The sea bay has nothing to do with it. From the bay-flounder means “to act unexpectedly, thoughtlessly.” The phraseological unit is formed from the verbs “thump” and “flounder” and is associated with the image of a person who accidentally fell into the water and is forced to splash helplessly in it. The situation is so-so, so try to act thoughtfully, and not from the start.
2. Procrustean bed
You wouldn't want to end up in it. Procrustes is a hero of ancient Greek myths and a robber who caught travelers and subjected them to a kind of torture. He put people on his bed and checked whether it was the right length for them. If a person turned out to be shorter, then Procrustes stretched his legs; if he was longer, he chopped off his legs. It is noteworthy that the box was not enough for the robber himself, for which he subsequently paid.
The expression “Procrustean bed” is used when they try to fit some phenomenon to given standards, deliberately distorting it.
3. The muslin young lady
It should be clear who the “young lady” is, and “muslin” means “dressed in a dress made of muslin, thin cotton fabric.” This elegant but impractical outfit was popular in late XVIII centuries, but then went out of fashion and turned into a symbol of inability, affectation, effeminacy and even stupidity.
4. Enough of the irritation
Kondrashka is not a friendly neighbor, but a euphemism for a stroke or apoplexy. The expression means the same as “died suddenly.” It is believed that the disease was not called by its own name, so as not to accidentally inflict it on oneself: superstitious people believed that it worked. Sometimes Kondrashka is replaced with the more honorable Kondratiy.
5. On the zugunder
If someone threatens to take you on a zugunder, run. Because it means “to punish” or “to put on trial.” The phraseology came from the German language and dates back approximately to the 17th–19th centuries, when arrested soldiers were sentenced to one hundred blows with flexible whips, or spitzrutens. "Zu hundert" means "ko hundred" in German.
6. Tara-bars-rastabars
The expression has nothing to do with Rastafarian bars or the containers in which the products are packaged. It means "to chat in vain." The phraseological unit comes from the verbs “taratorit” and “tarabanit”, meaning “to chatter, idle talk”, and is most often used in conjunction with the verb “to babble”. Create taras-bars-rastabars in the bar.
7. Saddle bag
The opportunists and chameleons of all Rus' were called that way. Initially, the phrase meant a bag hanging on an animal. To ensure that the load was distributed evenly, the bag was divided into two parts and thrown over the saddle. Subsequently, the word “shifty” acquired a negative meaning: this is what they said about a person without principles who occupies the most advantageous position.
8. Breed turuses on wheels
Cowards have nothing to do with it. Turusa on wheels is a wooden siege tower covered with skins. These were used by the ancient Romans. Warriors were planted inside it to move the structure to the enemy’s fortress wall. Contemporaries of Alexander Pushkin did not believe that such towers could exist, so they said about everything incredible “to breed turuses on wheels,” meaning “to talk nonsense.”
9. Sing Lazarus
A very undignified occupation. A flattering beggar is called Lazarus, and the expression itself means “to complain about one’s fate, to pretend to be unhappy.” It came from the Gospel parable about the rich man and the beggar Lazarus. According to it, Lazarus lay at the rich man’s gate while he feasted and led a riotous lifestyle. After death, the beggar went to heaven, and the rich man went to hell. The rich man was suffering in hell from the heat and wanted Lazarus to give him water. But God refused him, saying that the rich man had already enjoyed life enough.
10. Throwing pearls before swine
Sounds like an interesting game, but it's not. This phraseology also came to us from the Gospel and is used in relation to a person who is unable or does not want to understand someone’s thoughts and feelings. The original text read: “Do not give what is holy to dogs, and do not throw your pearls before swine, lest they trample them under their feet and turn and tear you to pieces.” In other words, don't waste your resources on people who will never appreciate it.
11. Not a big deal
A very useful expression if you are a teacher or boss. It means “to know and understand nothing” and is translated from Tatar as “he does not know.” At first in Rus' an ignoramus was called belmes, and then people noticed the sound similarity between the words “demon” and “belmes” and began to use the latter to mean “not a damn thing” and “doesn’t understand a damn thing.”
12. Rest in the Bose
This expression means “to die, pass away,” but is now more often used with an ironic connotation, “to cease to exist.” It came from the Church Slavonic language and was used in funeral prayers. The expression “to rest in God” literally means “to fall asleep in God,” that is, to give one’s soul to God. But you can use it in relation, for example, to closed projects and companies.
Real art, according to the article in the Explanatory Dictionary of the Russian Language by S.I. Ozhegova, is “a creative reflection, reproduction of reality in artistic images.” But is it possible to determine the meaning of this word in one phrase? Of course not! “Art is charm and witchcraft!” This is exactly what is said in the text by V.A. Oseeva-Khmeleva.
It describes one portrait that hung in an old hut... The woman was depicted at full height and as if she was in a hurry somewhere, throwing her light scarf over sloping shoulders. Dinka (the girl who entered this room) could not take her eyes off the picture. Katrya was as if alive... It was as if she had captured Dinka with her beauty! This is real art!
G.I. Uspensky has wonderful story“Straightened it up.” It is about the influence the wonderful sculpture of Venus de Milo, exhibited in the Louvre, had on the narrator. The hero was amazed by the great moral strength that emanated from the ancient statue. “The stone riddle,” as the author calls it, made a person better: he began to behave impeccably, and felt the happiness of being human.
Thus, real art is a powerful force, capable of not only capturing the image of time and man, but also passing it on to descendants.
15.3 What is real art? This is a reality that is reflected in all spheres of culture and human activity. This is a textbook from which a person learns life, learns the world. By learning about the world and expressing this knowledge in artistic images, a person reveals his soul. I will prove this thesis by citing arguments from V. Oseeva’s text and analyzing my life experience.
Firstly, the sounds of the violin took away Dina’s fear and gave her confidence. Katri from the portrait, as if alive, answered with a “tender, stern smile.” Music and painting as components of real art revealed the inner world of both the artist, and Yakov Ilyich, playing the violin, and Dinka, who listened to the sounds of music with bated breath, enriched their souls (sentences 24-26).
Thus, I proved that real art can make a person change, help him find the meaning of life and achieve his goal.
“At dawn, Lyonka and I drank tea...”
4. Comes
5. Cut
6. Probably
7. Nights without sleep
8. You need to understand
15.1 The Russian language is one of the richest languages in the world both in terms of the composition of the language and in the methods of its speech organization. One cannot but agree with the statement of the famous Russian philologist F.I. Buslaev: “Only in a sentence do individual words, their endings and prefixes receive their meaning.” A sentence is a unit of syntax, within which individual words and predicative parts acquire the ability to interact and form speech components.
To confirm the validity of F.I. Buslaev’s words, let’s turn to an excerpt from the text by Konstantin Paustovsky. There are many expressive connections in the text. So, for example, in sentence No. 13 (A crowd of ladies and men in tightly buttoned frock coats, a crowd of the seventies of the nineteenth century, looked at me from the walls with deep attention), the grammatical basis is the combination “the crowd looked”, which in itself is interesting from the point of view correspondence of lexical and grammatical meaning. As part of the subject, the word “crowd” in its lexical meaning implies several people, literally a group of people. However, the grammatical meaning of the word "crowd" is a singular noun. Thus, in the combination itself, on the one hand, the facelessness of the people from the engravings is emphasized, and on the other, their integrity, community, as it were, and therefore the predicate is used according to grammatical norms in the singular: the crowd looked.
In sentence 18 (Something is scrawled on those boards - I don’t understand), the word “scratched” takes on an additional connotation; it is used with the aim of belittling the importance of painting on engravings.
Thus, having analyzed the text, we can confidently say that in the sentence the word, its grammatical and lexical meanings are fully revealed.
15.3 What is real art?
What is real art? In my opinion, this is an image of reality in works of painting, literature, cinema, architecture and music. This is both a reflection of a person’s inner world through artistic images, and beauty captured in works of art. To confirm what has been said, let us turn to the text offered to us by V. Oseeva and to personal experience.
The first argument in favor of my opinion can be propositions 23-25. These sentences say that when Yakov touches the strings of the violin, a sound of unusual beauty flows, and you want to enjoy life. This is where we see real art.
As a second argument to support my point of view, I would like to take an example from life. One day during an art lesson, the teacher showed us two identical houses. At first glance, they were both beautiful... But if you look carefully, you can see: one of the buildings is intended for Everyday life, and the other is a work of art. It is what made us understand true beauty more deeply.
Thus, after analyzing two arguments, I proved that only real art can have the strongest influence on the human soul.
15.3 Real art is the depiction of reality in artistic images, figurative understanding of reality, part of spiritual culture, a source of knowledge of the world, the process of expressing a person’s inner world in an image. This is a textbook of life, a person’s desire for perfection.
The text by K. G. Paustovsky talks about painting, about the paintings of the famous artist Pozhalostin, about their influence on people. It is in this – in the positive impact on the soul of each of us – that the authenticity of art is manifested. For arguments, I would like to turn to the text offered to me and life experience.
Firstly, in sentences 10-13 we read what emotions the hero experienced when he saw the engravings of the famous artist. “The beautiful engravings, slightly yellowed with time, “at first gave him a strange feeling” (10). The portraits were so beautiful and accurate that it seemed as if real people were standing: “a crowd of ladies and men... looked... from the walls with deep attention” at the hero (13).
Secondly, to confirm that music is also part of true art, I will give an example from life. Once I was at the ballet, “The Nutcracker,” and most of all I liked the music to which the ballerinas danced. The melody was so soft that at some point I thought: this is not the music of ballet, but of life itself. And the dance itself made me so excited I realized that for those hours I was completely immersed in the dance, in the story that the ballerinas were telling me, and was not distracted by anything.
Thus, I proved that art, namely real art, is not only a reflection of our inner world, but also a textbook of life, allowing us to understand the reality around us. It's part of us.
15.2 Very often, what a person does not understand due to his lack of education, underdevelopment, inability to appreciate due to the vanity of life and current circumstances, he considers unimportant and insignificant. Not every person is capable of appreciating and understanding art. This is the final words of Lenya from the text by Konstantin Paustovsky.
