“Russian character! Go ahead and describe him…” - the story “Russian Character” by Alexei Tolstoy begins with these amazing, heartfelt words. Indeed, is it possible to describe, measure, define what is beyond words and feelings? Yes and no. Yes, because talking, reasoning, trying to understand, getting to know the very essence is all necessary. These are, so to speak, those impulses, shocks, thanks to which life revolves. On the other hand, no matter how much we talk, we still can’t reach the bottom. This depth is infinite. How to describe what words to choose? This can also be done using the example of a heroic deed. But how to choose which one to prefer? There are so many of them that it’s hard not to get lost.

Alexey Tolstoy, “Russian character”: analysis of the work

During the war, Alexey Tolstoy creates an amazing collection “Stories of Ivan Sudarev”, consisting of seven short stories. All of them are united by one theme - the Great Patriotic War of 1941-1945, one idea - admiration and admiration for the patriotism and heroism of the Russian people, and one main character, on whose behalf the story is told. This is an experienced cavalryman Ivan Sudarev. The last story, which completes the entire cycle, is the story “Russian Character”. Alexei Tolstoy, with his help, summarizes what was said earlier. It is a kind of summary of everything that was said before, all the author’s reasoning and thoughts about the Russian person, about the Russian soul, about the Russian character: beauty, depth and strength are not “a vessel in which there is emptiness”, but “a fire flickering in a vessel."

Theme and idea of ​​the story

From the first lines, the author indicates the theme of the story. Of course, we will talk about the Russian character. Quote from the work: “I just want to talk to you about the Russian character...” And here we hear notes not so much of doubt, but rather of regret that the form of the work is so small and limited - a short story that does not correspond to what the author has chosen scope. And the topic and title are very “meaningful”. But there is nothing to do, because I want to talk...

The ring composition of the story helps to clearly clarify the idea of ​​the work. Both at the beginning and at the end we read the author’s reflections on beauty. What is beauty? Physical attractiveness is clear to everyone, it is on the very surface, you just have to stretch out your hand. No, she is not the one who worries the narrator. He sees beauty in other things - in the soul, in character, in actions. It especially manifests itself in war, when death is constantly around. Then they become, from a person “every kind of nonsense, husk, peels off, like skin that has become dead after a sunburn,” and does not disappear, and only one thing remains - the core. It is clearly visible in the main character - in the silent, calm, strict Yegor Dremov, in his elderly parents, in the beautiful and faithful bride Katerina, in the tank driver Chuvilov.

Exposition and setup

The story is set in the spring of 1944. The liberation war against the fascist invaders is in full swing. But she is not a character, but rather a background, dark and harsh, but so clearly and brightly showing the amazing colors of love, kindness, friendship and beauty.

The exhibition includes brief information about the main character of the story - Yegor Dremov. He was a simple, modest, quiet, reserved man. He spoke little, especially did not like to “rant” about military exploits and was embarrassed to talk about love. Only once did he casually mention his fiancée - a good and faithful girl. From this moment we can begin to describe the summary of Tolstoy’s “Russian Character”. It is noteworthy here that Ivan Suzdalev, on whose behalf the story is told, met Yegor after his terrible injury and plastic surgery, but in his description there is not a single word about his comrade’s physical disabilities. On the contrary, he sees only beauty, “spiritual affection”, looks at him when he jumps from the armor to the ground - “the god of war.”

We continue to reveal a brief summary of Tolstoy’s “Russian Character”. The plot of the plot is the terrible wound of Yegor Dremov during the battle, his face was practically bruised, and even bones were visible in places, but he survived. His eyelids, lips, and nose were restored, but it was a completely different face.

Climax

The climax scene is the brave warrior's arrival home on leave after the hospital. A meeting with his father and mother, with his bride - with the closest people in his life, turned out not to be a long-awaited joy, but to bitter inner loneliness. He could not, did not dare to admit to his old parents that the man standing in front of them with a disfigured appearance and an alien voice was their son. You can’t let your mother’s old face tremble desperately. However, there was a glimmer of hope in him that his father and mother themselves would recognize him, guess without explanation who had come to them, and then this invisible barrier would be broken. But that did not happen. It cannot be said that Maria Polikarpovna’s maternal heart felt nothing at all. His hand with a spoon while eating, his movements - these seemingly smallest details did not escape her gaze, but she still did not guess. And here Katerina, Yegor’s fiancée, not only didn’t recognize him, but at the sight of the terrible face-mask, she leaned back and got scared. This was the last straw, and the next day he left his father’s house. Of course, he had resentment, disappointment, and despair, but he decided to sacrifice his feelings - it was better to leave, to isolate himself, so as not to frighten his nearest and dearest. Summary Tolstoy’s “Russian character” does not end there.

Denouement and conclusion

One of the main features of the Russian character, the Russian soul is sacrificial love. It is precisely this feeling that is true, unconditional. They love not for something and not for the sake of something. This is an irresistible, unconscious need to always be close to a person, to take care of him, to help him, to sympathize with him, to breathe with him. And the word “nearby” is not measured in physical quantities, it means an intangible, thin, but incredibly strong spiritual thread between people who love each other.

After Yegor's quick departure, his mother could not find a place for herself. She guessed that this man with a disfigured face was her beloved son. The father had doubts, but still said that if that visiting soldier was really his son, then there is no need to be ashamed, but to be proud. This means that he truly defended his homeland. His mother writes a letter to him at the front and asks him not to torment him and to tell the truth as it is. Touched, he admits to deception and asks for forgiveness... After some time, both his mother and his bride come to his regiment. Mutual forgiveness, love without further ado and fidelity - this is a happy ending, these are Russian characters. As they say, a man seems simple in appearance, there is nothing remarkable about him, but trouble will come, harsh days will come, and immediately a great strength rises in him - human beauty.

Which of the statements correspond to the content of the text? Please provide answer numbers.

Enter the numbers in ascending order.

1) The main character - Egor Dremov - was a tank driver, participated in the battle of Kursk, and has many military victories to his credit.

2) Egor Dremov managed to independently leave a tank knocked out by the enemy.

3) In the hospital, Egor Dremov could not be completely restored to his former face, although several plastic surgeries were performed.

4) Yegor Dremov was able to internally overcome his misfortune - external ugliness - and considered it necessary to continue his military service and defend his Motherland.

5) Yegor Dremov was seriously wounded at the very beginning of the war.

Explanation.

Answer number 1 is confirmed by proposals No. 10-12. Answer number 3 - sentences No. 19-21. Answer number 4 - sentences No. 22, 27-28. Answers numbered 2 and 5 do not correspond to the content of the text.

Answer: 134.

Answer: 134

Relevance: Current academic year

Which of the following statements are true? Please provide answer numbers.

3) Sentence 18 provides a description.

4) Sentences 22-24 present the reasoning

Explanation.

1) Sentences 1-6 present the reasoning.

2) Sentences 11-15 contain narrative.

3) Sentence 18 presents a narrative, not a description.

4) Sentences 22-24 present a narrative, not a reasoning

5) Sentences 29-30 contain reasoning.

Answer: 125.

Answer: 125

Write antonyms from sentences 27-30.

Explanation.

Antonyms are words with opposite meanings.

In sentences 27-30, the antonyms are the words: big - small.

Answer: big and small.

Answer: bigsmall|smallbig|bigsmall|smallbig

Among sentences 11-15, find one(s) that is related to the previous one using a possessive pronoun. Write the number(s) of this sentence(s).

