammatical structure of speech, but there are violations of the accuracy of the expression of thought. According to the K10 criterion, 1 point was given.
There are graphical errors (typos) in the work, caused by the inattention of the writer or the haste of writing:express (express) in paragraph 3, sickness (disease), unresponsive (unanswered) and etc. , that do not affect literacy scores.
2 gross spelling mistakes were made: 1) the same type of mistakereasoning(1 paragraph) and consider(4 paragraph); 2) in help(4 paragraph), 3) main character (4 paragraph).
There are no punctuation errors.
More than 3 allowed grammatical errors: incorrect control of a noun with a preposition after a verb in paragraphs 1, 3 and 4 -discusses this question (1 paragraph); we can express love to our loved ones (3 paragraph); the story of a sick old man with his wife (4 paragraph); violation of the species-temporal correlation of verb forms in the 5th paragraph -But he falls in love ... and turned from a nihilist ...
2 speech errors were made: a violation of the lexical compatibility of wordsdoes not leave a single step (4 paragraph), unjustified repetition of wordshelp shows up in paragraph 4.
There are no ethical errors.
Factual error:in story Turgenev "Fathers and Sons" in paragraph 5.
Total: 13 points.
Job #2
CriterionTenderness is the most meek, timid, divine face of love. Love-passion - always with an eye on yourself. She wants to conquer, to seduce, she wants to please, she preens, she puts her hands on her hips, she measures, she is always afraid to miss what she has lost. Love-tenderness gives everything, and there is no limit to it. And she will never look back at herself, because "she does not look for her own." Only she is alone and does not seek. But one should not think that a feeling of tenderness degrades a person. Vice versa. Tenderness comes from above, she takes care of her beloved, protects, takes care of him. But only a defenseless creature in need of guardianship can be patronized and protected, therefore words of tenderness are diminutive words, going from strong to weak.
Tenderness is rare and less and less common. Modern life is hard and complex. Modern man, even in love, strives above all to affirm his personality. Love is a fight.
Aha! Be in love? Well, okay. They rolled up their sleeves, straightened their shoulders - well, who wins?
Is it tenderness here? And whom to protect, whom to pity - all the good fellows and heroes. Whoever knows tenderness is marked.
In the minds of many, tenderness is drawn without fail in the form of a meek woman leaning towards the headboard. No, tenderness is not to be found there. I saw her differently: in forms not at all poetic, in simple, even funny ones.
We lived in a sanatorium near Paris. They walked, ate, listened to the radio, played bridge, gossiped. There was only one real patient - a feisty old man recovering from typhus.
The old man often sat on the terrace in a chaise lounge, lined with pillows, wrapped in rugs, pale, bearded, always silent and, if anyone passed by, turned away and closed his eyes. Around the old man, like a quivering bird, his wife curled. The woman is middle-aged, dry, light, with a withered face and anxiously happy eyes. And she never sat still. Everything corrected about her patient. She turned over the newspaper, fluffed up the pillow, tucked up the blanket, ran to warm the milk, then dripped the medicine. All these services the old man accepted with obvious disgust. Every morning, with a newspaper in her hands, she rushed from table to table, amiably talked to everyone and asked:
Here, maybe you can help me? Here is a crossword puzzle: "What happens in a residential building?". Four letters. I write down on a piece of paper to help Sergey Sergeevich. He always solves crossword puzzles, and if he finds it difficult, I come to his aid. After all, this is his only entertainment. Patients are like children. I'm so glad that at least it amuses him.
She was pitied and treated with great sympathy.
And somehow he crawled out onto the terrace earlier than usual. She sat him down for a long time, covered him with blankets, put pillows on him. He grimaced and angrily pushed her hand away if she didn't immediately guess his desires.
She shivered happily as she grabbed the newspaper.
Here, Seryozhenka, today, it seems, is a very interesting crossword puzzle.
He suddenly raised his head, rolled out his angry yellow eyes, and shook all over.
Get the hell out of here with your idiotic crossword puzzles! he hissed furiously.
She turned pale and somehow sank all over.
But after all you same … - bewildered babbled she. “After all, you’ve always wondered…
I have never been interested! he kept shaking and hissing, looking at her pale, desperate face with bestial pleasure. - Never! It was you who climbed with the stubbornness of a degenerate, which you are!
She didn't answer. She only swallowed air with difficulty, clasped her hands tightly to her chest, and looked around her with such pain and such despair, as though she were seeking help. But who can take seriously such a ridiculous and stupid grief? Only a little boy, who was sitting at the next table and seeing this scene, suddenly closed his eyes and wept bitterly.
by N. A. Teffi
What is tenderness...? It is on this issue that N. Teffi suggests thinking, raising the problem of understanding love and tenderness.
Reflecting on the problem, the author compares such concepts as love-passion and love-tenderness, between which there is a big difference: passion is “always with an eye on itself”, tenderness, in contrast to it, never “seeks its own”. The writer also notes with regret that tenderness is becoming less and less common, because in the modern world a person in love seeks “first of all to affirm his personality”, believing that a feeling of tenderness only detracts from dignity. However, this is no doubt far from the case. The ability to show tenderness is not given to everyone. Only sincerely loving, selfless, ready to disinterestedly care for and protect loved ones have the power of tenderness, which always “comes from above”. It is about such a person - about an already elderly woman who tirelessly takes care of her sick husband - N. Teffi narrates, showing an example of tenderness, love and care. The old woman “never sat still”: she directed all her strength to doing something good, useful for her loved one, she did not leave him unattended for a minute, although he was often dissatisfied with this. Isn't that a true display of tenderness?
The position of the author is clear: tenderness is the “divine face of love”, manifested in the ability to give without expecting anything in return, care, self-giving ... N. Teffi is sad when tenderness is not reciprocated. She pities the old woman as much as she pities the boy who saw old man childishly capricious and even rude in response to the care and affection of his wife. It seems that the writer also wants to “bitterly bitterly” cry with the boy.
I cannot but agree with the position of N. Teffi. Indeed, tenderness is the highest manifestation of love. The desire to take care of a person, to give him warmth, joy for free ... What could be a brighter confirmation of love? The problem of understanding tenderness and love could not but fall on the pages of the classics of Russian and foreign literature.