The text tells how the paintings had to be saved. Baba Fedosya, who has no understanding of art, offers to take the boards from the old women of the Pozhalistins: “Something is scribbled on those boards - I don’t understand.” For Fedosya, the purpose of these boards is unclear, she does not know how to appreciate beauty, she lives “on her daily bread,” so she considers it more useful to melt down these “boards” into nails. How many such masterpieces were destroyed during the revolution and civil war.
The author also shows another hero - Lenya, who is ready to risk his reputation, career, life in order to save these masterpieces. In sentence 30 we find confirmation of this: the hero was going to be judged at a general meeting because of his attitude towards the artist’s works.
15.3 Art is all the most beautiful things created by the hands and mind of man. The splendor of the natural world with its miraculous beauty encourages a person to capture the uniqueness of life’s moments with the help of talent. It takes your breath away when you try to grasp with your mind everything created by geniuses, preserved and continued by their descendants and followers. Now it is impossible to imagine that our lives would not be accompanied by art and creativity.
The text by Konstantin Paustovsky tells how the works of art had to be saved. Baba Fedosya, who has no understanding of art, offers to take the boards from the old women of the Pozhalistins: “Something is scribbled on those boards - I don’t understand.” For Fedosya, the purpose of these boards is unclear, she does not know how to appreciate beauty, she lives “on her daily bread,” so she considers it more useful to melt down these “boards” into nails. How many such masterpieces were destroyed during the revolution and civil war.
When you arrive at Red Square, the main square of the country, your gaze will involuntarily be drawn to St. Basil's Cathedral. This is an example of real art, it attracts and fascinates. No matter how the history of our state changed, the temple survived, stood as a symbol of our strength and greatness.
Preserving art for posterity is our duty to future generations. We should not only be proud of the amazing proportions of the Church of the Intercession on the Nerl or St. Basil's Cathedral, but also do everything so that our children can be proud of them.
“For me, music is everything!
4. Told
6. Problem
7. Steamboat whistle
8. There is a studio
15.1 Grammatical means play an important role in the text. They help to formalize our thoughts and thereby convey their essence. Grammatical means also include punctuation marks, about which K. G. Paustovsky once wrote: “Pushkin also spoke about punctuation marks. They exist to highlight a thought, bring words into the correct relationship and give the phrase ease and the right sound. Punctuation marks are like musical notations. They hold the text firmly and don’t let it fall apart.”
The validity of Paustovsky’s statement is confirmed by examples from the text by M. L. Moskvina. Thus, with the help of punctuation marks at the end of adjacent sentences No. 28−30 (“(28) Well?!! (29) Jazz? (30) Yes?!!”), the dog’s joy at the sight of its owner is conveyed. Sentences No. 28 and No. 30 contain both exclamation and question marks - the sentences convey the dog’s admiration and delight and at the same time the question about the results of the audition: the author thereby humanizes the animal’s feelings, showing how the dog worries about his friend. There is an ellipsis at the end of the last sentence of the text (And I remembered how bitterly cold it was when Keith and I chose each other at the Bird Market...). Ellipsis is used most often to convey the incompleteness of a thought, and in specific sentence No. 43 it is an indicator of reticence in the hero’s thoughts about his friendship with the dog.
Thus, K. G. Paustovsky was right in emphasizing the important role of punctuation marks in the text.
15.2 A person learns to see the beauty of the world not only by being among nature, but also by enjoying works of art. This enriches his inner world, makes him kinder, more humane. The hero of the text, M. Moskva, loves jazz. He does not know how to sing as required by the rules of singing, but he reveals his soul in singing, he feels good when he sings. This is what the final lines of the text are about.
The hero admits: “For me, music is everything.” You can hardly say about your hobby better than this: that’s all! And then in sentence number 6 the hero emphasizes: “Everything is about me, in this music.” The boy experiences an inextricable connection between his inner world and jazz, because jazz helps to reveal this world.
The uncle supports his nephew’s hobby: “Jazz is not music; Jazz is a state of mind."
Art awakens enormous powers in a person. A real work of art can awaken in a person feelings that were previously dormant in his heart. An extraordinary thirst for life, love, desire and the ability to sympathize and feel beauty - this is what can flare up in anyone who touches the beautiful, as happened with the hero of Moskvina’s text.
15.3 What can real art do? How can it influence the formation of a human personality, a person’s character?
The hero of M. Moskvina’s text loves jazz. He does not know how to sing as required by the rules of singing, but he reveals his soul in singing, he feels good when he sings. The hero admits: “For me, music is everything.” You can hardly say about your hobby better than this: that’s all! The boy experiences an inextricable connection between his inner world and jazz, because jazz helps to reveal this world.
True art awakens enormous powers in a person. Let us at least recall the story “The Blind Musician” by V. G. Korolenko, the main character of which managed to find the strength to live a real, fulfilling life thanks to music and the love of loved ones.
A real work of art can awaken in a person feelings that were previously dormant in his heart. An extraordinary thirst for life, love, desire and the ability to compassion and feel beauty - this is what can flare up in everyone who touches the beautiful.
“As a child, I tried very, very hard...”
4. Dressed up
5. Wooden
6. Excitement
7. Wooden seats
8. Extinguishing
13. 25,26
15.1 Grammatical means play an important role in the text. They help to formalize our thoughts and thereby convey their essence. Punctuation marks are also grammatical devices. Modern linguist N.S. Valgina singled out the dash among punctuation marks: “With the help of a dash, a high emotional load and psychological tension are conveyed.” Indeed, in what cases is a dash placed? What is it used for? Let's try to understand this using examples from the text of T.N. Tolstoy.
Let us pay attention to sentences 13–14 (This is happiness. This is cinema), in which the dash performs an emphatic function and is used to attract the reader’s attention to the author’s thoughts about his preference for cinema over theater. For the same purposes, a dash is used in sentence 27 (Theater is for adults, cinema is for children).
But in sentence 21 (What I expect from cinema is a complete transformation, a final deception - “so as not to think why, so as not to remember when.”) the dash is used in a semantic distinguishing function. In this example, the dash not only separates the parts of a non-union complex sentence, but also emphasizes that the content of these parts is opposed in meaning.
Thus, we are convinced that the dash is a multifunctional punctuation mark that is very important in writing. It not only helps to understand the structure of the sentence, and therefore the meaning of what is written, but also carries a certain semantic, emotional load, thereby being a grammatical means of expressiveness.
15.2 “Theater is for those who love live actors and graciously forgive them their imperfections in exchange for art. Cinema is for those who love dreams and miracles,” this is what the famous writer T. Tolstaya says about theater and cinema. How do I understand this phrase? I believe that true art is different for each person: some people love cinema, while others adore theatre. I will give examples from the text of T. Tolstoy.
Firstly, the lyrical heroine loves cinema. It is for her: “A dream, a mirage, a dream. Transfiguration.” (Sentence 18-19.) And all because she “loves dreams and miracles.” (Proposition 24.)
Secondly, the girl does not belittle the importance of the theater, she simply believes that in the theater where live actors play there is a lot of imperfection. She remembered for the rest of her life how shocked she was by the inconsistency with the age of the overweight actress playing an 18-year-old girl. (Sentence 3.)
I can conclude that I share the opinion of T. Tolstoy’s heroine: “Theater is for adults; cinema is for children."
15.3 Real art, according to the article “Explanatory Dictionary of the Russian Language” by S.I. Ozhegova, is “a creative reflection, reproduction of reality in artistic images.” But is it possible to determine the meaning of this word in one phrase? Of course not! Art is charm and sorcery! This is exactly what T. Tolstoy’s text talks about.
Firstly, the famous writer constructs the heroine’s argument about real art, contrasting the seemingly incompatible in meaning: theater and cinema... Incompatible because she does not like theater! All the sympathies of the lyrical heroine are given to the movie that charmed and bewitched her! This is how she enthusiastically writes about her favorite form of art: “What I expect from cinema is a complete transformation, a final deception - “so as not to think why, so as not to remember when.”
My point of view about real art differs from the opinion of the heroine T. Tolstoy: I love theater! A few weeks ago I was lucky enough to attend a wonderful performance of the mystery opera “Juno” and “Avos”. Everything that was there: the wonderful scenery, the wonderful music of Alexey Rybnikov, and the romantic love story of two wonderful people- said that I was in the temple of art! And “the gods in it... are mine!”
Thus, real art is different for each person: some people love cinema, while others adore theater.
15.2 For hundreds of years, theater has been pleasing audiences, educating, and stirring the soul. The theater is considered to be a temple of art. Relatively recently, such an art form as cinema has appeared, which immerses us in a desirable, tempting and attractive world. Tatyana Tolstaya talks about these differences between theater and cinema.
Despite the fact that “it was warm in the theater, there was a pleasant and complex smell in the hall, smart people were walking in the foyer, the windows were covered with curtains made of parachute silk” (sentence number 4), the heroine does not like the theater, there is something about it for her deceptive, unnatural, contradictory. That is why the theater is not her temple.
Another thing is cinema. The heroine loves movies because they are clearer and closer. From the cinema, she, like thousands of other viewers, expects “a complete transformation, a final deception - “so as not to think why, so as not to remember when” (sentence number 21).
Today, a person can no longer imagine life without reading a novel, without a new movie, without a theater premiere, without a fashionable hit and favorite musical group, without art exhibitions... It is impossible to say for sure which type of art has a stronger effect on a person, which brings more pleasure. Everyone can choose what is closer and more attractive to them.
15.3 Today, a person can no longer imagine life without reading a novel, without a new movie, without a theater premiere, without a fashionable hit and favorite musical group, without art exhibitions... In art, a person finds both new knowledge and answers to vital questions , and peace from the daily bustle, and pleasure. A real work of art is always in tune with the thoughts and thoughts of readers, viewers, and listeners.
In the text by Tatyana Tolstaya, the heroine’s thoughts about cinema. Cinema is one of the art forms. Many people love cinema because it is clearer and closer. From the cinema, she, like thousands of other viewers, expects “a complete transformation, a final deception - “so as not to think why, so as not to remember when.”