Sentence 12 has the possessive pronoun HIS, which connects the sentence with the previous one.

Answer: 12.

Answer: 12

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

MEANS OF CONNECTING SENTENCES IN THE TEXT

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

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

The task could be worded like this:

Among sentences 11-18, find the one(s) that is related to the previous one using demonstrative pronoun, adverbs and cognates. Write the number(s) of the offer(s)

Or: Determine the type of connection between sentences 12 and 13.

Remember that the previous one is ONE ABOVE. Thus, if the interval 11-18 is indicated, then the required sentence is within the limits indicated in the task, and answer 11 may be correct if this sentence is related to the 10th topic indicated in the task. There may be 1 or more answers. Point for successfully completing the task - 1.

Let's move on to the theoretical part.

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

All types of communication are usually divided into lexical, morphological and syntactic. As a rule, when connecting sentences into a text, they can be used several types of communication at the same time. This greatly facilitates the search for the desired sentence in the specified fragment. Let us dwell in detail on each of the types.

23.1. Communication using lexical means.

1. Words 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.

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

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

2. Generic words.

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

Example words: Chamomile - flower; birch - tree; car - transport and so on.

Example sentences: It was still growing under the window birch. I have so many memories associated with this tree...

Field daisies are becoming rare. But this is unpretentious flower.

3 Lexical repetition

Lexical repetition is the repetition of the same word in the same word form.

The closest connection of sentences is expressed primarily in repetition. Repetition of one or another member of a sentence - main feature chain connection. For example, in sentences Behind the garden there was a forest. The forest was deaf and neglected the connection is built according to the “subject - subject” model, that is, the subject named at the end of the first sentence is repeated at the beginning of the next; in sentences Physics is a science. Science must use the dialectical method- “model predicate - subject”; in the example The boat moored to the shore. The shore was strewn with small pebbles- model “circumstance - subject” and so on. But if in the first two examples the words forest and science stand in each of the adjacent sentences in the same case, then the word shore has different forms. Lexical repetition in Unified State Examination tasks will be considered the repetition of a word in the same word form, used to enhance the impact on the reader.

In texts of artistic and journalistic styles, the chain connection through lexical repetition often has an expressive, emotional character, especially when the repetition is at the junction of sentences:

Aral disappears from the map of the Fatherland sea.

Whole sea!

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

Let's look at examples. We are not yet taking additional means of communication into account; we are looking only at lexical repetition.

(36) I heard a very brave man who went through the war once say: “ It was scary, very scary." (37) He spoke the truth: he it was scary.

(15) As a teacher, I had the opportunity to meet young people yearning for a clear and precise answer to the question about higher values life. (16) 0 values, allowing you to distinguish good from evil and choose the best and most worthy.

note: different forms of words refer to a different type of connection. For more information about the difference, see the paragraph on word forms.

4 Similar words

Cognates are words with the same root and common meaning.

Example words: Homeland, be born, birth, generation; tear, break, burst

Example sentences: I'm lucky be born healthy and strong. The story of my birth unremarkable.

Although I understood that a relationship was necessary break, but couldn't do it myself. This gap would be very painful for both of us.

5 Synonyms

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

Example words: be bored, frown, be sad; fun, joy, jubilation

Example sentences: In parting she said that will miss you. I knew that too I'll be sad from our walks and conversations.

Joy grabbed me, picked me up and carried me... Jubilation there seemed to be no boundaries: Lina answered, finally answered!

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

6 Contextual synonyms

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

Example words: kitten, poor fellow, naughty; girl, student, beauty

Example sentences: Kitty has been living with us for quite some time. My husband took it off poor fellow from the tree where he climbed to escape the dogs.

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

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

7 Antonyms

Antonyms are words of the same part of speech that have opposite meanings.

Example words: laughter, tears; hot Cold

Example sentences: I pretended that I liked this joke and squeezed out something like laughter. But tears They choked me, and I quickly left the room.

Her words were hot and burned. Eyes chilled cold. I felt like I was under a contrast shower...

8 Contextual antonyms

Contextual antonyms are words of the same part of speech that have opposite meanings only in a given context.

Example words: mouse - lion; home - work green - ripe

Example sentences: On work this man was gray with the mouse. At home woke up in it a lion.

Ripe The berries can be safely used to make jam. And here green It’s better not to put them in, they are usually bitter and can 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: this is one and the same lexical phenomenon, but viewed from a different angle. Lexical means can serve to connect two adjacent sentences, or they may not be a connecting link. At the same time, they will always be a means of expression, that is, they have every chance of being the object of tasks 22 and 24. Therefore, advice: when completing task 23, pay attention to these tasks. You will learn more theoretical material about lexical means from the reference rule for task 24.

23.2. Communication using morphological means

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

1. Pronoun

A pronoun connection is a connection in which ONE word or SEVERAL words from the previous sentence are replaced by a pronoun. To see such a connection, you need to know what a pronoun is and what categories of meaning there are.

What you need to know:

Pronouns are words that are used instead of a name (noun, adjective, numeral), denote persons, indicate objects, characteristics of objects, the number of objects, without naming them specifically.

Based on their meaning and grammatical features, nine categories of pronouns are distinguished:

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

2) returnable (self);

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

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

5) definitive(himself, most, all, everyone, each, other);

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

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

8) negative (nobody, nothing, nobody);

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

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

As a rule, the task indicates WHAT category the pronoun should be, but this is not necessary if in the specified period there are no other pronouns that act as LINKING elements. You need to clearly understand that NOT EVERY pronoun that appears in the text is a connecting link.

Let's look at the examples and determine how sentences 1 and 2 are related; 2 and 3.

1) Our school has recently been renovated. 2) I finished it many years ago, but sometimes I went in and wandered around the school floors. 3) Now they are some strangers, different, not mine....

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

There are three pronouns in the third sentence: they are somehow mine. The second is connected only by a pronoun They(=floors from the second sentence). Rest do not correlate in any way with the words of the second sentence and do not replace anything. Conclusion: the second sentence connects the third with the pronoun They.

What is the practical importance of understanding this method of communication? The fact is that pronouns can and should be used instead of nouns, adjectives and numerals. Use, but not abuse, since the abundance of words “he”, “his”, “their” sometimes leads to misunderstanding and confusion.

2. Adverb

Communication using adverbs is a connection, the features of which depend on the meaning of the adverb.

To see such a connection, you need to know what an adverb is and what categories of meaning there are.

Adverbs are unchangeable words that denote an action and refer to a verb.

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

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

Example sentences: We got to work. At the beginning it was hard: I couldn’t work as a team, I had no ideas. After got involved, felt their strength and even got excited.note: Sentences 2 and 3 are related to sentence 1 using the indicated adverbs. This type of connection is called parallel connection.

We climbed to the very top of the mountain. Around There were only the treetops of us. Near The clouds floated with us. A similar example of a parallel connection: 2 and 3 are connected to 1 using the indicated adverbs.

Demonstrative adverbs. (They are sometimes called pronominal adverbs, since they do not name how or where the action takes place, but only point to it): there, here, there, then, from there, because, so and the like.

Example sentences: Last summer I was on holiday in one of the sanatoriums in Belarus. From there It was almost impossible to make a call, let alone surf the Internet. The adverb “from there” replaces the whole phrase.

Life went on as usual: I studied, my mother and father worked, my sister got married and left with her husband. So three years have passed. The adverb “so” summarizes the entire content of the previous sentence.