So, in the work of O. Henry "The Gift of the Magi" tells about Jim and Dell - a poor married couple. They want to give each other something special for Christmas, but neither of them has enough money. Jim's only treasure is his gold watch, and Della's is her gorgeous hair. Wanting to please each other, they donate their treasures and buy gifts with the proceeds: Jim gives his wife a comb with precious stones, and she gives him a platinum chain for his already pawned watch ... O. Henry presents this ridiculous story to the reader as a true manifestation of tenderness. To bring joy to each other at Christmas, each of the spouses makes a kind of sacrifice. I am convinced that tenderness, manifested in readiness for anything for the sake of a loved one, is the best proof of true love.
Thus, I want to note that tenderness plays an important role in love. She gives people all those sublime feelings that she experiences loving person. So let's show tenderness towards loved ones, loved ones!
What is tenderness and how does it manifest itself? It is the problem of understanding tenderness that N.A. raises in his text. Taffy.
Arguing over this issue, the author tries to figure out what tenderness is and how it differs from other varieties of love. To answer this question, N. Teffi cites a case from his own life as an example. The writer believes that tenderness is a gratuitous desire to please a loved one, a desire to take care of him, this feeling “does not seek his own” in a relationship.
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According to the writer, tenderness is not humiliating, but on the contrary, it "comes from above." Telling a story married couple, N. Teffi notices that tenderness does not know resentment and malice; a person experiencing such a feeling takes care of his beloved, no matter how he treats him. The author uses parceling in order to show the woman's constant anxiety, anxiety for her husband.
The position of the author can be formulated as follows: tenderness is one of the most powerful manifestations of love, it gives itself completely and does not ask for anything in return. I agree with the position of the author, because for such self-sacrifice you need to incredibly love a person. However, caring is not yet a sign of love; it also happens that people court and care for each other for their own benefit.
The theme of false tenderness runs through many works of Russian literature, one of which is the novel by M.Yu. Lermontov "A Hero of Our Time". Main character of this work, Grigory Pechorin, makes Princess Mary fall in love with him with his charm and care. However, he does this not at all because he loves the young princess, but in order to entertain his own boredom.
This topic is also raised in the play by A.S. Griboyedov "Woe from Wit". One of the main characters, Alexei Molchalin, falls in love with Sofia Famusova with care and affection, but is in love with another girl. The reason for his concern is not love, but the desire to climb the career ladder.
Thus, we can conclude that tenderness is one of the most beautiful feelings of a person, but it also happens that egoistic aspirations give out tenderness, and then it becomes meanness.
Updated: 2018-06-29
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Useful material on the topic
- Tenderness is the most meek, timid, divine face of love. (2) Love-passion - always with an eye on yourself. (according to N. A. Teffi) The problem of self-sacrifice for the sake of love
Which of the statements correspond to the content of the text? Specify the answer numbers.
1) It cannot be said that a feeling of tenderness degrades a person.
2) Tenderness is often found in our lives, it helps a person to assert his personality.
3) Love-passion ennobles a person, makes him be caring, gentle, attentive.
4) The rudeness of the sick husband offended, upset his caring, tender and attentive wife.
Explanation.
Correspond to the content of the text of the statement numbered 1 (sentence 7), 4 (sentence 46-58).
5 is incorrect, because (23) No, tenderness is not to be found there. (24) I saw her differently: in forms that were not at all poetic, in simple, even funny ones.
Answer: 1, 4.
Answer: 14|41
Which of the following statements are true? Specify the answer numbers.
1) Sentences 7-10 contain reasoning.
2) Sentences 11-14 present the narrative.
3) Sentence 30 provides a description.
4) Sentences 44-45 present the narrative.
5) Sentences 57-58 contain reasoning.
Write your answer in ascending order.
Explanation.
Statement No. 2 is erroneous, since sentences 11-14 contain NOT a narrative, but an argument.
Statement No. 5: 57 and 58 is also erroneous; this is not reasoning, but narration.
Therefore, the remaining 1, 3, 4 are correct.
Answer: 1, 3, 4.
Answer: 134
Source: USE - 2015. Early wave
From sentences 5-10 write out antonyms (antonymic pair).
Explanation.
Sentence 10 contains antonyms: strong - weak.
Answer: strong, weak.
Answer: strong weak | weak strong | strong weak
Source: USE - 2015. Early wave
Among sentences 28-34, find one (s) that is (s) connected with the previous one using a conjunction and a personal pronoun. Write the number(s) of this offer(s).
Sentence 31 "And she never sat still" is connected with the previous one using the personal pronoun SHE and the union I.
Answer: 31.
Answer: 31
Source: USE - 2015. Early wave
Rule: Task 25. Means of communication of sentences in the text
MEANS OF COMMUNICATION OF OFFERS IN THE TEXT
Several sentences connected into a whole by a topic and a main idea are called a text (from Latin textum - fabric, connection, connection).
Obviously, all sentences separated by a dot are not isolated from each other. There is a semantic connection between two adjacent sentences of the text, and not only sentences located next to each other can be related, but also separated from each other by one or more sentences. The semantic relations between sentences are different: the content of one sentence can be opposed to the content of another; the content of two or more sentences can be compared with one another; the content of the second sentence may reveal the meaning of the first or clarify one of its members, and the content of the third - the meaning of the second, etc. The purpose of task 23 is to determine the type of relationship between sentences.
The wording of the task may be as follows:
Among sentences 11-18, find one (s) that is (s) connected with the previous one using a demonstrative pronoun, adverb and cognates. Write the number(s) of the offer(s)
Or: Determine the type of connection between sentences 12 and 13.
Remember that the previous one is ONE HIGHER. Thus, if the interval 11-18 is indicated, then the desired sentence is within the limits indicated in the task, and the answer 11 may be correct if this sentence is related to the 10th topic indicated in the task. Answers can be 1 or more. The score for the successful completion of the task is 1.
Let's move on to the theoretical part.
Most often, we use this text construction model: each sentence is linked to the next one, this is called chain link. (We will talk about the parallel connection below). We speak and write, we combine independent sentences into a text according to simple rules. Here's the gist: two adjacent sentences must refer to the same subject.
All types of communication are usually divided into lexical, morphological and syntactic. As a rule, when connecting sentences into text, one can use several types of communication at the same time. This greatly facilitates the search for the desired sentence in the specified fragment. Let's take a closer look at each type.