Music has a great influence on the minds and souls of people in the modern world. It’s hard to imagine that music will suddenly take over and disappear from our lives. If you are sad, music plays. If there is a reason for joy, we listen to music again. Unfortunately, such a need has become the reason for the dominance of low-quality music, and this contradicts the purpose of art - to make you think, stimulate feelings, and call to action.
It is impossible to say for sure which type of art has a stronger effect on a person, which brings more pleasure. Everyone can choose what is closer and more attractive to them.
Diffidence
“He’s a bungler, this Vovka...”
4. Snatched up
5. Abandoned
7. The Buzzing of Bumblebees
8. Darkness has taken over
15.1 Modern Russian philologist O.N. Emelyanova said: “The author’s speech has not only figurativeness, but also expressiveness and characterizes not only the object of the statement, but also the speaker himself.” Indeed, just as we can tell a lot about his inner world, beliefs and level of aspirations from the speech of our interlocutor, so from the author’s text we can trace the writer’s attitude towards the events and characters described, and therefore we can judge his worldview. This can be clearly seen using examples from the text by V.I. Odnoralova.
Sentence 3 (The village kids are good, but you have to take them with authority, after that they will become friends - wow!) talks about relationships between teenagers, and these relationships are not at all easy. It is obvious that the author understands this and knows how to approach boys. Even stylistically, this sentence is close to the speech of the boys: instead of words about what kind of friends village boys can become, the writer says something that sounds very expressive in the context of the sentence and a specific speech situation - “vo!” The author sincerely sympathizes with Vovka when he has to go to the frightening former master's office. This is evidenced by the ellipsis at the end of sentence No. 34, showing the tension of anticipation of the hero’s meeting with the unknown, so the author seems to intrigue the reader and force him to feel a sense of sympathy for his hero, since he himself also empathizes and sympathizes with Vovka.
The above examples confirm that O.N. Emelyanova was right when she argued that the author’s speech can say a lot not only about what is happening in the story, but also about the author himself.
15.3 What is self-doubt?
In my opinion, uncertainty is doubt in one’s physical and spiritual strength, lack of self-confidence, and low self-esteem.
It seems to me that self-doubt prevents a person from feeling self-sufficient and defending his opinion, so he has to make decisions relying on the advice of other people, without taking into account his own point of view.
As the first argument confirming my point of view, I will give an example from the story of the Orenburg poet, prose writer and publicist V.I. Odnoralova. Thus, sentences 23-36 tell how Vovka, gaining authority among his friends, went on reconnaissance to the former master’s office, in which the devil allegedly lived. The boy was not confident in his abilities, at some point he was even overcome by fear, so he did not dare to enter for a long time - “he slowly walked towards the back entrance and froze.” But still, having overcome all fears, Vovka gathered his courage and entered the building. There he “squealed, and then laughed, because he saw a familiar gray beard”... Having overcome his indecision, the boy came out of the current situation with honor.
The second argument in favor of my opinion comes from reading experience. Let me turn to Georgy Polonsky’s work “We’ll Live Until Monday.” Due to lack of self-confidence, the inexperienced teacher Natalya Sergeevna finds herself in an unpleasant situation: a crow flew into the class, and she and the children, in front of her colleague Ilya Semenovich Melnikov, rushed to catch the bird. Later, trying to restore her authority, the young teacher began to speak “with a cold threat.” Self-doubt did not allow her to make the right decision; she did not know how to behave with high school students.
I think I have shown that uncertainty is internal fear, a feeling of lack of strength, an inability to make the right decision. Of course, we need to work with self-doubt, because it can become a serious problem: because of it, we have difficulties communicating with people.
15.2 Where does self-doubt come from? Like many other misfortunes, it is often formed in childhood, when knowledge about the world and about oneself for the most part consists of other people’s assessments, and not of real facts. This happens with the heroes of the text by V.I. Odnoralov. Vovka is glad that “Vityok respected him,” because it is important to him that the boys do not consider him a coward.
Village children must be “taken with authority,” says sentence number 3. But with what kind of authority? How does this authority develop? The guys have their own ideas about him. Boys don't forgive mistakes. That’s why when Vovka falls into the mud, retreating in front of the goat, everyone laughs at him, laughs evilly, cruelly.
The attitude towards Vovka changes after he goes to the empty, scary house. He overcame his fear, because he had no other choice: “He understood: Oleg would definitely go instead of him, but then at least go to another school.”
Self-doubt creates fear and prevents a person from feeling self-sufficient and defending his opinion. Forming adequate self-esteem is one of the important tasks of self-education; it is correctly formed self-esteem that will help overcome self-doubt.
This is what happens with the heroes of V. I. Odnoralov’s text. The village children must be “taken with authority,” the text says. But by what authority? How does this authority develop? The guys have their own ideas about him. Boys don't forgive mistakes. That’s why when Vovka falls into the mud, retreating in front of the goat, everyone laughs at him, laughs evilly, cruelly. The attitude towards Vovka changes after he goes to the empty, scary house. He overcame his fear, because he had no other choice.
An insecure person either withdraws into himself, feeling like a victim, or, even worse, becomes a tyrant. To hide his weakness, he screams. A teacher who screams out of self-doubt will never be able to gain authority in the class, and therefore will not be able to teach anyone.
Where does self-doubt even come from? Like many other misfortunes, it is often formed in childhood, when knowledge about the world and about oneself for the most part consists of other people’s assessments, and not of real facts. This is why it is so important to develop adequate self-esteem.
“As soon as Pashka and I had…”
4. Questioning
5. Surprised
7. Iron lever
8. Nothing worked out
15.1 I. G. Miloslavsky said: “The attitude of the writer to what is being communicated can often be expressed using “small” words, words that are generally considered official - particles and conjunctions.” It would seem, how can auxiliary parts of speech, without having independent meaning, express the speaker’s attitude to what is being communicated? Let's try to trace this using examples from the text of N.I. Dubov.
Functional parts of speech play a very important role in the Russian language. They, indeed, do not name objects, signs, actions or states and do not indicate them, but serve to express grammatical relationships between words in phrases and sentences. They, unlike independent ones, do not have a specific lexical and general grammatical meaning, but give additional shades to words and sentences. Functional parts of speech include particles. So, in sentence No. 2 (You can’t reinvent the airplane if it was invented a long time ago, or open new countries if everything has already been covered up and down!) the particle “zhe” introduces an additional shade of reinforcement. Sentences 9 and 29 use the particle “here,” which has the additional meaning of indicating. Among the conjunctions, one can note the conjunction “however”, which is noteworthy for the text, which is characteristic of colloquial speech and in sentence 15 is used instead of the stylistically neutral conjunction “but” in order to comply with the objectives of the text - to convey the conversational, relaxed nature of the narrative.
Thus, I. G. Miloslavsky was right when he argued that function words help express the speaker’s attitude to the narrative.
15.2 The heroes of the text by N. I. Dubov long for great discoveries and useful undertakings, but do not know where to find employment for themselves. This is what the final lines of the text are about.
Sentences 16 - 17 of the above text talk about Pashka’s idea, which was supposed to be a useful invention in the garden, but brought nothing but trouble to Pashka’s father. The position of the boy’s parents is not aimed at encouraging his activities, and this also affects the overall result. In order for self-doubt to take root, you have to suffer some kind of failure. And if you also get punished for this failure, then this is a direct path to the formation of low self-esteem.
The narrator himself also failed with the history of the village. Grandfather Savva just waved him off. Here is another example when misunderstanding by adults prevents a growing person from feeling self-sufficient and defending his opinion.
An insecure person has low self-esteem. He lacks faith in himself, his strengths, his capabilities. It is possible to overcome self-doubt only if a person is able to correctly set goals, relate them to external circumstances and positively evaluate their results.
15.3 A person who is insecure has low self-esteem. He lacks faith in himself, his strengths, his capabilities. Such people worry about what others will think of them and are pre-set toward disappointment and mistrust. Self-doubt prevents a person from feeling self-sufficient and defending his opinion. He has to adapt to other people and make decisions, relying on their advice, without taking into account his own point of view.
An example of self-doubt can be the story from N. I. Dubov’s text about Pashkin’s idea, which was supposed to be a useful invention in the garden, but brought nothing but trouble to Pashkin’s father. The position of the boy’s parents is not aimed at encouraging his activities, and this also affects the overall result. In order for self-doubt to take root, you have to suffer some kind of failure. And if you also get punished for this failure, then this is a direct path to the formation of low self-esteem.
Or take jealous people: a person consumed by jealousy actually “lives” with one single fear - that he will turn out to be worse than the opponent who is preferred to him.
It is not a fact that a person who lacks self-confidence must necessarily be quiet. For example, aggressive behavior towards someone who is obviously weaker is also a manifestation of self-doubt.
It is possible to overcome self-doubt only if a person is able to correctly set goals, relate them to external circumstances and positively evaluate their results.
12. C. Cameron. "Aviary" in Pavlovsk. 1783.(Charles Cameron. "Voliere" du Chateau de Pavlovsk. 1783.)
14. Charles Cameron. "Temple of Friendship" in Pavlovsk. 1780-1799.(Charles Cameron. "Le Temple de 1"Amitie". 1780-1799. Pavlovsk.)
15. Claude Lorrain. Morning. Leningrad, Hermitage. (Claude Lorrain. Aurore. L "Ermitage de Leningrad.)
Most architectural historians saw Pavlovsk as a monument of classicism of the late 18th century, the guide of which in Russia, along with other architects, is considered to be Charles Cameron. At the same time, attempts to give a historical explanation of the architectural originality of Pavlovsk were usually replaced by searches for its supposed prototypes in English architecture ( G. Loukomski, Charles Cameron, London, 1943, p. 96. Here are references to English analogies, but there are no substantiated historical and artistic conclusions from their comparison. One ancient author, Sablukov, tried in vain to prove with a long list of prototypes that in Pavlovsk absolutely everything was created in imitation of one or another model and was devoid of any originality (A. Uspensky, Imperial Palaces, I, M., 1908, p. 406) .). Meanwhile, the buildings of Pavlovsk bear the imprint of not only the personality of their creators; they characterize the artistic development of our country in the 18th century. The artistic image of Pavlovsk reflected the quest of an entire historical period and, of course, neither the tastes of the customers nor the talent of the executors of their will can explain the character of Pavlovsk in all its unique originality.