It is possible to use other categories of adverbs, for example, negative: B school and university I didn’t have good relationships with my peers. Yes and nowhere did not fold; however, I didn’t suffer from this, I had a family, I had brothers, they replaced my friends.

3. Union

Communication using conjunctions is the most common type of connection, thanks to which various relationships arise between sentences related to the meaning of the conjunction.

Communication using coordinating conjunctions: but, and, and, but, also, or, however and others. The assignment may or may not indicate the type of union. Therefore, the material on alliances should be repeated.

More details about coordinating conjunctions are described in a special section.

Example sentences: By the end of the weekend we were incredibly tired. But the mood was amazing! Communication using the adversative conjunction “but”.

It's always been like this... Or that's how it seemed to me...Connection using the disjunctive conjunction “or”.

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

Communication using subordinating conjunctions: because, so. A very atypical case, since subordinating conjunctions connect sentences within a complex sentence. In our opinion, with such a connection there is a deliberate break in the structure of a complex sentence.

Example sentences: I was in complete despair... For I didn’t know what to do, where to go and, most importantly, who to turn to for help. The conjunction for has the meaning because, because, indicates the reason for the hero’s condition.

I didn’t pass the exams, I didn’t go to college, I couldn’t ask for help from my parents and I wouldn’t do it. So There was only one thing left to do: find a job. The conjunction “so” has the meaning of consequence.

4. Particles

Particle Communication always accompanies other types of communication.

Particles after all, and only, here, there, only, even, same add additional shades to the proposal.

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

Everyone in the house was already asleep. AND only Grandma muttered quietly: she always read prayers before going to bed, asking the heavenly forces for a better life for us.

After my husband left, my soul became empty and my house deserted. Even the cat, who usually rushed like a meteor around the apartment, just yawns sleepily and keeps trying to climb into my arms. Here whose arms would I lean on...Please note that connecting particles come at the beginning of the sentence.

5. Word forms

Communication using word form is that in adjacent sentences the same word is used in different

• if this noun - number and case
• If adjective - gender, number and case
• If pronoun - gender, number and case depending on the category
• If verb in person (gender), number, tense

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

Example sentences: Noise gradually increased. From this growing noise I felt uneasy.

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

note: the assignment may say “word forms”, and then it is ONE word in different forms;

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

There is a particular difficulty in the difference between word forms and lexical repetition.

Information for teachers.

Let's consider as an example the most difficult task of the real Unified State Exam 2016. Here is the full fragment published on the FIPI website in “ Guidelines for teachers (2016)"

Difficulties for examinees in completing task 23 were caused by cases where the task condition required distinguishing between the form of a word and lexical repetition as a means of connecting sentences in the text. In these cases, when analyzing language material, students should pay attention to the fact that lexical repetition involves the repetition of a lexical unit with a special stylistic task.

We present the condition of task 23 and a fragment of the text of one of Unified State Exam options 2016:

“Among sentences 8–18, find one that is related to the previous one using lexical repetition. Write the number of this offer."

Below is the beginning of the text given for analysis.

- (7) What kind of an artist are you when you don’t love your native land, eccentric!

(8) Maybe that’s why Berg wasn’t good at landscapes. (9) He preferred a portrait, a poster. (10) He tried to find the style of his time, but these attempts were full of failures and ambiguities.

(11) One day Berg received a letter from the artist Yartsev. (12) He called him to come to the Murom forests, where he spent the summer.

(13) August was hot and windless. (14) Yartsev lived far from a deserted station, in the forest, on the shore of a deep lake with black water. (15) He rented a hut from a forester. (16) Berg was driven to the lake by the forester’s son Vanya Zotov, a stooped and shy boy. (17) Berg lived on the lake for about a month. (18) He was not going to work and did not take oil paints with him.

Proposition 15 is related to Proposition 14 by personal pronoun "He"(Yartsev).

Proposition 16 is related to Proposition 15 by word forms "forester": prepositional case form, controlled by a verb, and non-prepositional form, controlled by a noun. These word forms express different meanings: the meaning is object and the meaning of belonging, and the use of the word forms in question does not carry a stylistic load.

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

Proposition 18 is related to the previous one by personal pronoun "he"(Berg).

The correct answer in task 23 of this option is 10. It is sentence 10 of the text that is connected with the previous one (sentence 9) using lexical repetition (the word “he”).

It should be noted that there is no consensus among the authors of various manuals, What is considered a lexical repetition - the same word in different cases (persons, numbers) or in the same one. The authors of the books of the publishing house “National Education”, “Exam”, “Legion” (authors Tsybulko I.P., Vasilyev I.P., Gosteva Yu.N., Senina N.A.) do not give a single example in which the words in various forms would be considered lexical repetition.

At the same time, very complex cases in which words in different cases have the same form are treated differently in the manuals. The author of the books N.A. Senina sees this as a form of the word. I.P. Tsybulko (based on materials from a 2017 book) sees lexical repetition. So, in sentences like I saw the sea in a dream. The sea was calling me the word “sea” has different cases, but at the same time it undoubtedly has the same stylistic task that I.P. writes about. Tsybulko. Without delving into the linguistic solution to this issue, we will outline the position of RESHUEGE and give recommendations.

1. All obviously non-matching forms are word forms, not lexical repetition. Please note that we are talking about the same linguistic phenomenon as in task 24. And in 24, lexical repetitions are only repeated words in the same forms.

2. There will be no matching forms in the tasks on RESHUEGE: if the linguist specialists themselves cannot figure it out, then school graduates cannot do it.

3. If you come across tasks with similar difficulties during the exam, we look at those additional means of communication that will help you make your choice. After all, the compilers of KIMs may have their own, separate opinion. Unfortunately, this may be the case.

23.3 Syntactic means.

Introductory words

Communication with the help of introductory words accompanies and complements any other connection, adding shades of meaning characteristic of introductory words.

Of course, you need to know which words are introductory.

He was hired. Unfortunately, Anton was too ambitious. On the one side, the company needed such individuals, on the other hand, he was not inferior to anyone or anything, if something was, as he said, below his level.

Let us give examples of the definition of means of communication in a short text.

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

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

Sentence 2 is connected to sentence 1 using a personal pronoun her, which replaces the name Masha in sentence 1.

Sentence 3 is related to sentence 2 using word forms she her: “she” is a nominative case form, “her” is a genitive case form.

In addition, sentence 3 also has other means of communication: it is a conjunction Same, introductory word it seemed, series of synonymous constructions didn't insist on getting to know each other And didn't try to get closer.

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

“Talking about Yegor Dremov, the writer talks to us about the Russian character. Emphasizing moral principles character of his hero, the author uses the technique: (A)_____ (sentence 7). The moral core of Yegor Dremov was fully revealed during the battles for native land. Speaking about people like Yegor, the writer uses the trope - (B)_____ (“and great strength rises in him - human beauty” in sentence 30) and a syntactic means of expressiveness - (B)_____ (sentence 29). Resilience, inner strength, love for the Fatherland are especially striking when the writer, using a form of speech such as (G)_____ (sentences 25-27), shows the meeting of Yegor Dremov and the general.”

List of terms:

1) epithets

2) extended metaphor

3) quoting

4) colloquial vocabulary

5) parcellation

7) exclamatory sentence

8) series of homogeneous members of a sentence

9) comparison

Explanation (see also Rule below).