23.1. Communication with the help of lexical means.
1. Words of one thematic group.
Words of the same thematic group are words that have a common lexical meaning and denote similar, but not identical, concepts.
Word examples: 1) Forest, path, trees; 2) buildings, streets, sidewalks, squares; 3) water, fish, waves; hospital, nurses, emergency room, ward
Water was clean and transparent. Waves ran ashore slowly and silently.
2. Generic words.
Generic words are words related by the relationship genus - species: genus is a broader concept, species is a narrower one.
Word examples: Chamomile - flower; birch - tree; car - transport and so on.
Suggestion examples: Under the window still grew Birch. How many memories I have associated with this tree...
field chamomile become a rarity. But it's unpretentious flower.
3 Lexical repetition
Lexical repetition is the repetition of the same word in the same word form.
The closest connection of sentences is expressed primarily in repetition. Repetition of one or another part of the sentence - main feature chain connection. For example, in sentences Behind the garden was a forest. The forest was deaf, neglected the connection is built according to the “subject - subject” model, that is, the subject named at the end of the first sentence is repeated at the beginning of the next one; in sentences Physics is science. Science must use the dialectical method- "model predicate - subject"; in the example The boat has landed on the shore. The beach was strewn with small pebbles.- model "circumstance - subject" and so on. But if in the first two examples the words forest and science stand in each of the adjacent sentences in the same case, then the word Coast has different forms. lexical repetition in USE assignments the repetition of a word in the same word form, used to enhance the impact on the reader, will be considered.
In texts of artistic and journalistic styles, the chain connection through lexical repetition often has an expressive, emotional character, especially when the repetition is at the junction of sentences:
Here the Aral Sea disappears from the map of the Fatherland sea.
Whole sea!
The use of repetition here is used to enhance the impact on the reader.
Consider examples. We do not yet take into account additional means of communication, we look only at lexical repetition.
(36) I heard a very brave man who went through the war once say: “ It used to be scary very scary." (37) He spoke the truth: he used to be scared.
(15) As an educator, I happened to meet young people who yearn for a clear and precise answer to the question of higher education. values life. (16) 0 values, allowing you to distinguish good from evil and choose the best and most worthy.
note: different forms of words refer to a different kind of connection. For more on the difference, see the paragraph on word forms.
4 Root words
Single-root words are words with the same root and common meaning.
Word examples: Motherland, be born, birth, kind; break, break, break
Suggestion examples: I'm lucky be born healthy and strong. History of my birth nothing remarkable.
Although I understood that a relationship is necessary break but he couldn't do it himself. This gap would be very painful for both of us.
5 Synonyms
Synonyms are words of the same part of speech that are similar in meaning.
Word examples: to be bored, to frown, to be sad; fun, joy, rejoicing
Suggestion examples: At parting, she said that will miss. I knew that too I will be sad through our walks and conversations.
Joy grabbed me, picked me up and carried me... jubilation seemed to have no boundaries: Lina answered, answered at last!
It should be noted that synonyms are difficult to find in the text if you need to look for a connection only with the help of synonyms. But, as a rule, along with this method of communication, others are used. So, in example 1 there is a union too , this relationship will be discussed below.
6 Contextual synonyms
Contextual synonyms are words of the same part of speech that come together in meaning only in a given context, since they refer to the same object (feature, action).
Word examples: kitten, poor fellow, naughty; girl, student, beauty
Suggestion examples: Kitty recently lived with us. Husband took off poor guy from the tree where he climbed to escape from the dogs.
I guessed that she student. Young woman continued to be silent, despite all efforts on my part to talk her.
It is even more difficult to find these words in the text: after all, the author makes them synonyms. But along with this method of communication, others are used, which facilitates the search.
7 Antonyms
Antonyms are words of the same part of speech that are opposite in meaning.
Word examples: laughter, tears; hot Cold
Suggestion examples: I pretended to like this joke and squeezed out something like laughter. But tears strangled me, and I quickly left the room.
Her words were warm and burned. eyes chilled cold. I felt like I was under a contrast shower...
8 Contextual antonyms
Contextual antonyms are words of the same part of speech that are opposite in meaning only in this context.
Word examples: mouse - lion; house - work green - ripe
Suggestion examples: On the work this man was gray mouse. Houses woke up in it a lion.
ripe berries can be safely used to make jam. But green it is better not to put, they are usually bitter, and can spoil the taste.
We draw attention to the non-random coincidence of terms(synonyms, antonyms, including contextual ones) in this task and tasks 22 and 24: it is the same lexical phenomenon, but viewed from a different angle. Lexical means may serve to connect two adjacent sentences, or they may not be a link. At the same time, they will always be a means of expression, that is, they have every chance of being the object of tasks 22 and 24. Therefore, advice: when completing task 23, pay attention to these tasks. You will learn more theoretical material about lexical means from the help rule for task 24.
23.2. Communication by means of morphological means
Along with lexical means of communication, morphological ones are also used.
1. Pronoun
A pronoun link is a link in which ONE word or MULTIPLE words from the previous sentence is replaced by a pronoun. To see such a connection, you need to know what a pronoun is, what are the ranks in meaning.
What you need to know:
Pronouns are words that are used instead of a name (noun, adjective, numeral), designate persons, point to objects, signs of objects, the number of objects, without specifically naming them.
According to the meaning and grammatical features, nine categories of pronouns are distinguished:
1) personal (I, we; you, you; he, she, it; they);
2) returnable (oneself);
3) possessive (mine, yours, ours, yours, yours); used as possessive also forms of personal: his (jacket), her work),them (merit).
4) demonstrative (this, that, such, such, such, so many);
5) defining(himself, most, all, everyone, each, different);
6) relative (who, what, what, what, which, how much, whose);
7) interrogative (who? what? what? whose? who? how much? where? when? where? from where? why? why? what?);
8) negative (no one, nothing, no one);
9) indefinite (someone, something, someone, someone, someone, someone).
Do not forget that pronouns change by case, so "you", "me", "about us", "about them", "no one", "everyone" are forms of pronouns.
As a rule, the task indicates WHAT rank the pronoun should be, but this is not necessary if there are no other pronouns in the specified period that play the role of CONNECTING elements. It must be clearly understood that NOT EVERY pronoun that occurs in the text is a link.
Let us turn to examples and determine how sentences 1 and 2 are related; 2 and 3.