In the last quarter of the 18th century, a fermentation of ideas and artistic trends was noticed in Russian culture. Even representatives of the most moderate movement opposed the old aesthetic norms and ideas with an attraction to the simplicity of morals untouched by civilization, to the expression in lyrics of the poet’s soulful experiences and thoughts. In those years, the works of a whole group of Russian authors persistently raised questions, the emergence of which can only be explained by the aggravation of social contradictions. Disgust for the luxurious and empty social life leads lyric poets to sing of “wretched huts” and “huts”, discontent modern society pushes on the path of fascination with rural nature, and this gives rise to the theme of “evening”, “fog” and “lunar landscape” in poetry. Aversion to cold, heartless rationality brings to life sensitivity to personal experiences. Finally, the inability to openly express one’s protest feeds the illusion, as if only in solitude, in the depths of his self-awareness, can a person get rid of sorrows and worries and find inner freedom. Neither in the poems nor in the prose of Russian authors of the 18th century did these sentiments find such a vivid poetic expression as in the masterpieces of Russian architecture, in particular. in the Pavlovsk architectural and park ensemble.
Unlike Peterhof, which was built and rebuilt over almost a century, and Tsarskoe Selo, which was created under Elizabeth and Catherine, Pavlovsk acquired its main features over the last two
decades of the 18th century, and although subsequent years somewhat changed its appearance, everything that was created in Pavlovsk was created on the basis that was laid in the early 80s.
Charles Cameron arrived in Russia at an advanced age ( V. Taleporovsky, Charles Cameron, M., 1939.). In his youth, he worked on the study and publication of Roman antiquities simultaneously and side by side with the converter English architecture Robert Adam. True, Adam was the first to gain fame in his homeland. Cameron remained known to his compatriots only for his essay on Roman baths, as well as architectural drawings exhibited at the Society of Architects. But this does not mean at all that he was inferior to Adam and his other fellow artists in the strength and originality of his talent.
In the 18th century, when construction became a real fashion among the English nobility, architects often gained fame not so much for their creative independence as for their efficiency in carrying out construction work ( N. Batsford, English Homes and Gardens, London, 1933, p. 28 (about R. Adam).). That is why even the similarity between the Pavlovsk Palace and the earlier palace of R. Adam in Kedleston, which was indicated in the literature, does not resolve the issue of primacy. The works of Charles Cameron are more poetic in concept and more subtle in execution than the works of R. Adam, and therefore the opinion that he was an imitator must be resolutely rejected ( J. Lees-Milke, The Age of Adams, London, 1947, p. 165.). Apparently, Charles Cameron was hampered in England by his unyielding adherence to the Stuart party, which suffered political defeat in the middle of the century. Only an invitation to Russia opened the way for him to realize his plans. Here he found himself faced with such a vast field of activity that his compatriots who remained in their homeland could have envied. Cameron himself admitted that working in Pavlovsk, where everything was created anew, and not in Tsarskoe Selo, where he had to complete what had been started earlier, gave him the greatest satisfaction ( "Cameron". Collection of articles, GG., 1924, p. 46.).
It has now been established that it was in England, on the opposite edge of Europe from Hellas, that already in mid-18th century century, Greek architectural types and motifs came into circulation, such as peripterus, monopterus, prostyle and the Doric order, which in the second half of the century became the property of all schools of the continent ( L. Lawrence, Stuart and Revett. Their literary and architectural careers. - "Journal of the Warburg Institute", 1939, fas. 2, p. 129, tav. 22d, 25d.). In England itself, they became famous thanks to learned architects and publishers of classic “urages.” The stamp of their passion for archeology lay on many of the works of English architects classical direction: indeed, copies of the Athenian “Tower of the Winds,” replicas of the monument to Lysicrates or Doric temples seemed in the park of some English landlord to be exhibits in a museum setting alien to them.
Charles Cameron was widely knowledgeable in the history of architecture, but the burden of historical knowledge did not burden the flight of his creative imagination. In Italy, he was close to Cardinal Albani, around whose meetings the best artists were grouped, led by J. Winckelmann. Like this archaeologist-poet, through ancient art he moved towards an understanding of life and nature in the spirit of advanced social ideas of the time.
It must be assumed that in the new country the master did not immediately understand his calling. He was entrusted with the construction of the cathedral in Tsarskoe Selo, he completed it in an oriental, exotic style, apparently hoping that this would satisfy local tastes. In response to an indication of the traditions of ancient Russian church architecture, he made a new project based on the type of cross-domed church; the cathedral built on it can be called a typical work of Russian classicism ( S. Bronstein, Architecture of the city of Pushkin, M., 1940, pp. 146 - 147.). Of course, Charles Cameron carefully studied the works of such a remarkable master as V. Rastrelli; it is possible that he knew about the works of his peers I. Starov, N. Lvov, who then laid the foundations of classicism in Russia. Charles Cameron's architectural plans were carried out by a large team of builders, which included Russian craftsmen. All this created a creative atmosphere around Cameron, to which this sensitive, thoughtful master could not be indifferent. Not knowing the Russian language, Cameron was forced to express himself in Russia in English, Italian or French. However, one must think that he understood Russian architectural speech, which sounded in the buildings created by his Russian brothers in art.
In any case, everything created by Cameron in Pavlovsk is only in the most general outline looks like typical buildings of English classicism of the 18th century. In English country buildings of the 18th century, such as the palace in Howwick by the architect Newton or Kedleston Palace, built by R. Adam, there reigns a strict, almost rigid correctness of form, representativeness and importance ( N. Batsford, op. cit., p. 29.). On the contrary, in the Pavlovsk Palace the forms are softer, the connection between architecture and nature is closer, as was originally characteristic of Russian architecture.
The customers apparently highly appreciated the wonderful craftsman. But there was no real understanding between the artist and them. They always hurried him, they were angry with him for his slowness. He was unyielding in creative issues, sought to bear the fruits of his inspiration for a long time. On this basis, frequent disagreements arose, which ended with the leading role passing to Cameron's assistant, the architect Brenna. However, this happened much later. Despite the difficulties and obstacles, Cameron managed to realize all his plans in Pavlovsk. His creations bear the stamp of lyrical sincerity and warmth.
Architecture, by its very nature, is only in an allegorical form capable of expressing those social ideas that can find direct expression in journalism, philosophical treatises and fiction. But at its core, architecture expresses the same ideas as other forms of art. The whole of Pavlovsk as a whole constitutes a huge and integral poetic world, and it is not for nothing that the column on the outskirts of the park was called “The End of the World.”
No matter how highly one appreciates Cameron’s decisive significance in the creation of Pavlovsk, one must admit that everything he did in Russia outgrows the scope of his personal creativity. True, his buildings in Pavlovsk and his buildings in Tsarskoe Selo are in many ways related and are marked by the same “handwriting.” And yet this does not exclude the fact that Cameron’s Pavlovsk works have a unique originality, which allows us to talk about a special architectural style of Pavlovsk.
As one 18th-century author put it, an idyll is “ poetic image innocent and happy humanity." Poets expressed their attraction to naturalness and purity of morals in poetry, painters - with paints on canvas. Architects had the opportunity to embody it in stone only during the construction of imperial palaces or noble estates.
In Pavlovsk, the features of that “natural man” to whom he is dedicated are clearly visible everywhere. The life of this person should not be spent in empty amusements, not in secular entertainment - this is the significant difference between Pavlovsk and the carefree festive palaces of Rastrelli. Dazzling luxury and stunning wealth. He knows how to find beauty in solitude, in noble simplicity. Mysticism that attracts beyond limits is alien to him. real world. He lives in the present, loves and appreciates living, untouched nature, but he also knows what a dream, imagination, and memory are. One should not close one's eyes to the fact that in this natural man“had its weaknesses: before the artists who expressed these ideals, the idea of civic duty emerged only in the vaguest outlines. The utopian nature of the artistic image of Pavlovsk stemmed from the unrealizability of the dream of perfection and happiness. However, this dream acquired poetic reality, since it was embodied in artistic images: temples and gazebos among the green carpet of lawns and shady groves looked like a call to people to become worthy of these architectural masterpieces.
Pavlovsk is one of those rare places where buildings and their decoration, statues and paintings, trees and alleys - everything is tailored according to the same plan. No wonder Zhukovsky argued that even the full moon looks different in Pavlovsk than at other latitudes of the world ( V. Zhukovsky, Collected Works, vol. II, St. Petersburg, 1869, p. 337.). One of the reasons for the attractiveness of Pavlovsk is that nothing in it hurts the eyes, does not offend the taste, everything is brought to that internal connection with the whole, which is usually called harmony. With all the diversity of Pavlovsk, a walk through it does not overwhelm the viewer in the same way that a walk through Tsarskoye Selo park with its huge palace and luxurious halls, wonderfully varied pavilions and majestic monuments can overwhelm and tire. Russian glory. A walk around Pavlovsk primarily pleases with the alternation of impressions leading to one goal, captivating, like reading a fascinating book. In Pavlovsk, everything is visible and clear; all its beauties are revealed directly to the viewer’s gaze. Every object in Pavlovsk can be viewed from all sides; from everywhere it enchants the eye with its perfection: this applies to the palace, gazebos, trees, and statues. Each part of Pavlovsk is developed to the greatest degree of completeness: the palace opens its wings wide, the trees spread their branches freely, the statues are not pressed to anything, are not constrained by anything and rise in open areas or in spacious niches. Even the caryatids stand straight, as if not feeling the weight of their burden.