“Talking about Yegor Dremov, the writer talks to us about the Russian character. Emphasizing the moral foundations of the character of his hero, the author uses the following technique: (A) quotation (sentence 7). The moral core of Yegor Dremov was fully revealed during the battles for his native land. Speaking about people like Yegor, the writer uses a trope - (B) an extended metaphor (“and a great power rises in him - human beauty” in sentence 30) and a syntactic means of expressiveness - (C) an exclamatory sentence (sentence 29). Resilience, inner strength, love for the Fatherland are especially striking when the writer, using a form of speech such as (D)dialogue (sentences 25-27), shows the meeting of Yegor Dremov and the general.”

2) expanded metaphor - hidden comparison

7) exclamatory sentence - a sentence with a special intonation

6) dialogue - a conversation between two or more persons

Answer: 3276.

Answer: 3276

Rule: Task 26. Language means of expression

ANALYSIS OF MEANS OF EXPRESSION.

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

When completing task 26, you should remember that you are filling in the gaps in the review, i.e. restore the text, and with it semantic and grammatical connection. Therefore, an analysis of the review itself can often serve as an additional clue: various adjectives of one kind or another, predicates consistent with the omissions, etc. It will make it easier to complete the task and divide the list of terms into two groups: the first includes terms based on the meaning of the word, the second - the structure of the sentence. You can carry out this division knowing that all funds are divided into TWO large groups: the first includes lexical (non-special means) and tropes; secondly, figures of speech (some of them are called syntactic).

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

Note: The assignment usually states that these are TRAILS.

In the review, examples of tropes are indicated in parentheses, like a phrase.

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

Epithets include all “colorful” definitions that are most often expressed adjectives:

sad orphaned land(F.I. Tyutchev), gray fog, lemon light, silent peace(I.A. Bunin).

Epithets can also be expressed:

-nouns, acting as applications or predicates, giving a figurative characteristic of the subject: winter sorceress; mother is the damp earth; The poet is a lyre, and not just the nanny of his soul(M. Gorky);

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

-participles: waves rush thundering and sparkling;

-pronouns, expressing the superlative degree of a particular state of the human soul:

After all, there were fighting fights, Yes, they say, still which! (M. Yu. Lermontov);

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

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

The villages are burning, they have no protection.

The sons of the fatherland are defeated by the enemy,

And the glow like an eternal meteor,

Playing in the clouds frightens the eye. (M. Yu. Lermontov)

Comparisons are expressed in various ways:

Instrumental case form of nouns:

Nightingale vagrant Youth flew by,

Wave in bad weather Joy fades away (A.V. Koltsov)

Comparative form of an adjective or adverb: These eyes greener sea ​​and our cypress trees darker(A. Akhmatova);

Comparative phrases with conjunctions like, as if, as if, etc.:

Like a predatory beast, to the humble abode

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

Using the words similar, similar, this is:

On the eyes of a cautious cat

Similar your eyes (A. Akhmatova);

Using comparative clauses:

Golden leaves swirled

In the pinkish water of the pond,

Like a light flock of butterflies

Flies breathlessly towards a star. (S. A. Yesenin)

3.Metaphor(in translation from Greek - transfer) is a word or expression that is used in a figurative meaning based on the similarity of two objects or phenomena for some reason. Unlike a comparison, which contains both what is being compared and what is being compared with, a metaphor contains only the second, which creates compactness and figurativeness in the use of the word. A metaphor can be based on the similarity of objects in shape, color, volume, purpose, sensations, etc.: a waterfall of stars, an avalanche of letters, a wall of fire, an abyss of grief, a pearl of poetry, a spark of love and etc.

All metaphors are divided into two groups:

1) general language(“erased”): golden hands, a storm in a teacup, moving mountains, strings of the soul, love has faded;

2) artistic(individual author’s, poetic):

And the stars fade diamond thrill

IN painless cold dawn (M. Voloshin);

Empty skies transparent glass (A. Akhmatova);

AND blue, bottomless eyes

They bloom on the far shore. (A. A. Blok)

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

4. Personification- this is a type of metaphor based on the transfer of signs of a living being to natural phenomena, objects and concepts. Most often, personifications are used to describe nature:

Rolling through the sleepy valleys, the sleepy mists lay down, And only the sound of a horse's tramp is lost in the distance. The autumn day has faded, turning pale, with the fragrant leaves folded, half-withered flowers enjoying dreamless sleep.. (M. Yu. Lermontov)

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

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

Between an object and the material from which the object is made: ... or on silver, I ate on gold(A. S. Griboyedov);

Between a place and the people in that place: The city was noisy, flags crackled, wet roses fell from the bowls of flower girls... (Yu. K. Olesha)

6. Synecdoche(in translation from Greek - correlation) - this a type of metonymy, based on the transfer of meaning from one phenomenon to another based on the quantitative relationship between them. Most often, transfer occurs:

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

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

7. Periphrase, or periphrasis(translated from Greek - a descriptive expression) is a phrase that is used instead of any word or phrase. For example, Petersburg in verse

A. S. Pushkin - “Peter’s Creation”, “Beauty and Wonder of the Full Countries”, “The City of Petrov”; A. A. Blok in the poems of M. I. Tsvetaeva - “a knight without reproach”, “blue-eyed snow singer”, “snow swan”, “almighty of my soul”.

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

And at that very moment there were couriers, couriers, couriers on the streets... can you imagine, thirty five thousands only couriers! (N.V. Gogol).

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

And walking importantly, in decorous calm, the horse is led by the bridle by a peasant in large boots, in a short sheepskin coat, in large mittens... and from the nails myself!(N.A. Nekrasov)

10. Irony(in translation from Greek - pretense) is the use of a word or statement in a sense opposite to the direct one. Irony is a type of allegory in which mockery is hidden behind an outwardly positive assessment: Why, smart one, are you delirious, head?(I. A. Krylov)

26.2 “NON-SPECIAL” LEXICAL VISUATIVE AND EXPRESSIVE MEANS OF LANGUAGE

Note: In assignments it is sometimes indicated that this is a lexical device. Typically, in a review of task 24, an example of a lexical device is given in parentheses, either as a single word or as a phrase in which one of the words is in italics. Please note: these are the products most often needed find in task 22!

11. Synonyms, i.e. words of the same part of speech, different in sound, but identical or similar in lexical meaning and differing from each other either in shades of meaning or stylistic coloring ( brave - brave, run - rush, eyes(neutral) - eyes(poet.)), have great expressive power.

Synonyms can be contextual.

12. Antonyms, i.e. words of the same part of speech, opposite in meaning ( truth - lie, good - evil, disgusting - wonderful), also have large 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 dexterous and awkward,

Prudent and reckless,

Intoxicating and joyless.

13. Phraseologisms as a means of linguistic expression

Phraseologisms ( phraseological expressions, idioms), i.e. phrases and sentences reproduced in ready-made form, in which the integral meaning dominates the meanings of their constituent components and is not a simple sum of such meanings ( get into trouble, be in seventh heaven, bone of contention), have great expressive capabilities. The expressiveness of phraseological units is determined by:

1) their vivid imagery, including mythological ( the cat cried like a squirrel in a wheel, Ariadne's thread, sword of Damocles, Achilles heel);

2) the classification of many of them: a) to the category of high ( the voice of one crying in the wilderness, sink into oblivion) or reduced (colloquial, colloquial: like a fish in water, neither sleep nor spirit, lead by the nose, lather your neck, hang your ears); b) to the category of linguistic means with a positive emotional-expressive connotation ( to store like the apple of your eye - trade.) or with a negative emotional-expressive coloring (without the king in the head - disapproved, small fry - disdained, worthless - despised.).