1) Our school has recently been renovated. 2) I finished it many years ago, but sometimes I went and wandered around the school floors. 3) Now they are some kind of strangers, others, not mine ....
There are two pronouns in the second sentence, both personal, I and her. Which one is the one paperclip, which connects the first and second sentence? If this is a pronoun I, what is it replaced in sentence 1? Nothing. What replaces the pronoun her? Word " school from the first sentence. We conclude: communication using a personal pronoun her.
There are three pronouns in the third sentence: they are somehow mine. Only the pronoun connects with the second they(=floors from the second sentence). Rest in no way correlate with the words of the second sentence and do not replace anything. Conclusion: the second sentence connects the pronoun with the third they.
What is the practical importance of understanding this mode of communication? The fact that you can and should use pronouns instead of nouns, adjectives and numerals. Use, but do not abuse, as the abundance of the words "he", "his", "them" sometimes leads to misunderstanding and confusion.
2. Adverb
Communication with the help of adverbs is a connection, the features of which depend on the meaning of the adverb.
To see such a connection, you need to know what an adverb is, what are the ranks in meaning.
Adverbs are invariable words that denote a sign by action and refer to the verb.
Adverbs of the following meanings can be used as means of communication:
Time and space: below, on the left, near, at the beginning, long ago and the like.
Suggestion examples: We got to work. at first it was hard: it was not possible to work in a team, there were no ideas. Then got involved, felt their strength and even got excited.note: Sentences 2 and 3 are related to sentence 1 using the indicated adverbs. This type of connection is called parallel connection.
We climbed to the very top of the mountain. Around we were only the tops of the trees. Beside clouds floated with us. A similar example of a parallel connection: 2 and 3 are related to 1 using the indicated adverbs.
demonstrative adverbs. (They are sometimes called pronominal adverbs, since they do not name how or where the action takes place, but only point to it): there, here, there, then, from there, because, so and the like.
Suggestion examples: I vacationed last summer in one of the sanatoriums in Belarus. From there it was almost impossible to make a phone call, let alone work on the Internet. The adverb "from there" replaces the whole phrase.
Life went on as usual: I studied, my mother and father worked, my sister got married and left with her husband. So three years have passed. The adverb "so" summarizes the entire content of the previous sentence.
It is possible to use and other categories of adverbs, for example, negative: B school and university I didn't have good relationships with my peers. Yes and nowhere did not add up; however, I did not suffer from this, I had a family, I had brothers, they replaced my friends.
3. Union
Connection with the help of unions is the most common type of connection, due to which various relationships arise between sentences related to the meaning of the union.
Communication with the help of coordinating unions: but, and, but, but, also, or, however and others. The task may or may not specify the type of union. Therefore, the material on unions should be repeated.
Details about coordinating conjunctions are described in a special section.
Suggestion examples: By the end of the weekend, we were incredibly tired. But the mood was amazing! Communication with the help of the adversative union "but".
That's how it's always been... Or that's how it seemed to me...Communication with the help of a separating union "or".
We draw attention to the fact that very rarely only one union participates in the formation of a connection: as a rule, lexical means of communication are used simultaneously.
Communication using subordinating unions: for, so. A very atypical case, since subordinating conjunctions connect sentences as part of a complex one. In our opinion, with such a connection, there is a deliberate break in the structure of a complex sentence.
Suggestion examples: I was in total despair... For I did not know what to do, where to go and, most importantly, who to turn to for help. The union for matters because, because, indicates the reason for the state of the hero.
I didn’t pass the exams, I didn’t enter the institute, I couldn’t ask for help from my parents and I wouldn’t do it. So that There was only one thing left to do: find a job. The union "so" has the meaning of the consequence.
4. Particles
Communication with particles always accompanies other types of communication.
Particles after all, and only, here, out, only, even, the same bring additional shades to the proposal.
Suggestion examples: Call your parents, talk to them. After all It's so simple and so difficult at the same time - to love ...
Everyone in the house was already asleep. And only grandmother muttered softly: she always read prayers before going to bed, begging the powers of heaven for a better share for us.
After the departure of her husband, it became empty in the soul and deserted in the house. Even the cat, which used to run like a meteor around the apartment, only yawns sleepily and still strives to climb into my arms. Here Whose hands should I lean on...Pay attention, connecting particles are at the beginning of the sentence.
5. Word forms
Communication using the word form consists in the fact that in adjacent sentences the same word is used in different
- if this noun - number and case
- if adjective - gender, number and case
- if pronoun - gender, number and case depending on grade
- if verb in person (gender), number, tense
Verbs and participles, verbs and participles are considered different words.
Suggestion examples: Noise gradually increased. From this growing noise became uncomfortable.
I knew my son captain. With myself captain fate did not bring me, but I knew that it was only a matter of time.
note: in the task, “word forms” can be written, and then this is ONE word in different forms;
“forms of words” - and these are already two words repeated in adjacent sentences.
The difference between word forms and lexical repetition is of particular complexity.
Information for the teacher.
Consider, as an example, the most difficult task of the real USE in 2016. We give the full fragment published on the FIPI website in " Guidelines for teachers (2016)"
Examinees' difficulties in completing task 23 were caused by cases when the condition of the task required distinguishing between the form of a word and lexical repetition as a means of connecting sentences in the text. In these cases, when analyzing the language material, students should pay attention to the fact that lexical repetition involves the repetition of a lexical unit with a special stylistic task.
We give the condition of task 23 and a fragment of the text of one of USE options 2016:
“Among sentences 8–18, find one that is related to the previous one with the help of lexical repetition. Write the number of this proposal.
Below is the beginning of the text given for analysis.
- (7) What kind of an artist are you when you don’t love your native land, an eccentric!
(8) Maybe that's why Berg did not succeed in landscapes. (9) He preferred a portrait, a poster. (10) He tried to find the style of his time, but these attempts were full of failures and ambiguities.
(11) Once Berg received a letter from the artist Yartsev. (12) He called him to come to the Murom forests, where he spent the summer.
(13) August was hot and calm. (14) Yartsev lived far from the deserted station, in the forest, on the shore of a deep lake with black water. (15) He rented a hut from a forester. (16) Berg was taken to the lake by the forester's son Vanya Zotov, a stooped and shy boy. (17) Berg lived on the lake for about a month. (18) He was not going to work and did not take oil paints with him.