Roundness as an expression of perfection and completeness of each part is, as it were, internal law the structure of a number of buildings in Pavlovsk: this is reflected in the palace with its center - a round domed hall, and in the round gazebos, and in the rounded clumps of trees in the park, and, finally, in the central areas of “Old Sylvia” and “White Birch”. This does not exclude the fact that the layout of Pavlovsk is characterized by a predominance of “open forms.” Indeed, no matter how completed individual parts of the Pavlovsk park, they do not distract it from the surrounding living nature. The gaze easily moves from one object to another, each work of art not only pleases with its perfection, but also opens the eyes to what surrounds it. In this regard, in Pavlovsk there are no sharp contrasts in anything that strike the eye. This is reflected in the way the palace rises smoothly on a hill above the river. how gradually from the strict architectural forms of the palace and the straight linden alley leading from it there is a transition to a more freely laid out park and forest. In this, Pavlovsk is decisively different from Peterhof with its pathetic contrasts of snow-white fountains and dense, dark greenery, a flat upper garden and. spectacular descent of stairs and alleys to the sea. In Pavlovsk, the violent energy of Peterhof is nowhere to be seen, its nature is quiet, affectionate towards people, proportionate to it, and therefore next to the Pavlovsk Palace it is difficult to imagine the boundless expanse of the sea or the indomitable power of the foamy “water cannons”.
Valuable art collections have long been concentrated in Pavlovsk: antique marbles, French tapestries, carpets, mirrors, porcelain, furniture by Jacob and Roentgen, paintings by Italian masters and Rembrandt ( „Pavlovsk. Palaces, parks, painting, sculpture, fabrics, porcelain, bronze, furniture", issue I-IV, St. Petersburg, B.G.). All this enriched the appearance of Pavlovsk. But this is not where its main artistic significance lies. Immense generosity and eye-catching luxury are alien to Pavlovsk’s style; gold, marble, crystal are not displayed; crucial It is not the value of the material, but its processing, the thought put into it, the taste that left its mark on it.
Precisely due to the fact that in Pavlovsk everything is brought into line with a person’s thoughts, with his dream, the “art of illusions” of the wonderful decorator Gonzago could find application here, which seems to smooth out the line between the existing and the imaginary, between reality and dream, real and future. No wonder in Pavlovsk, according to figuratively V. Zhukovsky, the sky itself would be indistinguishable from its reflection in the mirror of water if the water surface were not wrinkled by the breeze and did not disturb the optical illusion.
All this gives rise to a special moral atmosphere in Pavlovsk. Here a person should not experience any aching melancholy, as in romantic gardens with their ruins and memories of the irrevocable past, nor loss, nor loneliness, which evoked in people of the 18th century the then favorite islands with poplars, a semblance of Rousseau’s place of calm ( A. Kurbatov, Gardens and parks, Pg., 1916, p. 578.). There is no majestic fortress severity of the Gatchina Palace and park here. At the same time, Pavlovian buildings do not overwhelm with cold, brilliant perfection, like the buildings of G. Quarenghi. Beauty looks welcoming in Pavlovsk, almost homely: it does not unbalance a person, but caresses the eye and serves as food for the mind and imagination. “Everything here involuntarily draws us to think,” Zhukovsky admitted in Pavlovsk.
The Pavlovsk Palace and the buildings and gazebos scattered in its park date back to the classical architectural types of the 18th century. Charles Cameron followed them, as the Greek tragedians followed the ancient myths, as the Italian masters of the Renaissance followed the centuries-old types of Madonna. The task of the builder of Pavlovsk was to put a new poetic meaning into them, to transform them in order to create a “monastery” on the banks of the Slavyanka, worthy of a person Enlightenment.
In contrast to the classicism of the “archaeological direction” in Pavlovsk, not a single building is designed to be viewed in isolation. Each building is placed in such a way that its connections with other buildings, with the life taking place in it and around it are clear. Each architectural detail emphasizes its interaction with others, Cameron asserted in his architecture the inexhaustible richness of the relationships between its parts. This reflected not only his intention to avoid imitating antiquity, but also the desire to preserve in his buildings the best achievements of Rastrelli’s architectural language, which had already become a thing of the past, with its free rhythm of contours. soft plasticity of protruding volumes alternating with spans and a wealth of internal rhymes.
Charles Cameron's plans included transforming Pavlovsk's palace and park into a place where people can find joy and harmony in communication with nature. It is not for nothing that the center of the entire ensemble was originally supposed to be an open colonnade with a statue of the sun god Apollo in the middle. In accordance with this plan, the architecture of Pavlovsk is covered in air, light, and sun; its essential feature is openness, lightness, airiness. True, Charles Cameron also placed the columns so widely in his gallery in Tsarskoe Selo, as no one had dared to do before. But only in Pavlovsk did this feature become a defining feature of architecture, and each building is perceived not so much as a self-sufficient form, but as the completion of a perspective, as a frame for a view, as something permeated with light, space, and air.
Each building in Pavlovsk can easily be attributed to one or another canonical type. However, within these types, Cameron maintains complete freedom. He does not flaunt, like N. Ledoux, his disdain for rules and traditions. But he places accents in his own way: sometimes he brings the columns closer together, sometimes he pushes them apart, sometimes he compresses or releases part of the order - from this the building acquires its expressiveness, a unique imprint of the master’s personality. That is why Pavlovsk can be considered one of the most remarkable examples of lyricism in architecture.
In the architecture of Pavlovsk, a large role is played by what can be called “small quantities.” In relation to them, Cameron is decidedly different from G. Quarenghi. He attached the main importance to beauty, which immediately catches the eye, immediately captivating the viewer. In Quarenghi’s buildings, exceptionally fully revealed ratios of “large quantities”, strong artistic effects. Cameron’s buildings in Pavlovsk were not created to be perceived from afar; you don’t understand them at first glance, they best qualities are guessed only when looking at it at close range, in the process of “slow reading.” You need to adjust your attention so that the smallest and even the smallest details of the buildings do not escape it - only then can you truly appreciate the artistic perfection of the buildings of Pavlovsk.
It is known that the Pavlovsk Palace is adjacent to the Palladian palace type widespread in the 18th century. This, however, does not exclude significant differences between the palace and many contemporary classical palaces. English palaces of the 18th century are for the most part distinguished by their clear stereometry, even sharp edges, and a straight roof with a horizontal cornice, usually not disturbed by a low dome. This gives English country palaces a sedate and austere urban appearance.
In contrast, the Pavlovsk Palace, erected on a sloping hill above Slavyanka, seems to rise above the park buildings and with its dome really crowns the entire ensemble. Its volumes are brought into agreement with the contours of the hill: the clumps of trees half-covering the façade are in perfect harmony with them. True, many centuries have passed since the heyday of ancient Russian art, and during this period the entire understanding of architecture has changed profoundly, and yet, speaking about the location of the Pavlovsk Palace on a hill above Slavyanka, one cannot help but recall such monuments as Novgorod churches or the Church of the Intercession on the Nerl, beautiful “inscribed” into the nature around them.
Despite his closeness to his contemporary J. Quarenghi, Charles Cameron differed significantly from him in his understanding of the architectural image, and this clearly makes itself felt in Pavlovsk. In the best palaces of G. Quarenghi, all the power of impression is created by the majestic portico of the facade, everything else serves as a neutral background. Charles Cameron gives a stronger sense of how evenly developed the volume of the palace is in all directions, and this impression is furthered by the fact that the huge low dome, dominating the entire building, grows out of its cube, as, in turn, the porticoes grow out of it, as Finally, the palace rises above the gallery and side wings. In the palaces of G. Quarenghi, each of the two facades usually serves as a repetition, a mirror image of the other. Even in his English Palace in Peterhof, both porticoes are the same, although one of them is sandwiched by side wings. The external and internal facades of the Pavlovsk Palace are sufficiently similar to each other to recognize them as parts of one building; but the portico facing Slavyanka is topped with a pediment, the columns are closer together and the verticality is more emphasized, giving the building a solemn character; on the contrary, from the side of the courtyard, paired columns form a rhythmic row, the facade is stretched in width, the portico is devoid of a pediment, and this more closely connects its columns with the colonnade of side galleries.
Charles Cameron also showed his ability to give generally accepted forms a new meaning in the processing of the dome. Connecting a round dome with the cubic volume of the palace and especially with its flat porticoes was not an easy task. It is not for nothing that J. Soufflot in the Paris Pantheon never overcame these difficulties: its dome looks like a semblance of Bramante’s graceful Tempietto, mounted on a heavy, massive crosshair. Cameron got out of the difficulty by making the drum of his dome low and wide, almost like in the most ancient Russian churches; for the sake of greatest relief, he surrounded it with columns that connect the drum with the columns of the portico. Each of the drum columns reaches a considerable height, but from a distance they merge together and form a kind of balustrade.
Cameron well understood and highly appreciated the beauty of the wall surface, but, unlike many masters of classicism of the 18th century, who subjected only the surface of the wall to architectural treatment, he placed windows on the side facades of the Pavlovsk Palace in deep niches and thereby revealed the entire thickness of the wall, its physicality and strength . This again makes us remember the monuments of ancient Russian architecture. In the Pavlovsk Palace, the predominance of the center is clearly expressed, but the separation of two facades is also noticeable, and the dominance of the entire building over the surrounding area and merging with it. There is a calm, impressive strength in its silhouette, and at the same time, in the processing of parts, elegance and grace make themselves felt.
The central position in the Pavlovsk Palace is occupied by the round Italian Hall, which survived the fire of 1803 and was heavily damaged by the fire set by German fascists during the retreat from Pavlovsk, and now restored. Initially it served as a dining room, but, designed like the Roman Pantheon in a round plan with an overhead light, it produces a solemn, majestic impression of a sanctuary. Everything in this round hall is calm and balanced. Cameron abandoned the columns here, but the hidden presence of the order is reflected in the large-scale relationships of the divisions. The entire rotunda is surrounded by a wide entablature with a developed, elegantly decorated frieze; it falls at the height of a large order; slightly below it stretches a narrower cornice, corresponding to a small order; the statues standing in niches are even smaller in size; the gradation of scale makes the huge hall commensurate with a person. Thanks to the niches in the hall, the thickness of the wall is clearly revealed, but it is not excessively massive, since the sections between the niches can be perceived as both massive pylons and flat partitions. Medallions in the walls, hanging on garlands, emphasize the force of attraction, and at the same time the garlands merge and form a broken wavy line, repeated by the arches of the niches. There is not a single feature, not a single form in the Italian Hall that has not been brought into conformity with another; at the same time, every detail - medallions and caryatids, even later decorative eagles - is located in such a way that there is a free field around it and so that it does not press on anything, nothing covers it. All this creates the impression of calm balance and spirituality.