14. Stylistically colored vocabulary

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

1) emotional-expressive (evaluative) vocabulary, including:

a) words with a positive emotional-expressive assessment: solemn, sublime (including Old Slavonicisms): inspiration, future, fatherland, aspirations, hidden, unshakable; sublimely poetic: serene, radiant, enchantment, azure; approving: noble, outstanding, amazing, brave; endearments: sunshine, darling, daughter

b) words with a negative emotional-expressive assessment: disapproving: speculation, bickering, nonsense; dismissive: upstart, hustler; contemptuous: dunce, crammer, scribbling; abusive/

2) functionally and stylistically colored vocabulary, including:

a) book: scientific (terms: alliteration, cosine, interference); official business: the undersigned, report; journalistic: report, interview; artistic and poetic: azure, eyes, cheeks

b) colloquial (everyday): dad, boy, braggart, healthy

15. Vocabulary of limited use

To enhance expressiveness in the text, all categories of vocabulary of limited use can also be used, including:

Dialectal vocabulary (words that are used by residents of a particular area: kochet - rooster, veksha - squirrel);

Colloquial vocabulary (words with a pronounced reduced stylistic connotation: familiar, rude, dismissive, abusive, located on the border or outside the literary norm: beggar, drunkard, cracker, trash talker);

Professional vocabulary (words that are used in professional speech and are not included in the system of general literary language: galley - in the speech of sailors, duck - in the speech of journalists, window - in the speech of teachers);

Slang vocabulary (words characteristic of youth slang: party, frills, cool; computer: brains - computer memory, keyboard - keyboard; soldier: demobilization, scoop, perfume; criminal jargon: bro, raspberry);

The vocabulary is outdated (historicisms are words that have fallen out of use due to the disappearance of the objects or phenomena they denote: boyar, oprichnina, horse-drawn horse; archaisms are outdated words naming objects and concepts for which new names have appeared in the language: forehead - forehead, sail - sail); - new vocabulary (neologisms - words that have recently entered the language and have not yet lost their novelty: blog, slogan, teenager).

26.3 FIGURES (RHETORICAL FIGURES, STYLISTIC FIGURES, FIGURES OF SPEECH) ARE STYLISTIC DEVICES based on special combinations of words that go beyond the scope of normal practical use, and aimed at enhancing the expressiveness and figurativeness of the text. The main figures of speech include: rhetorical question, rhetorical exclamation, rhetorical appeal, repetition, syntactic parallelism, polyunion, non-union, ellipsis, inversion, parcellation, antithesis, gradation, oxymoron. Unlike lexical means, this is the level of a sentence or several sentences.

Note: In the tasks there is no clear definition format indicating these means: they are called syntactic means, and a technique, and simply a means of expressiveness, and a figure. In task 24, the figure of speech is indicated by the number of the sentence given in brackets.

16.A rhetorical question is a figure that contains a statement in the form of a question. A rhetorical question does not require an answer; it is used to enhance the emotionality, expressiveness of speech, and to attract the reader’s attention to a particular phenomenon:

Why did he give his hand to insignificant slanderers, Why did he believe false words and caresses, He, with youth who has comprehended people?.. (M. Yu. Lermontov);

17.Rhetorical exclamation is a figure that contains a statement in the form of an exclamation. Rhetorical exclamations enhance the expression of certain feelings in a message; they are usually distinguished not only by special emotionality, but also by solemnity and elation:

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

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

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

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

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

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

Types of repetition are anaphora, epiphora and pickup.

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

Lazy the hazy noon breathes,

Lazy the river is rolling.

And in the fiery and pure firmament

Clouds are melting lazily (F.I. Tyutchev);

Epiphora(translated from Greek - addition, final sentence of a period) is the repetition of words or groups of words at the end of lines, stanzas or sentences:

Although man is not eternal,

That which is eternal - humanely.

What is a day or an age?

Before what is infinite?

Although man is not eternal,

That which is eternal - humanely(A. A. Fet);

They got a loaf of light bread - joy!

Today the film is good in the club - joy!

A two-volume edition of Paustovsky was brought to the bookstore. joy!(A.I. Solzhenitsyn)

Pickup- this is a repetition of any segment of speech (sentence, poetic line) at the beginning of the corresponding segment of speech following it:

He fell down on the cold snow,

On the cold snow, like a pine tree,

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

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

I look at the future with fear,

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

I was a ringing string for you,

I was your blooming spring,

But you didn't want flowers

And you didn't hear the words? (K. D. Balmont)

Often using antithesis: What is he looking for in a distant land? What did he throw in his native land?(M. Lermontov); Not the country is for business, but business is for the country (from the newspaper).

21. Inversion(translated from Greek - rearrangement, inversion) is a change in the usual order of words in a sentence in order to emphasize the semantic significance of any element of the text (word, sentence), giving the phrase a special stylistic coloring: solemn, high-sounding or, conversely, colloquial, somewhat reduced characteristics. The following combinations are considered inverted in Russian:

The agreed definition comes after the word being defined: I’m sitting behind bars in dungeon dank(M. Yu. Lermontov); But there were no swells running through this sea; the stuffy air did not flow: it was brewing great thunderstorm(I. S. Turgenev);

Additions and circumstances expressed by nouns come before the word to which they relate: Hours of monotonous battle(monotonous clock strike);

22.Parcellation(in translation from French - particle) - a stylistic device that consists in dividing a single syntactic structure of a sentence into several intonational and semantic units - phrases. At the point where the sentence is divided, a period, exclamation and question marks, and an ellipsis can be used. In the morning, bright as a splint. Scary. Long. Ratnym. The rifle regiment was defeated. Our. In an unequal battle(R. Rozhdestvensky); Why isn't anyone outraged? Education and healthcare! The most important areas of society! Not mentioned in this document at all(From newspapers); It is necessary for the state to remember the main thing: its citizens are not individuals. And people. (From newspapers)

23. Non-union and multi-union- syntactic figures based on deliberate omission, or, conversely, deliberate repetition of conjunctions. In the first case, when omitting conjunctions, speech becomes condensed, compact, and dynamic. The actions and events depicted here quickly, instantly unfold, replacing each other:

Swede, Russian - stabs, chops, cuts.

Drumming, clicks, grinding.

The thunder of guns, stomping, neighing, groaning,

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

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

But And grandson, And great-grandson, And great-great-grandson

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

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

If I wanted to limit my life to the home circle, / When a pleasant lot ordered me to be a father, a husband, / If I were captivated by the family picture for even a single moment, then it’s true that I wouldn’t look for another bride besides you. (A.S. Pushkin)

25.Antithesis or opposition(in translation from Greek - opposition) is a turn in which opposing concepts, positions, images are sharply contrasted. To create an antithesis, antonyms are usually used - general linguistic and contextual:

You are rich, I am very poor, You are a prose writer, I am a poet(A.S. Pushkin);

Yesterday I looked into your eyes,

And now everything is looking sideways,

Yesterday I was sitting before the birds,

All larks these days are crows!

I'm stupid and you're smart

Alive, but I'm dumbfounded.