Proposition 15 is related to Proposition 14 by personal pronoun "he"(Yartsev).
Proposition 16 is related to Proposition 15 by word forms "forester": a prepositional case form controlled by a verb, and a non-prepositional form controlled by a noun. These word forms express different meanings: the meaning of the object and the meaning of belonging, and the use of the considered word forms does not carry a stylistic load.
Proposition 17 is related to Proposition 16 by word forms ("on the lake - on the lake"; "Berga - Berg").
Proposition 18 is related to the previous one by means of personal pronoun "he"(Berg).
The correct answer in task 23 of this option is 10. It is sentence 10 of the text that is connected with the previous one (sentence 9) with the help of lexical repetition (the word "he").
It should be noted that among the authors of various manuals there is no consensus, what is considered a lexical repetition - the same word in different cases (persons, numbers) or in the same one. The authors of the books of the publishing house " national education”, “Exam”, “Legion” (authors Tsybulko I.P., Vasiliev I.P., Gosteva Yu.N., Senina N.A.) do not give a single example in which words in various forms would be considered lexical repeat.
At the same time, very difficult cases, in which words in different cases coincide in form, are considered differently in manuals. The author of the books N.A. Senina sees in this the form of the word. I.P. Tsybulko (based on a 2017 book) sees lexical repetition. So, in sentences like I saw the sea in a dream. The sea was calling me the word “sea” has different cases, but at the same time there is undoubtedly the same stylistic task that I.P. Tsybulko. Without delving into the linguistic solution of this issue, we will indicate the position of the RESHUEGE and give recommendations.
1. All obviously non-matching forms are word forms, not lexical repetition. Please note that we are talking about the same linguistic phenomenon, as in task 24. And in 24, lexical repetitions are only repeated words, in the same forms.
2. There will be no coinciding forms in tasks for RESHUEGE: if specialist linguists themselves cannot figure this out, then school graduates cannot do it.
3. If the exam comes across tasks with similar difficulties, we look at those additional means of communication that will help you make your choice. After all, the compilers of KIMs can have their own, separate opinion. Unfortunately, this may be the case.
23.3 Syntactic means.
Introductory words
Communication with the help of introductory words accompanies, complements any other connection, complementing the shades of meanings characteristic of introductory words.
Of course, you need to know which words are introductory.
He was hired. Unfortunately, Anton was too ambitious. One side, the company needed such personalities, on the other hand, he was not inferior to anyone and in nothing, if something was, as he said, below his level.
We give examples of the definition of means of communication in a small text.
(1) We met Masha a few months ago. (2) My parents have not yet seen her, but did not insist on meeting her. (3) It seemed that she also did not strive for rapprochement, which upset me a little.
Let's determine how the sentences in this text are related.
Sentence 2 is related to sentence 1 by a personal pronoun her, which replaces the name Masha in offer 1.
Sentence 3 is related to sentence 2 using word forms she her: "she" is the nominative form, "her" is the genitive form.
In addition, sentence 3 has other means of communication: it is a union too, introductory word seemed, rows of synonymous constructions did not insist on meeting and didn't want to get close.
Read the review snippet. It examines the linguistic features of the text. Some terms used in the review are missing. Fill in the gaps with the numbers corresponding to the number of the term from the list.
“The text analyzes a problem that has troubled people for centuries. To express his understanding of love and tenderness, the author uses the technique - (A) _________ (sentences 2, 3 - 4, 5) and the syntactic means - (B) _________ (in sentences 1, 9). The trope helps the writer to create the image of a tender wife - (B) _________
(“anxiously happy eyes” in sentence 30) and a syntactic means - (D) _________ (“like a quivering bird” in sentence 29).
List of terms:
1) colloquial words
2) rhetorical questions
3) rows of homogeneous members of the proposal
4) parceling
5) comparative turnover
6) opposition
9) phraseological units
Write down the numbers in response, arranging them in the order corresponding to the letters:
| A | B | AT | G |
Explanation (see also Rule below).
“The text analyzes a problem that has troubled people for centuries. To express his understanding of love and tenderness, the author uses the technique (A - 6) OPPOSITE (in sentences 2 and 3, love-passion is opposed in sentences 4 and 5 to love-tenderness) and syntactic means (B - 3) SERIES OF HOMOGENEOUS MEMBERS (in sentences 19). To create the image of a tender wife, the writer is helped by the tropes (B - 7) EPITHET ("anxiously happy eyes" in sentence 30) and the syntactic means (D - 5) COMPARATIVE TURNOVER ("like a quivering bird" in sentence 29).
Answer: 6, 3, 7, 5.
Answer: 6375
Source: USE - 2015. Early wave
Rule: Task 26. Language means of expression
ANALYSIS OF THE MEANS OF EXPRESSION.
The purpose of the task is to determine the means of expression used in the review by establishing a correspondence between the gaps indicated by the letters in the text of the review and the numbers with definitions. You need to write down matches only in the order in which the letters go in the text. If you do not know what is hidden under a particular letter, you must put "0" in place of this number. For the task you can get from 1 to 4 points.
When completing task 26, you should remember that you fill in the gaps in the review, i.e. restore the text, and with it semantic and grammatical connection. Therefore, an analysis of the review itself can often serve as an additional clue: various adjectives of one kind or another, predicates that agree with omissions, etc. It will facilitate the task and the division of the list of terms into two groups: the first includes terms based on the meaning of the word, the second - the structure of the sentence. You can carry out this division, knowing that all funds are divided into TWO large groups: the first includes lexical (non-special means) and tropes; into the second figure of speech (some of them are called syntactic).
26.1 A TROPWORD OR EXPRESSION USED IN A PORTABLE MEANING TO CREATE AN ARTISTIC IMAGE AND ACHIEVE GREATER EXPRESSION. Tropes include such techniques as epithet, comparison, personification, metaphor, metonymy, sometimes they include hyperbole and litotes.
Note: In the task, as a rule, it is indicated that these are TRAILS.
In the review, examples of tropes are indicated in brackets, as a phrase.
1.Epithet(in translation from Greek - application, addition) - this is a figurative definition that marks a feature that is essential for a given context in the depicted phenomenon. From simple definition the epithet is distinguished by artistic expressiveness and figurativeness. The epithet is based on a hidden comparison.