The Italian Hall in Pavlovsk must be recognized as one of the wonderful examples of the use of color and light in architecture. Thanks to the overhead light source, he is immersed in that transparent twilight in which objects lose the sharp clarity of their outlines, and stones lose their rough materiality. The darkest parts are the spans of the second tier, the lightest are the marble floor slabs; Between these opposites there are many intermediate shades. The unity of lighting corresponds to the unity of tone of dark purple marble in combination with gray-steel and soft pinkish slabs. According to the ancient inventory, in the round hall there was blue furniture trimmed with silver. Here and there gold, sparingly placed, glitters on the walls, but nowhere does it sparkle as dazzlingly as in V. Rastrelli’s. It is not without reason that the whole mood of this hall is completely different: V. Rastrelli’s is noisy, slightly rude gaiety, while Charles Cameron’s architecture plunges a person into quiet, concentrated reverie.
Among the halls of the Pavlovsk Palace that have preserved their original appearance, the Billiard Hall stands out. This modest premises bears a particularly noticeable imprint of Cameron's noble taste. According to the custom adopted at the end of the 18th century, its walls are divided into wide rectangular panels, separated from each other by thin pilasters. The walls are bordered at the top by a Greek frieze with triglyphs and rosettes between them. In this room, neither the ceiling nor the walls are almost decorated with stucco reliefs, so abundantly used by Charles Cameron in the Agate Rooms in Pushkin. The whole impression is achieved here only by calculated proportional relationships of divisions. The spirituality of the architectural decoration is reminiscent of the best Pompeian paintings of the so-called third style. It is noteworthy that the proportions of individual panels vary freely according to the size of the various piers.
Cameron was not only the first builder of the palace, but also the first creator of the park layout ( O. A. Ivanova, Pavlovsky Park, Leningrad, 1956 (most full meeting plans, drawings and photographs of Pavlovsk Park).). Around the palace it has a fairly regular character. The so-called “Own Garden” is divided by straight paths into equal squares. From the side of the courtyard, a straight linden alley stretches from the palace, which leads to the “Parade Field”. To the left of the alley are the so-called “Circles”. These parts determine the predominance of the architectural principle in the immediate surroundings of the palace. In other parts of the park, already under Cameron, the intricately winding river, the valley it forms and the complex network of roads, paths and bridges crossing it in in different directions. Even before the construction of the palace, among the greenery of Pavlovsk Park, Cameron erected gazebos and temples. Many of them, such as the “Temple of Friendship”, “Colonnade of Apollo” and “Temple of the Rose without Thorns”, belong to the type of round plan that was popular at that time. building. In the “Temple of Friendship,” Cameron decorated the rotunda with slender Doric columns. This pavilion is placed on a peninsula formed by a bend of the river, and is lined with trees, creating, as it were, a second ring, but thanks to its whiteness, it attracts attention even through the greenery of the trees; although the pavilion stands in lowland, from it the palace rising high above it is clearly visible. As the most impressive structure in the park, the “Temple of Friendship” is more closely connected with the palace than others, and at the same time, with its volume, it forms a semblance of one of the hills on the bank of the Slavyanka and that is why it is so good. “fits” into the terrain.
The “Colonnade of Apollo” was moved to the hill above Slavyanka next to the cascade falling down and made a more romantic impression. The whole thing is more open and more airy than the “Temple of Friendship”. Its columns are placed in two rows so that the statue of the ancient god, in the perspective of the columns going deep into the interior, looks as if it is standing in a basilica. The uniqueness of the smallest monopter - “Temple of the Rose without Thorns” - lies in the fact that its tall, heavy entablature rests not on eight, but on only seven columns; thus, against each pair of columns there is one column behind, which gives rise to a peculiar rhythm "in a hurry." It should be remembered that most of the round temples of the 18th century that decorated many parks in France, England and Germany are so similar to each other, as if they were made according to the same model. On the contrary, each of Pavlov’s buildings is marked with the stamp of either majestic severity or elegant elegance, and each has its own special face.
The Three Graces Pavilion in the Garden Proprietary was designed by Cameron somewhat later. When approaching the palace along the steeply uphill road, the Three Graces Pavilion looks, in abbreviation, like a classic peripterus; on its high base it protrudes somewhat from the fence, and this emphasizes its volume. However, unlike ordinary peripters, the pavilion of the “Three Graces” has six columns on the front side and only four on the longitudinal side. This deviation is not immediately noticeable, but thanks to it the façade stands out and at the same time the entire pavilion becomes more open from the inside and connects with the surrounding space. Only from a distance does this pavilion seem like a closed volume. From the side of the fence, its columns look like a frame for the sculptural group “The Three Graces.” From the side of the path leading from the palace, the portico fits into the semicircular arch of the trellis. The entire pavilion of the “Three Graces” differs from the “Colonnade of Apollo” in the slenderness and porcelain fragility of its forms.
Cameron's "Aviary" was intended for birds, they were seen as the embodiment of the vital forces of nature. In contrast to them, the side pavilions were decorated with funeral urns. This contrast is typical of the way of thinking of the 18th century. Cameron based his "Aviary" on the type of Palladian villa, it can be called "a variation on the theme of the Italian villa" ( Wed. “Aviary” by C. Cameron with the villa of A. Palladio (Palladio, Four books on architecture, I, book 2, M., 1936, p. 62).). Placed at an angle in relation to the access linden alley, through the trees it immediately opened up to the eyes with its stretched façade. Thanks to the relationship between its individual parts, the “Aviary”, with all the simplicity of its forms and modesty of decoration, creates the impression of great artistic wealth. It clearly expresses the predominance of the middle pavilion topped with a dome over the side ones, and this, on a small scale, gives it some solemnity; together with However, the motif of the middle pavilion is repeated with a slight modification in the side pavilions. The relationship between the columns and pylons of different scales is also elongated, but it emphasizes the volume of protruding pavilions and free-standing columns. Inside the “Aviary” with its alternating light colors. dark rooms forms a through perspective, which was conveyed in the drawing by V. Zhukovsky ( “Six views of Pavlovsk”, St. Petersburg, 1824; G. Lukomsky, Pavlovsk and Gatchina in the drawings of the poet Zhukovsky, Berlin, 1922.). The landscape is perfectly visible through the open galleries.
Cameron felt most free from accepted architectural types when he conceived the “Elizabeth Pavilion” on the outskirts of the park, not far from the village of Glazovo ( “Yearbook of the Institute of Art History of the USSR Academy of Sciences,” 1954, figure on pp. 228, 229.). This building was considered an architectural quirk of Charles Cameron. They doubted that Cameron himself had conceived it. Meanwhile, it was here, at the very edge of the park, that he embodied his ideas as boldly as he did not dare to do in traditional porticos and rotundas. The pavilion has only one large hall, the ceiling of which was subsequently decorated with an image of the sky and a bending tree branch. On one side, an open staircase with a covered platform rises to the building, on the other there is a semicircular portico with massive columns, on the third side it is decorated with two thin graceful Ionic columns. The roof terrace of the pavilion offers views of the surrounding area. For the sake of this main purpose of the building, Charles Cameron showed such disdain for the accepted classical types that none of his prim compatriots, and among the French, only N. Ledoux, allowed himself. However, even here Charles Cameron does not lose his sense of proportion and does not go beyond the limits of grace. There is a special charm in the way this building changes its appearance from different points of view, how freely the extensions mold around it, how its light volumes alternate with dark spans, how on clear days sun glare and lacy shadows play on its protruding porticoes and their edges trees. Despite all violations of symmetry, the pavilion remains slender and complete.
The lyricism of Pavlovsk is especially clearly manifested in a number of buildings, dedicated to memory deceased. The best Russian sculptors of the late 18th century, led by M. Kozlovsky and I. Martos, took part in the creation of these monuments. The “geniuses of places” with which our sculptors populated Pavlovsk are predominantly in a state of quiet reverie, slightly touched by light sadness. A woman in a wide cloak, bending to her knees, fell to a stone pillar with a funeral urn - this is the tombstone of Pavel I. Martos. Another woman is mourning deceased, while a slender young man carefully removes the light cover from the urn - this is the Monument to the parents of I. Martos. Another young man stands, thoughtfully leaning on an extinguished torch - this is the relief of the monument to Elena Pavlovna ( Ibid., fig. on page 223.). A woman in a light tunic raises her eyes to the sky, while a winged young man, reverently kneeling, tries to keep her on the ground - these figures of I. Martos adorn the monument to Alexandra Pavlovna. Two curly-haired young men with huge wings on their shoulders knelt and folded their hands in prayer - M. Kozlovsky decorated the altar of the palace church with them. In the palace one could also see other statues of M. Kozlovsky: one depicted a boy on a rock with a gaze fixed in childish thoughtfulness, the other depicted a winged god who had abandoned his pranks and treachery, tired and indulging in sweet dreams (“Cupid”). In the Throne Room there are caryatids I. Martos is supported by a heavy entablature - these are majestically calm, powerful women, immersed in thought.
The layout of Pavlovsk Park was started by Charles Cameron ( For a detailed discussion of the layout of Pavlovsky Park, see: M. Korzhev, Pavlovsky Park. - “Problems of landscape architecture”, M., 1936, p. 189.). But its true creator should be considered P. Gonzago, who assumed his role in 1792. You can notice some differences between the parts of the park created under Charles Cameron and the parts created under P. Gonzago. In the former, architectural structures play a more prominent role. These views of the park, designed by Charles Cameron, sometimes resemble the classic landscapes of Claude Lorrain. With the sensitivity of a true poet of nature, he guessed the forces that seemed to be inherent in the very area of Pavlovsk on the sloping banks of the winding Slavyanka. Where there was a hill in the park, he erected a pavilion or monument, and then the hill below it served as a pedestal. In the place where a beautiful view can open up, it thins out the greenery, from here other buildings, inscribed in picturesque panoramas, delight the eye. In these parts of the park, architecture plays a major role.