O cry of women of all times:

“My dear, what have I done to you?” (M. I. Tsvetaeva)

26.Gradation(in translation from Latin - gradual increase, strengthening) - a technique consisting in the sequential arrangement of words, expressions, tropes (epithets, metaphors, comparisons) in order of strengthening (increasing) or weakening (decreasing) of a characteristic. Increasing gradation usually used to enhance the imagery, emotional expressiveness and impact of the text:

I called you, but you didn’t look back, I shed tears, but you didn’t condescend(A. A. Blok);

Glowed, burned, shone huge blue eyes. (V. A. Soloukhin)

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

He brought mortal resin

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

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

Eat joyful melancholy in the red of dawn (S. A. Yesenin);

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

28. Allegory– allegory, transmission of an abstract concept through a concrete image: Foxes and wolves must win(cunning, malice, greed).

29.Default- a deliberate break in the statement, conveying the emotion of the speech and suggesting that the reader will guess what was unspoken: But I wanted... Perhaps you...

In addition to the above syntactic means of expressiveness, the tests also contain the following:

-exclamation sentences;

- dialogue, hidden dialogue;

-question-and-answer form of presentation a form of presentation in which questions and answers to questions alternate;

-rows of homogeneous members;

-citation;

-introductory words and constructions

-Incomplete sentences– sentences in which any member is missing that is necessary for completeness of structure and meaning. Missing sentence members can be restored and contextualized.

Including ellipsis, that is, omission of the predicate.

These concepts are covered in the school syntax course. That is probably why these means of expression are most often called syntactic in reviews.

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1 A. Tolstoy. Russian character. Problems: 1. About the Russian character. 2. About courage and courage. 3. Problems of choosing Russian character! Go ahead and describe it... Should I talk about heroic deeds? But there are so many of them that you get confused which one to choose. So one of my friends helped me out with a little story from personal life. I won’t tell you how he beat the Germans, although he wears a Golden Star and half his chest in orders. He is a simple, quiet, ordinary person, a collective farmer from a Volga village in the Saratov region. But among others he is noticeable for his strong and proportionate build and beauty. You used to look at him when he climbed out of the tank turret, the god of war! He jumps from the armor to the ground, pulls off the helmet from his wet curls, wipes his grimy face with a rag and will certainly smile from spiritual affection. In war, constantly hovering near death, people become better, all nonsense peels off from them, like unhealthy skin after a sunburn, and the core remains in the person. Of course, one has it stronger, another has a weaker one, but even those who have a flawed core are drawn to it, everyone wants to be a good and faithful comrade. But my friend, Yegor Dremov, was of strict behavior even before the war, extremely respected and loved his mother, Marya Polikarpovna, and his father, Yegor Yegorovich. “My father is a sedate man, first of all, he respects himself. “You, he says, son, will see a lot in the world and go abroad, but be proud of your Russian title...” He had a bride from the same village on the Volga. We talk a lot about brides and wives, especially if it’s calm at the front, it’s cold, the fire is smoking in the dugout, the stove is crackling and people have had dinner. Here they will tell such a story, it will blow your mind. They will start, for example: “What is love?” One will say: “Love arises on the basis of respect...” Another: “Nothing like that, love is a habit, a person loves not only his wife, but his father and mother and even animals...” “Ugh, stupid! the third will say, love is when everything is boiling inside you, a person walks around as if drunk...” And so they philosophize for an hour and another, until the foreman, intervening, defines the very essence with a commanding voice. Egor Dremov, probably embarrassed by these conversations, only casually mentioned to me about the bride, very, they say, good girl, and even if she said that she would wait, she would wait, at least he returned on one leg... He also did not like to rant about military exploits: “I don’t want to remember such things!” He frowns and lights a cigarette. We learned about the combat performance of his tank from the words of the crew; the driver especially surprised the listeners

2 Chuvilev. “...You see, as soon as we turned around, I saw a tiger crawling out from behind a hill... I shouted: “Comrade Lieutenant, tiger!” “Forward, he shouts, full throttle!..” I’ll camouflage along the spruce tree to the right, to the left... The tiger moves the barrel like a blind man, he hit it wide... And the comrade lieutenant hits him in the side, splashes! As soon as he gets into the tower, he lifts up his trunk... As he gets into the third, smoke pours out of all the cracks of the tiger, and flames rush out of it a hundred meters up... The crew climbed through the emergency hatch... Vanka Lapshin from I fired the machine gun, and they lay there, kicking their legs... For us, you know, the path has been cleared. Five minutes later we fly into the village. Here I just lost my life... The fascists are all over the place... And it’s dirty, you know, another one will jump out of his boots and walk away wearing only his socks. Everyone runs to the barn. Comrade lieutenant gives me the command: “Come on, move around the barn.” We turned the gun away, at full throttle I ran into a barn... Fathers! Beams rattled across the armor, boards, bricks, fascists who were sitting under the roof... And I also ironed it, the rest of my hands were up and Hitler was gone...” So Lieutenant Yegor Dremov fought until a misfortune happened to him. During the Battle of Kursk, when the Germans were already bleeding and faltering, his tank on a hillock in a wheat field was hit by a shell, two of the crew were immediately killed, and the tank caught fire from the second shell. The driver Chuvilev, who jumped out through the front hatch, again climbed onto the armor and managed to pull out the lieutenant, he was unconscious, his overalls were on fire. As soon as Chuvilev pulled the lieutenant away, the tank exploded with such force that the turret was thrown fifty meters away. Chuvilev threw handfuls of loose earth on the lieutenant’s face, head, and clothes to put out the fire. Then he crawled with him from crater to crater to the dressing station... “Why did I drag him then? Chuvilev said, I can hear his heart beating...” Yegor Dremov survived and did not even lose his sight, although his face was so charred that bones were visible in places. He spent eight months in the hospital, he underwent plastic surgery one after another, his nose, lips, eyelids, and ears were restored. Eight months later, when the bandages were removed, he looked at his and now not his face. The nurse who handed him a small mirror turned away and began to cry. He immediately returned the mirror to her. It could be worse, he said, but you can live with it. But he no longer asked the nurse for a mirror, he only often felt his face, as if he was getting used to it. The commission found him fit for non-combatant service. Then he went to the general and said: “I ask for your permission to return to the regiment.” “But you are disabled,” said the general. “No way, I’m a freak, but this won’t interfere with the matter, I’ll restore my combat capability completely.” (The fact that the general tried not to look at him during the conversation, Yegor Dremov noted and only grinned with purple lips, straight as a slit.) He received a twenty-day leave to fully restore his health and went home to his father and mother. This was just in March of this year.