Epithets include all the "colorful" definitions that are most often expressed adjectives:
sad orphan land(F.I. Tyutchev), gray fog, lemon light, silent peace(I. A. Bunin).
Epithets can also be expressed:
-nouns, acting as applications or predicates, giving a figurative description of the subject: sorceress-winter; mother - cheese earth; The poet is a lyre, and not only the nurse of his soul(M. Gorky);
-adverbs acting as circumstances: In the north stands wild alone...(M. Yu. Lermontov); The leaves were tense elongated in the wind (K. G. Paustovsky);
-gerunds: the waves are rushing thundering and sparkling;
-pronouns expressing the superlative degree of this or that state of the human soul:
After all, there were fighting fights, Yes, they say, more what kind! (M. Yu. Lermontov);
-participles and participial phrases: Nightingale vocabulary rumbling announce the forest limits (B. L. Pasternak); I also admit the appearance of ... scribblers who cannot prove where they spent the night yesterday, and who have no other words in the language, except for words, not remembering kinship(M. E. Saltykov-Shchedrin).
2. Comparison- this is pictorial technique based on the comparison of one phenomenon or concept with another. Unlike metaphor, comparison is always binomial: it names both compared objects (phenomena, signs, actions).
Villages are burning, they have no protection.
The sons of the fatherland are defeated by the enemy,
And the glow like an eternal meteor,
Playing in the clouds, frightens the eye. (M. Yu. Lermontov)
Comparisons are expressed in various ways:
form instrumental nouns:
nightingale stray youth flew by,
wave in bad weather Joy subsided (A. V. Koltsov)
Comparative form of an adjective or adverb: These eyes greener sea and our cypresses darker(A. Akhmatova);
Comparative turnovers with unions like, as if, as if, as if, etc .:
Like a predatory animal, to a humble abode
The winner breaks in with bayonets ... (M. Yu. Lermontov);
Using the words similar, similar, this is:
Into the eyes of a cautious cat
Similar your eyes (A. Akhmatova);
With the help of comparative clauses:
Golden foliage swirled
In the pinkish water of the pond
Just like a light flock of butterflies
With fading flies to a star. (S. A. Yesenin)
3.Metaphor(in translation from Greek - transfer) is a word or expression that is used in a figurative sense based on the similarity of two objects or phenomena on some basis. In contrast to comparison, in which both what is being compared and what is being compared is given, a metaphor contains only the second, which creates compactness and figurativeness of the use of the word. The metaphor can be based on the similarity of objects in shape, color, volume, purpose, sensations, etc.: a waterfall of stars, an avalanche of letters, a wall of fire, an abyss of grief, a pearl of poetry, a spark of love and etc.
All metaphors are divided into two groups:
1) general language("erased"): golden hands, a storm in a teacup, mountains to move, strings of the soul, love has faded;
2) artistic(individual-author's, poetic):
And the stars fade diamond thrill
AT painless cold dawn (M. Voloshin);
Empty skies transparent glass (A. Akhmatova);
And eyes blue, bottomless
Blooming on the far shore. (A. A. Blok)
Metaphor happens not only single: it can develop in the text, forming whole chains of figurative expressions, in many cases - covering, as if permeating the entire text. it extended, complex metaphor, an integral artistic image.
4. Personification- this is a kind of metaphor based on the transfer of signs of a living being to natural phenomena, objects and concepts. Most often, personifications are used to describe nature:
Rolling through sleepy valleys, Sleepy mists lay down And only the horse's clatter, Sounding, is lost in the distance. The autumn day went out, turning pale, Rolling up fragrant leaves, Taste a dreamless dream Half-withered flowers. (M. Yu. Lermontov)
5. Metonymy(in translation from Greek - renaming) is the transfer of a name from one object to another based on their adjacency. Adjacency can be a manifestation of a connection:
Between action and tool of action: Their villages and fields for a violent raid He doomed swords and fires(A. S. Pushkin);
Between the object and the material from which the object is made: ... not that on silver, - on gold ate(A. S. Griboyedov);
Between a place and the people in that place: The city was noisy, flags crackled, wet roses fell from the bowls of flower girls ... (Yu. K. Olesha)
6. Synecdoche(in translation from Greek - correlation) is kind of metonymy, based on the transfer of meaning from one phenomenon to another on the basis of ratio between them. Most often, the transfer occurs:
From less to more: Even a bird does not fly to him, And a tiger does not go ... (A. S. Pushkin);
Part to whole: Beard, why are you still silent?(A.P. Chekhov)
7. Paraphrase, or paraphrase(in translation from Greek - a descriptive expression), is a turnover that is used instead of a word or phrase. For example, Petersburg in verse
A. S. Pushkin - "Peter's creation", "Beauty and wonder of midnight countries", "city of Petrov"; A. A. Blok in the verses of M. I. Tsvetaeva - “a knight without reproach”, “blue-eyed snow singer”, “snow swan”, “almighty of my soul”.
8. Hyperbole(in translation from Greek - exaggeration) is a figurative expression containing an exorbitant exaggeration of any sign of an object, phenomenon, action: A rare bird will fly to the middle of the Dnieper(N. V. Gogol)
And at that very moment couriers, couriers, couriers... you can imagine thirty-five thousand one couriers! (N.V. Gogol).
9. Litota(in translation from Greek - smallness, moderation) is a figurative expression containing an exorbitant understatement of any sign of an object, phenomenon, action: What tiny cows! There is, right, less than a pinhead.(I. A. Krylov)
And marching importantly, in orderly calmness, The horse is led by the bridle by a peasant In large boots, in a sheepskin coat, In large mittens ... and himself with a fingernail!(N.A. Nekrasov)
10. Irony(in translation from Greek - pretense) is the use of a word or statement in a sense opposite to the direct one. Irony is a type of allegory in which mockery is hidden behind an outwardly positive assessment: Where, smart, are you wandering, head?(I. A. Krylov)
26.2 "Non-special" lexical figurative and expressive means of the language
Note: The tasks sometimes indicate that this is a lexical means. Usually in the review of task 24, an example of a lexical means is given in brackets, either in one word or in a phrase in which one of the words is in italics. Please note: these funds are most often needed find in task 22!
11. Synonyms, i.e. words of one part of speech, different in sound, but the same or close in lexical meaning and differing from each other either in shades of meaning, or in stylistic coloring ( brave - brave, run - rush, eyes(neutral) - eyes(poet.)), have great expressive power.