Gonzago’s share fell to the processing of the untouched forest; he had to not so much deal with plantings as “remove the excess,” lay roads, paths and clearings in the natural forest. At the same time, P. Gonzago’s park work acquired a wider scope.
It is known that P. Gonzago came to Russia as a theater decorator. In Pavlovsk he distinguished himself in the field of decorative painting, in painting the Gallery and in performing perspective painting of the wall visible from the windows of the Library. Spectators have long been captivated by the skill of P. Gonzago, who created a deceptive impression of depth on a flat wall. He was not only a skilled perspective-taker, but also a subtle artist, a poet of the brush. The architectural fantasies of P. Gonzago are usually alien to the spectacular accumulation of the unprecedented and unprecedented, which baroque decorators like D. Valeriani shine with. With his paintings, P. Gonzago does not “destroy” architecture, as the Rococo masters did, covering the walls with mirrors and picturesque panels. Decorative paintings of P. Gonzago are just a natural continuation of the architectural space. In them one can see slender colonnades, wide spans of arches and windows, staircases, balustrades, cassette ceilings - a similarity to what surrounds the viewer everywhere in Pavlovsk itself. But in painting these motifs appear purified from everything random, permeated with light and air and elevated to a level of perfection pleasing to the eye. Similar principles were used by Gonzago as the basis for Pavlovsky. parka.
P. Gonzago did not rape nature, like A. Le Nôtre, with his passion for strict order, and did not force her to surpass himself, as the creators of Italian parks of the Baroque era did. But Gonzago was also not a poet of elegiac moods, like the creators of the northern romantic parks with their sad ruins. He fell in love with the nature and vegetation of those regions of our country where Pavlovsk is located, learned what could grow on its soil, and therefore some of his parklands are almost indistinguishable from virgin nature with its pine trees, birches and aspens.
The entire Slavyanka valley was planted, and paths were laid in it with the expectation that the southern, more Highland served as a place from where the northern shore was clearly visible, usually illuminated by the daytime sun, with bushes, undergrowth and tall trees closing the perspective. “The Parade Field,” Paul’s parade ground, abandoned after the emperor transferred military exercises to Gatchina, was turned by Gonzago into a picturesque lawn. Trees stand in groups, forming lush bouquets, spreading oaks rise individually and, not crowded by anything, grow in breadth with their round clumps; silvery willows alternate with fluffy fir trees, pointed green-velvet spruce trees peek out from behind spreading linden trees. Trees in groups move away from the forest thicket or merge with it. Lawns open up between the trees or serve as a background for them.
Anyone who has been to Pavlovsk in the fall knows what a marvelous sight its park is when its various tree species begin to turn yellow and red. In that part of Pavlovsky Park, where a straight road stretches from the “Pink Pavilion” to its very edge, to the “White Birch”, Gonzago decided to limit his palette to the modest colors of trees common in the north - birches and pines. Along the edges of the path there are rare, seemingly random trees; they do not form a continuous row, as usual alleys of the 18th century, and therefore do not cover the views on the sides, but serve only as their frame. A walk along this road is accompanied by a rich change of impressions; The view now reveals distant expanses of meadows, now groups of trees protrude forward, now the view is obscured by continuous forests. The road ends in a round clearing, on which twelve birch trees stand in a circle around a tall curly birch tree, forming a kind of white-trunked round dance.
In Pavlovsk, the words of Zhukovsky are constantly remembered: “What a step, a new picture in my eyes.” Indeed, there is something uplifting in the wealth of visual impressions that a walk through Pavlovsky Park bestows on the visitor at every turn of the path. Something welcoming is visible in every clearing, something there is something attractive in the gaps among the trees, something invigorating in the fact that the eye does not have to look for rhythm and order among the thickets of greenery, it receives them directly from the artist. And if the 18th century French writer Saint Maur admitted that Pavlovsk “corresponds to all the moods of the soul.” , then this primarily applies to his park.
P. Gonzago showed in Pavlovsk his great art as a stage magician, his incomparable mastery of illusion. Much looks like what happens in the forest, in those rare regions where no human foot has gone before, where the trees were left to grow naturally, and at the same time many corners are beautiful, as in a painting, although the trees are not painted on canvas, but represent real trees, the wind rustles their leaves, and nothing prevents a person from entering the picture and thereby, as it were, taking a step forward on the path to bliss.
At the end of the 18th and beginning of the 19th centuries, the architects V. Brenna, Thomas de Thomon and C. Rossi had the opportunity to prove themselves in Pavlovsk, who, departing from Cameron, introduced new features into the appearance of Pavlovsk. The side wings, added by V. Brenna in 1798-1799 to the palace of Charles Cameron, gave it a more closed, serf-like character in the manner of the Mikhailovsky Castle, but did not significantly enrich its original design. After the fire of 1803, the Great Throne Hall, the Hall of Peace and War and many other halls were decorated by V. Brenna with rich, Roman-naturalistic stucco, overloaded with trophies, and it also differs from the original strict and graceful arabesques of Charles Cameron. In the park, V. Brenna built the “Musical Pavilion” in 1799. It is enough to compare its closed and united volume with the light “Aviary” by Charles Cameron to recognize that here, too, V. Brenna significantly departed from his predecessor. The new appears even more sharply in the later works of the young C. Rossi. No matter how excellent this master is in himself, his buildings look something alien in Pavlovsk and are significantly inferior as a result. In the Library built by C. Rossi over the Gonzago Gallery (1823), one is struck by its excessive heaviness, inappropriate solemnity, and the cold surface of the wall, sharply opposed to the dark spans. The Doric columns of the Nicholas Gate by K. Rossi (1826) with a huge eagle mounted on them do not fit well with the architectural appearance of Pavlovsk. Architecture is increasingly required to serve the glorification of imperial power, and therefore V. Brenna, and later C. Rossi, increasingly looked back at the architectural examples of imperial Rome.
Among the buildings deviating from the Pavlovsk style, the most significant should be considered the Mausoleum of the benefactor spouse (1805-1806). Designed by Thomas de Thomon, this mausoleum stands in stark contrast to Cameron's Monument to the Parents. In Charles Cameron's works we find a welcoming open niche space, a majestic, simple and clear composition, Doric columns, and soft molding of forms. The Mausoleum of Thomas de Thomon produces a closed, stern and even gloomy impression. Its blank side walls should emphasize the detachment of the world of the dead from the earthly world. Granite, smoothly polished pink columns are contrasted with the rusticity of the walls, and therefore the entire building lacks the integrity of Charles Cameron’s buildings. Tragic masks with a black grin of an open mouth are repeated in metopes with the persistence that the ancient masters did not allow themselves. The building's proportions lack the softness characteristic of Charles Cameron's works. With its austere simplicity and rigidity of details, the mausoleum of Thomas de Thomon is more similar to the architectural images of N. Ledoux. Hidden away from the main alleys, in the most remote part of the park, among tall pink-trunked pines, like its columns, the mausoleum introduces a note of gloomy anxiety into the general softened mood of Pavlovsk Park. His intense romanticism contrasts with the elegance of Pavlovsk.
In those very years when the appearance of Pavlovsk was subjected to significant changes by subsequent constructions and alterations of the palace, its artistic value became increasingly recognized in the eyes of Russian society. Pavlovsk became the “spiritual homeland” of the generation of Karamzinist poets. That is why the heartfelt words of V. Belinsky about the historical significance of V. Zhukovsky’s poetry, “as a necessary as well as a great moment in the development of the spirit of an entire people,” help to find a place for Pavlovsk in history of Russian artistic culture ( V. Belinsky, Review of N. Polevoy’s book “Essays on Russian Literature.” - “Notes of the Fatherland”, vol. VIII, 1840.).
At the beginning of the 20th century, N. Karamzin, V. Zhukovsky, N. Gnedich, and I. Krylov appeared in Pavlovsk. V. Zhukovsky was the first Russian author who sang in poetry about Pavlovsk, its special beauty, which he correctly guessed. To the best of your ability
With his artistic abilities, he tried to sketch his impressions. In the album kept in the “Pink Pavilion”, I. Krylov personally included one of his poetic fables - “Cornflower”. All this, however, dates back to the later period of the existence of Pavlovsk, when the “Pink Pavilion” built by A. Voronikhin became a place where a society of writers gathered. They all felt in Pavlovsk as if they were in their own environment. This was especially clearly expressed by one of writers of this movement, the translator of Jung’s “Nights”, S. N. Glinka, who admiringly noted in Pavlovsk “instead of the splendor of luxury and frills of fashion,” “charming taste and noble simplicity.”
This also determines the unique place occupied by Pavlovsk among our country palaces of the 18th century. Peterhof, although it was completed under Elizabeth, retained the significance of a monument to Peter and the entire glorious time of Peter the Great; No wonder M. Kozlovsky had the honor of decorating it with the image of the Russian Samson. Built on the shores of the Baltic Gulf, Peterhof, with the entire scale of its architecture and extensive park, is commensurate with the expanses of the sea. In Peterhof, where, according to G. Derzhavin, “the aspirations of the watercourses beat the air with noise,” the very tireless and harmonious movement of the water mass contains the idea of pacifying the elements by a great transformer. Tsarskoye Selo acquired a different meaning and took shape in other forms. Tsarskoe Selo Palace Rastrelli is a monument to the zenith of the Russian noble power of the 18th century; luxury and splendor, grandeur and the joy of glory reign here, that carefree fun, which at the end of the century was replaced by the ideals of the Enlightenment, embodied by Charles Cameron in his classical Gallery, with its busts of the sages. and heroes. In Tsarskoe Selo, the water is not in motion, not boundless, as in Peterhof: it spreads out as a vast, but quiet lake visible from the palace, and only the monuments to “Catherine’s eagles” scattered along its shores and islands evoke the glory of Russian weapons. Gatchina, originally the palace of an omnipotent favorite, then an heir disliked by the throne, was conceived as a villa-fortress, and in the years when altars and thrones wavered in the West, it, with its towers and amphitheater, which were unusual for us and never took root, acquired meaning the formidable Bastille; Even from the side of the park, the Gatchina stronghold is separated from the lake by a heavy stone embankment and retains its stern fortress appearance.