3 At the station he thought about taking a cart, but he had to walk eighteen miles. There was still snow all around, it was damp, deserted, the icy wind blew away the skirts of his overcoat, whistling in his ears with lonely melancholy. He came to the village when it was already dusk. Here was the well, the tall crane swayed and creaked. Hence the sixth parents' hut. He suddenly stopped, putting his hands in his pockets. He shook his head. I turned diagonally towards the house. Stuck knee-deep in the snow, bending over to the window, I saw my mother, in the dim light of a screwed-on lamp, above the table, she was getting ready for dinner. Still in the same dark scarf, quiet, unhurried, kind. She was older, her thin shoulders stuck out... “Oh, if only I knew, every day she would have to write at least two little words about herself...” She gathered on the table a simple cup of milk, a piece of bread, two spoons, a salt shaker and thought, standing in front of table, with his thin arms folded under his chest... Yegor Dremov, looking through the window at his mother, realized that it was impossible to frighten her, it was impossible for her old face to tremble desperately. OK! He opened the gate, entered the courtyard and knocked on the porch. The mother answered outside the door: “Who’s there?” He replied: “Lieutenant, Hero of the Soviet Union Gromov.” His heart began to pound and he leaned his shoulder against the ceiling. No, the mother did not recognize his voice. He himself, as if for the first time, heard his own voice, changed after all the operations, hoarse, dull, unclear. Father, what do you want? she asked. Marya Polikarpovna brought a bow from her son, Senior Lieutenant Dremov. Then she opened the door and rushed to him, grabbed him by the hands: Is my Yegor alive? Are you healthy? Father, come into the hut. Yegor Dremov sat down on the bench at the table in the same place where he sat when his legs did not reach the floor and his mother used to stroke his curly head and say: “Eat, killer.” He began to talk about her son, about himself, in detail, how he eats, drinks, does not suffer need for anything, is always healthy, cheerful, and briefly about the battles where he participated with his tank. Tell me, is it scary in war? she interrupted, looking into his face with dark eyes that did not see him. Yes, of course, it’s scary, mom, but it’s a habit. My father, Yegor Yegorovich, who had also passed over the years, came, and his beard was covered with flour. Looking at the guest, he stomped on the threshold with his broken felt boots, slowly unwound his scarf, took off his sheepskin coat, walked up to the table, shook hands, ah, the wide, fair parental hand was familiar! Without asking anything, because it was already clear why the guest was here in orders, he sat down and also began to listen, with his eyes half-closed. The longer Lieutenant Dremov sat unrecognizable and talked about himself and not about himself, the more impossible it was for him to open up, stand up, say: acknowledge me, you freak, mother, father! He felt good about it

4 parent table and it’s a shame. Well, let's have dinner, mother, pack something for the guest. Yegor Yegorovich opened the door of an old cupboard, where in the corner to the left lay fishing hooks in a matchbox, they lay there, and there was a teapot with a broken spout, it stood there, where it smelled of bread crumbs and onion skins. Yegor Yegorovich took out a bottle of wine, just enough for two glasses, and sighed that he couldn’t get any more. We sat down to dinner, as in previous years. And only at dinner, Senior Lieutenant Dremov noticed that his mother was especially closely watching his hand with a spoon. He grinned, the mother raised her eyes, her face trembled painfully. We talked about this and that, what spring would be like and whether the people would be able to cope with sowing, and that this summer we had to wait for the end of the war. Why do you think, Yegor Yegorovich, that we must wait for the end of the war this summer? The people were angry, Yegor Yegorovich answered, they went through death, now you can’t stop them, the Germans are kaput. Marya Polikarpovna asked: You didn’t tell me when he would be given leave to visit us on leave. I haven’t seen him for three years, tea, he’s become an adult, he walks around with a mustache... Like every day near death, tea, and his voice has become rough? But maybe he’ll come, but you won’t know, said the lieutenant. They assigned him to sleep on the stove, where he remembered every brick, every crack in the log wall, every knot in the ceiling. It smelled of sheepskin and bread, that familiar comfort that is not forgotten even in the hour of death. The March wind whistled over the roof. Behind the partition my father was snoring. The mother tossed and turned, sighed, and did not sleep. The lieutenant was lying face down, his face in his hands: “Didn’t she really recognize it, I thought, really didn’t recognize it? Mom, mom...” The next morning he woke up to the crackling of firewood, his mother was carefully fiddling around the stove; his washed foot wraps hung on an extended rope, and his washed boots stood by the door. Do you eat millet pancakes? she asked. He didn’t answer right away, got off the stove, put on his tunic, tightened his belt and sat barefoot on the bench. Tell me, does Katya Malysheva, Andrei Stepanovich Malysheva’s daughter, live in your village? She graduated from courses last year and became our teacher. Do you need to see her? Your son definitely asked to convey his regards to her. Her mother sent a neighbor girl to fetch her. The lieutenant didn’t even have time to put on his shoes when Katya Malysheva came running. Her wide gray eyes sparkled, her eyebrows flew up in amazement, and there was a joyful blush on her cheeks. When she threw the knitted scarf from her head onto her broad shoulders, the lieutenant even groaned to himself: I wish I could kiss that warm blond hair!.. That’s just how his girlfriend seemed to him, fresh, gentle, cheerful, kind, beautiful, so that she came in and the whole hut became golden...

5 Did you bring a bow from Yegor? (He stood with his back to the light and just bent his head because he couldn’t speak.) And I’m waiting for him day and night, tell him so... She came close to him. She looked, and as if she had been lightly hit in the chest, she leaned back and got scared. Then he firmly decided to leave, today. Mother baked millet pancakes with baked milk. He again talked about Lieutenant Dremov, this time about his military exploits, he spoke cruelly and did not raise his eyes to Katya, so as not to see the reflection of his ugliness on her sweet face. Yegor Yegorovich began to fuss to get a collective farm horse, but he left for the station on foot, as he had arrived. He was very depressed by everything that had happened, even stopping, hitting his face with his palms, repeating in a hoarse voice: “What should we do now?” He returned to his regiment, which was stationed deep in the rear for replenishment. His comrades greeted him with such sincere joy that everything that had prevented him from sleeping, eating, or breathing fell away from his soul. I decided this: let his mother not know about his misfortune for a longer time. As for Katya, he will tear this thorn out of his heart. About two weeks later a letter came from my mother: “Hello, my beloved son. I’m afraid to write to you, I don’t know what to think. We had one person from you, a very good person, only with a bad face. I wanted to live and immediately packed up and left. Since then, son, I haven’t slept at night, it seems to me that you came. Yegor Yegorovich completely scolds me for this, he says, you old woman has gone crazy: if he were our son, wouldn’t he have revealed himself... Why should he hide if it were him, with a face like this one, who came to us , you need to be proud. Yegor Egorovich will persuade me, but my mother’s heart is all her own: he is it, he was with us! Egorushka, write to me, for Christ’s sake, tell me what happened? Or maybe I’ve really gone crazy...” Yegor Dremov showed this letter to me, Ivan Sudarev, and, telling his story, wiped his eyes with his sleeve. I told him: “Here, I say, the characters clashed! You fool, you fool, write to your mother quickly, ask her for forgiveness, don’t drive her crazy... She really needs your image! This way she will love you even more.” On the same day he wrote a letter: “My dear parents, Marya Polikarpovna and Yegor Egorovich, forgive me for my ignorance, you really had me, your son...” And so on and so forth on four pages in small handwriting, he would and it would be possible to write on twenty pages. After some time, we are standing at the training ground, a soldier comes running and Yegor Dremov: “Comrade captain, they are asking you...” The soldier’s expression is this, although he is standing in full uniform, as if a man is about to drink. We went to the village and approached the hut where Dremov and I lived. I see he’s not himself, he’s coughing all the time... I think: “Tanker, tanker, ah

6 nerves." We enter the hut, he is in front of me and I hear: “Mom, hello, it’s me!..” And I see a little old woman falling on his chest. I look around, and it turns out there is another woman. I give honestly, there are other beauties somewhere, she’s not the only one, but I haven’t seen them personally. He tore his mother away from him, approached this girl, and I already remembered that with all his heroic build he was the god of war. "Kate! he says. Katya, why did you come? You promised to wait for this, not this...” Beautiful Katya answers him, and although I went into the hallway, I heard: “Egor, I’m going to live with you forever. I will love you truly, I will love you very much... Don’t send me away...” Yes, here they are, Russian characters! It seems that a simple man, but a severe misfortune will come, in big or small, and great strength and human beauty rises in him

Alexei Tolstoy Russian character (fragment) Russian character! For a short story the title is too meaningful. What can you do? I just want to talk to you about the Russian character. Russian

Tolstoy Alexey Nikolaevich Russian character Lib.ru/Classics: [Registration] [Find] [Ratings] [Discussions] [New items] [Reviews] [Help] Comments: 4, last from 04/20/2011. Tolstoy Alexey Nikolaevich

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In the story “Russian Character” by A.N. Tolstoy described an episode of the Great Patriotic War, when victory was still whole year, and the author did not even depict the military feat of tanker Yegor Dremov (this most likely would have been expected), but the family circumstances of the hero - his relationship with his parents and fiancée.