Synonyms can be contextual.
12. Antonyms, i.e. words of the same part of speech, opposite in meaning ( truth - lies, good - evil, disgusting - wonderful), also have great expressive possibilities.
Antonyms can be contextual, that is, they become antonyms only in a given context.
Lies happen good or evil,
Compassionate or merciless,
Lies happen cunning and clumsy
Cautious and reckless
Captivating and joyless.
13. Phraseologisms as a means of linguistic expression
Phraseological units (phraseological expressions, idioms), i.e. phrases and sentences reproduced in finished form, in which the integral meaning dominates the values of their components and is not a simple sum of such meanings ( get into trouble, be in seventh heaven, a bone of contention) have great expressive potential. The expressiveness of phraseological units is determined by:
1) their vivid imagery, including mythological ( the cat cried like a squirrel in a wheel, Ariadne's thread, the sword of Damocles, Achilles' heel);
2) the relevance of many of them: a) to the category of high ( the voice of one crying in the wilderness, sink into oblivion) or reduced (colloquial, colloquial: like a fish in water, neither sleep nor spirit, lead by the nose, lather your neck, hang your ears); b) to the category of language means with a positive emotionally expressive coloring ( store as the apple of an eye - torzh.) or with a negative emotionally expressive coloring (without the king in the head is disapproved, the small fry is neglected, the price is worthless - contempt.).
14. Stylistically colored vocabulary
To enhance expressiveness in the text, all categories of stylistically colored vocabulary can be used:
1) emotionally expressive (evaluative) vocabulary, including:
a) words with a positive emotional and expressive assessment: solemn, sublime (including Old Church Slavonics): inspiration, coming, fatherland, aspirations, secret, unshakable; sublimely poetic: serene, radiant, spell, azure; approving: noble, outstanding, amazing, courageous; affectionate: sun, darling, daughter
b) words with a negative emotional-expressive assessment: disapproving: conjecture, bicker, nonsense; disparaging: upstart, delinquent; contemptuous: dunce, cramming, scribbling; swear words/
2) functionally-stylistically colored vocabulary, including:
a) book: scientific (terms: alliteration, cosine, interference); official business: the undersigned, report; journalistic: report, interview; artistic and poetic: azure, eyes, cheeks
b) colloquial (everyday-household): dad, boy, braggart, healthy
15. Vocabulary of limited use
To enhance expressiveness in the text, all categories of vocabulary of limited use can also be used, including:
Dialect vocabulary (words that are used by the inhabitants of any locality: kochet - rooster, veksha - squirrel);
Colloquial vocabulary (words with a pronounced reduced stylistic coloring: familiar, rude, dismissive, abusive, located on the border or outside the literary norm: goofball, bastard, slap, talker);
Professional vocabulary (words that are used in professional speech and are not included in the system of the general literary language: galley - in the speech of sailors, duck - in the speech of journalists, window - in the speech of teachers);
Slang vocabulary (words characteristic of jargons - youth: party, bells and whistles, cool; computer: brains - computer memory, keyboard - keyboard; soldier: demobilization, scoop, perfume; jargon of criminals: dude, raspberry);
Vocabulary is outdated (historicisms are words that have fallen out of use due to the disappearance of the objects or phenomena they designate: boyar, oprichnina, horse; archaisms are obsolete words that name objects and concepts for which new names have appeared in the language: brow - forehead, sail - sail); - new vocabulary (neologisms - words that have recently entered the language and have not yet lost their novelty: blog, slogan, teenager).
26.3 FIGURES (RHETORICAL FIGURES, STYLISTIC FIGURES, FIGURES OF SPEECH) ARE STYLISTIC TECHNIQUES based on special combinations of words that are beyond the scope of normal practical use, and aimed at enhancing the expressiveness and descriptiveness of the text. The main figures of speech include: rhetorical question, rhetorical exclamation, rhetorical appeal, repetition, syntactic parallelism, polyunion, non-union, ellipsis, inversion, parcellation, antithesis, gradation, oxymoron. Unlike lexical means, this is the level of a sentence or several sentences.
Note: In the tasks there is no clear definition format that indicates these means: they are called both syntactic means, and a technique, and simply a means of expression, and a figure. In task 24, the figure of speech is indicated by the number of the sentence given in brackets.
16. Rhetorical question is a figure in which a statement is contained in the form of a question. A rhetorical question does not require an answer, it is used to enhance the emotionality, expressiveness of speech, to draw the reader's attention to a particular phenomenon:
Why did he give his hand to insignificant slanderers, Why did he believe false words and caresses, He, who from a young age comprehended people?.. (M. Yu. Lermontov);
17. Rhetorical exclamation- this is a figure in which an assertion is contained in the form of an exclamation. Rhetorical exclamations strengthen the expression of certain feelings in the message; they are usually distinguished not only by special emotionality, but also by solemnity and elation:
That was in the morning of our years - Oh happiness! oh tears! O forest! oh life! Oh the light of the sun! O fresh spirit of birch. (A. K. Tolstoy);
Alas! a proud country bowed before the power of a stranger. (M. Yu. Lermontov)
18. Rhetorical appeal- This is a stylistic figure, consisting in an underlined appeal to someone or something to enhance the expressiveness of speech. It serves not so much to name the addressee of the speech, but to express the attitude towards what is said in the text. Rhetorical appeals can create solemnity and pathos of speech, express joy, regret and other shades of mood and emotional state:
My friends! Our union is wonderful. He, like a soul, is unstoppable and eternal (A. S. Pushkin);
Oh deep night! Oh cold autumn! Silent! (K. D. Balmont)
19. Repeat (positional-lexical repetition, lexical repetition)- this is a stylistic figure consisting in the repetition of any member of a sentence (word), part of a sentence or a whole sentence, several sentences, stanzas in order to draw special attention to them.
The types of repetition are anaphora, epiphora and catch-up.
Anaphora(in translation from Greek - ascent, rise), or monotony, is the repetition of a word or group of words at the beginning of lines, stanzas or sentences:
lazily hazy noon breathes,
lazily the river is rolling.
And in the fiery and pure firmament
The clouds are lazily melting (F. I. Tyutchev);
Epiphora(in translation from Greek - addition, final sentence of the period) is the repetition of words or groups of words at the end of lines, stanzas or sentences:
Although man is not eternal,
That which is eternal, humanely.
What is a day or a century
Before what is infinite?
Although man is not eternal,
That which is eternal, humanely(A. A. Fet);
They got a loaf of light bread - joy!
Today the film is good in the club - joy!
Paustovsky's two-volume book store brought- joy!(A. I. Solzhenitsyn)
pickup- this is a repetition of any segment of speech (sentence, poetic line) at the beginning of the corresponding segment of speech following it:
he fell down on the cold snow
On the cold snow, like a pine,
Like a pine in a damp forest (M. Yu. Lermontov);
20. Parallelism (syntactic parallelism)(in translation from Greek - walking side by side) - an identical or similar construction of adjacent parts of the text: adjacent sentences, lines of poetry, stanzas, which, when correlated, create a single image:
I look to the future with fear
I look at the past with longing... (M. Yu. Lermontov);
I was your ringing string
I was your blooming spring
But you didn't want flowers
And you didn't hear the words? (K. D. Balmont)
Often using antithesis: What is he looking for in a distant country? What did he throw in his native land?(M. Lermontov); Not the country - for business, but business - for the country (from the newspaper).
21. Inversion(translated from Greek - rearrangement, reversal) - this is a change in the usual word order in a sentence in order to emphasize the semantic significance of any element of the text (word, sentence), to give the phrase a special stylistic coloring: solemn, high-sounding, or, conversely, colloquial, somewhat reduced characteristics. The following combinations are considered inverted in Russian:
The agreed definition is after the word being defined: I am sitting behind bars in damp dungeon(M. Yu. Lermontov); But there was no swell on this sea; stuffy air did not flow: it was brewing great thunderstorm(I. S. Turgenev);
Additions and circumstances expressed by nouns are in front of the word, which includes: Hours of monotonous fight(monotonous strike of the clock);
22. Parceling(in translation from French - particle) - a stylistic device that consists in dividing a single syntactic structure of a sentence into several intonation-semantic units - phrases. At the place of division of the sentence, a period, exclamation and question marks, ellipsis can be used. In the morning, bright as a splint. Terrible. Long. Ratny. The infantry regiment was destroyed. Our. In an unequal battle(R. Rozhdestvensky); Why is nobody outraged? Education and healthcare! The most important spheres of society's life! Not mentioned in this document at all(From newspapers); It is necessary that the state remember the main thing: its citizens are not individuals. And people. (From newspapers)
23. Non-union and multi-union- syntactic figures based on intentional omission, or, conversely, conscious repetition of unions. In the first case, when unions are omitted, speech becomes compressed, compact, dynamic. The depicted actions and events here quickly, instantly unfold, replace each other:
Swede, Russian - stabs, cuts, cuts.
Drum beat, clicks, rattle.
The thunder of cannons, the clatter, the neighing, the groan,
And death and hell on all sides. (A.S. Pushkin)
When polyunion speech, on the contrary, slows down, pauses and a repeated union highlight words, expressively emphasizing their semantic significance:
But and grandson, and great-grandson, and great-great-grandson
They grow in me while I myself grow ... (P.G. Antokolsky)
24.Period- a long, polynomial sentence or a very common simple sentence, which is distinguished by completeness, unity of the theme and intonation split into two parts. In the first part, the syntactic repetition of the same type of subordinate clauses (or members of the sentence) goes with an increasing increase in intonation, then there is a separating significant pause, and in the second part, where the conclusion is given, the tone of voice noticeably decreases. This intonation design forms a kind of circle:
Whenever I wanted to limit my life to a domestic circle, / When a pleasant lot ordered me to be a father, a spouse, / If I were captivated by the family picture for at least a single moment, then, it would be true, except for you, one bride would not be looking for another. (A.S. Pushkin)
25. Antithesis, or opposition(in translation from Greek - opposition) - this is a turn in which opposite concepts, positions, images are sharply opposed. To create an antithesis, antonyms are usually used - general language and contextual:
You are rich, I am very poor, You are a prose writer, I am a poet.(A. S. Pushkin);
Yesterday I looked into your eyes
And now - everything is squinting to the side,
Yesterday, before the birds sat,
All larks today are crows!
I'm stupid and you're smart
Alive and I'm dumbfounded.
O cry of women of all times:
"My dear, what have I done to you?" (M. I. Tsvetaeva)
26. Gradation(in translation from Latin - a gradual increase, strengthening) - a technique consisting in the sequential arrangement of words, expressions, tropes (epithets, metaphors, comparisons) in order of strengthening (increasing) or weakening (decreasing) of a sign. Increasing gradation usually used to enhance the imagery, emotional expressiveness and influencing power of the text:
I called you, but you did not look back, I shed tears, but you did not descend(A. A. Blok);
Glowing, burning, shining huge blue eyes. (V. A. Soloukhin)
Descending gradation is used less often and usually serves to enhance the semantic content of the text and create imagery:
He brought the tar of death
Yes, a branch with withered leaves. (A. S. Pushkin)
27. Oxymoron(in translation from Greek - witty-stupid) - this is a stylistic figure in which usually incompatible concepts are combined, as a rule, contradictory to each other ( bitter joy, ringing silence etc.); at the same time, a new meaning is obtained, and speech acquires special expressiveness: From that hour began for Ilya sweet torment, lightly scorching the soul (I. S. Shmelev);
There is melancholy cheerful in the scares of dawn (S. A. Yesenin);
But their ugly beauty I soon comprehended the mystery. (M. Yu. Lermontov)
28. Allegory- allegory, the transfer of an abstract concept through a specific image: Must defeat foxes and wolves(cunning, malice, greed).
29.Default- a deliberate break in the statement, conveying the excitement of the speech and suggesting that the reader will guess what was not said: But I wanted ... Perhaps you ...
In addition to the above syntactic expressive means, the following are also found in the tests:
-exclamatory sentences;
- dialogue, hidden dialogue;
-question-answer form of presentation a form of presentation in which questions and answers to questions alternate;
-rows of homogeneous members;
-citation;
-introductory words and constructions
-Incomplete sentences- sentences in which a member is missing, which is necessary for the completeness of the structure and meaning. Missing members of the sentence can be restored and context.
Tatiana Statsenko
And in the second, we are not looking for homogeneous terms: the task contains sentences 1 and 9, and not 1 and 2.