The Russian character in the story is made up of individual character traits of all the characters, main and secondary. The main character is Yegor Dremov, a tank commander who received severe burns in the battle on the Kursk Bulge. He is rescued from a burning tank by the driver, who was himself wounded, but pulled out the unconscious commander. Thus, the tank driver Chuvilev (this minor character will appear again in the story to describe the military exploits of the tank crew under the command of Yegor Dremov) at a dangerous moment thinks not only about own life, but, risking himself, saves a comrade in arms. In his conscientiousness one can see a character trait that is highly valued by Russians.

Egor Dremov shows Russian character both in battle and especially in his relationships with his parents and fiancée. Arriving home on leave after being wounded, he felt sorry for his old parents and was afraid to upset them. It seemed to Yegor that his ugly face would frighten them: after all, it had become a lifeless mask, and only his eyes remained the same. Thus, the character of the main character showed modesty, restraint, even sacrifice, which Russian people value: a real person least of all cares about himself, but first of all thinks about his loved ones, about their happiness.

Yegor Dremov was mistaken in thinking that he was sparing his parents when he did not admit that he was their son. His parents are happy just because their son is alive - after all, everyone around them is receiving a “funeral” from the front. Egor Egorovich Maria Polikarpovna loves her son not for his appearance, but because he is a son. Of course, the old people are proud that Yegor is their hero, but above all they value in him not his beauty, but his courage and honesty. Another feature of the Russian character appears here - the main attention is paid not to appearance, but to spiritual qualities. After all, the burnt face of a soldier testifies that he took part in terrible battles and did not spare himself while defending his homeland. Such a person evokes respect and admiration among Russians, despite his external ugliness. Therefore, Father Yegor Yegorovich believes that such a face as the front-line soldier who came to see them “should be proud of.” This idea is formulated by the elder Dremov, a Russian himself.

The hero's mother also has a Russian character. Maria Polikarpovna recognized her son, although his face had changed beyond recognition after the operations. She guessed with her heart, with some sixth sense, that her son was staying in her house, and showed extraordinary sensitivity, so dear to the Russian heart. Since a Russian person is usually restrained in the manifestations of his feelings, the attention and observation of others, who themselves must guess about their experiences, become very important qualities. loved one. It is very good if friends and relatives understand each other without words.

In Katya Malysheva, Yegor Dremov’s fiancée, the Russian character is also revealed: in a woman, Russians value fidelity and devotion, which is demonstrated by the heroine, who twice (seeing him off to the front and visiting him after being wounded) declares to Yegor that she will wait for him from the war and love him faithfully. But Katya is the main character’s fiancée, not his wife, that is, for now she is connected with Yegor only by word.

Ivan Sudarev - Yegor's friend and a benevolent narrator - himself has a Russian character, reasonable, restrained, thoughtful. He evaluates the actions of all the heroes appearing in a small story, and notes the different facets of the Russian character in each character.

Thus, Tolstoy creates a Russian character by combining traits different heroes, and, thanks to this technique, presents the image of a Russian person as complete, versatile and generally sublime. This portrayal of the national character distinguishes Tolstoy's story from the works of other Soviet authors who wrote about the war. For example, A.T. Tvardovsky in the poem “Vasily Terkin” concentrates the traits of the Russian character in one main character.

By artistic principles— the conflict between the good and the best and edification (instructiveness) — “Russian character” should be classified as the leading direction of Soviet literature — socialist realism. In the story, the conflict between Yegor Dremov and his relatives is far-fetched, because it exists only in the head of the modest protagonist, but in fact, the characters in the story are each better and more noble than the other. The edifying nature of “Russian Character” is expressed in the fact that through Ivan Sudarev, who evaluates everyone in the work characters, the writer teaches: this is exactly how a Soviet soldier should behave like Yegor Dremov; this is exactly what a soldier’s relatives should do as his parents and fiancée do. At the end of the story, the author tells the reader how to correctly understand the idea of ​​the work: “Yes, here they are, Russian characters! It seems like a simple person, but a severe misfortune will come, in big or small ways, and a great power will rise in him - human beauty.”

So, the story of Yegor Dremov ended happily. There could not have been any other ending, given that all her heroes have noble characters. During terrible war such a story becomes necessary: ​​it gives hope, saves from despair, and therefore “Russian Character,” one might say, reflects the perception of the war era and in this sense becomes a monument to the era.

But if conflict-free stories with a happy ending occur in real life, then only as exceptions. How does a meeting between a soldier and his family usually take place? Remembering the millions of Soviet people who died at the fronts and during the occupation, we can more likely expect tragic dates. M.V. Isakovsky’s poem “Enemies Burnt His Home” (1945) depicts the return of a victorious soldier to his native ashes: all his loved ones died during the German occupation, the long-awaited meeting with relatives turned into a wake at his wife’s grave. Another tragic situation is described by M.A. Sholokhov in the story “The Fate of a Man” (1956). Returning to his hometown after Nazi captivity. Andrei Sokolov learns that his house, while his wife and two teenage daughters were there, was hit by a German bomb. As a result, the protagonist’s beloved relatives don’t even have graves—in place of the house is a crater filled with rusty water.

It is impossible to compare an entire nation to one, even the correct example. A dramatic version of a meeting between a soldier and his family is presented in A.P. Platonov’s story “Return” (1946).

Captain Alexey Alekseevich Ivanov, after the victory, comes to his hometown, where his wife Lyuba, eleven-year-old son Petrushka and five-year-old daughter Nastya are waiting for him. On the very first evening at dinner, the victorious warrior demands from his wife an account of how she lived without him. The writer does not talk about Ivanov at the front, although his orders and medals testify to his military exploits. But the author describes in detail the life of the Ivanov family in the rear: Lyuba worked at a brick (!) factory during all four years of the war, took care of two small children, was constantly worried about her husband at the front, and, in order to escape from everyday melancholy, once succumbed to the tenderness of some then a trade union instructor. Captain Ivanov cannot forgive his wife for this, although he easily forgives himself for similar liberties: a couple of days ago, on his way home, he stayed late visiting a front-line soldier friend, Masha.

The ending of the story about Yegor Dremov is predetermined, given the wonderful Russian characters of all the characters in this story. What will Plato’s imperfect hero do? Outraged and offended by Lyuba’s confession, Alexey the next morning wants to go to Masha (!), but, seeing his children Petrushka and Nastya running towards the train from the window of the carriage, he suddenly softens in soul and gets off the train: yesterday he assessed his family circumstances from the point of view “conceit and self-interest,” and now I understood them with “naked heart.”

There is no teaching in Platonov’s story, and the happy ending is explained not by Ivanov’s exemplary nobility, but by the feelings of a normal person - love for his family. Therefore, the story “Return” is closer to life than “Russian character”: Plato’s story shows real world as complex as it is, and not as correct as it should be, according to the writer A. N. Tolstoy.