Pavlovsk Palace is the last imperial palace of major historical and artistic significance in Russia. And at the same time, it is noticeably closer to the type of an ordinary noble estate. Pavlovsk was created not for balls, not for ceremonial receptions, but for a lonely person immersed in thoughts, and therefore the water in Pavlovsk is a “quiet Slavyanka”, which with its winding current leads the walker along the shore, awakens in him the need to go in search of something... something, although unrealizable, but beautiful. In Pavlovsk, the moods of “night poetry” of the 18th century, which left a person alone with himself, and idyllic poetry with its bright images of past happiness crossed. In Pavlovsk Park, pictures of joyful nature, green lawns alternate with tombstones. By awakening thoughts about death in people, they evoke light sadness. In the poetry of G. Derzhavin, the epicurean attachment to life's pleasures sharply contrasts with the dark fear of death. In contrast, Pavlovsk’s poetry should help a person to see more than just the fleeting and transitory in life, to overcome the fear of death with love for loved ones and recognition of their posthumous glory.
In the development of individual national art schools, art historians have so far attached excessive importance to architectural styles. Meanwhile, even during the period of dominance and widespread dissemination of styles such as classicism, their manifestation in various countries bore the stamp of national originality. This is easy to verify by comparing Pavlovian buildings with contemporary and similar buildings in England, France and Germany. It has already been noted that the architectural image of the Pavlovsk Palace does not find a complete analogy in Cameron’s homeland with its prim representative palaces ( M. Alpatov, Cameron and English classicism. - “Reports and communications of the philological faculty of Moscow University”, I, M., 1946, p. 55.). The Pavlovsk Palace has more simplicity and clarity of form, that organic growth that has always been inherent in the best monuments of Russian architecture. In the “Temple of Love” by architect Mick in the “Petit Trianon”, graceful, flirtatious elegance and Roman dryness of forms prevail; in similar Pavlovian monoptera the forms are richer, they have more Hellenic softness, which later became the property of Russian classicism of the early 19th century. The decorative decoration of the Billiard Room with rectangular panels finds a well-known analogy in the interiors of Versailles and Fontainebleau during the time of Louis XIV. But in France, filigree processing of details, fine profiling, the impression of fragile grace reign - in Pavlovsk there is more simplicity, naturalness, clarity and freedom.
These discrepancies cannot be considered random. They highlight the fundamental differences between classicism in Russia and in the West. It is not without reason that the most significant features of Pavlovsk were further developed in Russian classicism, especially in its Moscow version. It is not for nothing that the entire Pavlovian ensemble served as a model, which was followed on a more modest scale by the builders of Russian estates of the early 19th century with their linden parks, temples of friendship, houses with columns, and overgrown ponds.
ELEGANT
ELEGANT
Word elegant entered the Old Russian literary and book language from the Old Church Slavonic language. By its origin, it is usually associated with the verb topic * withdraw- and verb leave(cf. modern confiscate). Its original meaning is understood as “chosen.” In A. Preobrazhensky’s “Etymological Dictionary” about the word elegant it is written: " Elegant beautiful, tasteful book. borrowed from csl.: grace, elegance, etc. graceful, elegant άριοτος grace technique, method (?) (Sreznevsky, 1, 1086). ss. izishtn 【 ξαίρετος (MEW. 103). - Topic: take- to name, eti; track. own chosen one. Regarding the value of avg. fr. elegant(Preobrazhensky, 1, p. 267). There is no doubt that in this explanation of the semantic structure of the word elegant(just like M.R. Vasmer - see below) contains significant elements of modernization.
Word elegant(old Russian version elegant) in the language of Old Russian writing was characterized mainly by “high” book style and at first it was surrounded by an expressive halo of a church-cult epithet. It meant not only `chosen; but also “the best, outstanding, excellent, strong, famous.” In the “Materials” of Academician I. I. Sreznevsky, among other things, such phrasal contexts of the use of this word are noted in the oldest Russian monuments of religious and historical content (XI - XV centuries. ): " elegant courage (Minea 1097); like elegant sushta in the apostles (Putyatin’s Menaion of the 11th century); in the list of the 12th century. elegant instead of costs: famous , ...Chin(τάξις 〄ριστη graceful ordo optimus) (Efremovskaya Kormchaya); ... graceful benefit (Pandects of Antiochus of the 11th century). Dar...(εαιρετον graceful ); ...people graceful (ibid.). Graceful elegant warrior (Prologue of the 13th century); ... grace).
his (abbot Sergius) novice monk Peresvet (Tale of the Battle of Kulik)” and some. etc. (Sreznevsky, 1, p. 1086, see the same word elegant Academician V. M. Istrin found that the word has not undergone strong semantic changes in the Russian language: “... While, for example, the word ” graceful “has retained its meaning from the Simeon period (found in John the Exarch) to our time, the word” in vain elegant, - “in ancient times it was used only in the meaning of “unexpected”” (Istrin, p. 80). In ancient Russian church and theological literature, a derivative of except, - elegance grace word (Epistle of Simon to Polycarp 1225). In the late list of the Chronicle of George Amartol (XV century), Sreznevsky, following A. Kh. Vostokov, also indicated artificial book education, which apparently arose in the era of the second South Slavic influence: “ Gracefulness- praestantia "More than words elegance him" (Sreznevsky, 1, p. 1086). Wed. in the dictionary of A. Kh. Vostokov: “.... 【ξαίρεσις izshtenie , exemptio. Ant.; izshtitis - Ch. return `distinguish yourself'. Min. holiday of the 12th century. Aug. 5. The enemy of the fighter has fallen gracefully bright; izshtanstvo , With. Wed "Elegance". Amarth. XV century. More than words elegance his; 【ζαίρετος izshtnichisk peculiaris. Cod. Sup.. 427; εζαίρετος izshtpn- , peculiaris. Ant. Pat.; - 〿 περβαίνειν get rid of . superare. Dial ." Compare: “Nothing from the first virtues grace (Epistle of Simon to Polycarp 1225). In the late list of the Chronicle of George Amartol (XV century), Sreznevsky, following A. Kh. Vostokov, also indicated artificial book education, which apparently arose in the era of the second South Slavic influence: “ 〄ριστεία It’s good for him to be fast” (Chronicle G. Amartola. ). The verb was also used grace : “Such are the attacks and reactions on the enemies be comfortable ριστεύειν "(to gracefully - 〄 )(vol. 1, p. 161. Compare the same in the Ipatiev Chronicle, PSRL, vol. 2, p. 270). See also in the materials of the card index of the Old Russian dictionary of the 13th - 17th centuries. To Nikolsk. chronicle: “Fokas..., his name is Leo, a man of majesty of body and strength gracefully , voivode of the then Greek military command” (PSRL, vol. 9, 25, 1111). Be graceful as equivalent to Church Slavonic gracefully used before early XVIII V. See Simeon of Polotsk in “The Russian Eagle” (1667): graceful
(l. 24). elegant M. Vasmer in his “Etymological Dictionary” under the word
« such links and comparisons are placed. Elegant elegant, old Russian “dexterous”, also “noble” (Katyr.-Rost., 17th century; see Gudziy, Khrest. 320),“not noble” (Dracula 657), Serbian-Cslav. izshtn【ζαίρετος , Czech vzácný ”rare; dear“, slvts. vzácny (Polish zacny - from Czech). Goes back to *jьz-tej-ьnъ (from behind- And yat in take), borrowed from Tslav.; see Mi. EW 103; LP 254; Convert 1, 267; Gebauer, HMI, 384; Shimek, LF 67, 377 et seq. Wed. lat. elegans, French élégant, original “chosen” (see Gamilsheg, EW 346)” (Vasmer, 2, p. 124).
Using the card index of the Old Russian dictionary of the XIII - XVII centuries. (Institute of Russian Language, USSR Academy of Sciences), it is easy to see the wide ambiguity of the word elegant and in the variety of ways and forms of its compatibility with a variety of words in the pre-national era of the history of the Russian literary language. Here are the most revealing illustrations from ancient Russian monuments of different centuries, from the 14th to the 18th centuries. In the Nikon or Patriarchal Chronicle: “... the commander deliberately and the general graceful and removed the evil” (PSRL, 11, p. 56); "miracle-worker" has not undergone strong semantic changes in the Russian language: “... While, for example, the word ”, wonderful and merciful" (The Miracle of St. Nicholas, manuscript of the 14th century); " has not undergone strong semantic changes in the Russian language: “... While, for example, the word ” warrior" (Prologue of the 14th century); "live" graceful and faith" (Laurentian Chronicle 1377); "the case of drago and gracefully"(Message of Pope Leo XIV century). From ancient Russian sources of the 15th century: “...to your saint and friend gracefully"(Sofia vremennik); “and the shepherd needs to eat, according to this last time, about every thought and nature be graceful, and in every possible way instruct in unanimity to God” (Message of Metropolitan Photius, 1419-1430); “The husband is quiet, meek, humble, cunning, wise, reasonable, industrial and reasonable, graceful in the divine scriptures, teaching and books of the storyteller” (Rogozhsky chronicler, PSRL, 15, p. 105); " graceful struggle without thought to have a heart in prayer" (Charter of Nil Sorsky, list of the 15th - 16th centuries), in the "Moscow Chronicle Code" of the late 15th century: "... having chosen his husband, she is quiet, meek and humble, wise and reasonable And graceful in the divine scripture, and the narrator simply spoke to the books, having successfully and fully passed through every virtue” (PSRL, 25, p. 189).
From the writing of the 16th century: “Life graceful"(Typographic Chronicle, 16th century, PSRL, 24); " graceful(var. elegant) hammers and skilled in military affairs" (Lvov Chronicle, (PSRL, 20); "he ordered the cathedral church to be signed graceful icon painter" (Book of the Degree of the Royal Genealogy, PSRL, 21); "in bodily and natural has not undergone strong semantic changes in the Russian language: “... While, for example, the word ” it was evil” (Message of Joseph Volotsky); “Vladimir made that youth an honest nobleman, just like his father graceful Honor your majesty and all his family” (Book of Degree, 117); “This Mityai... is eloquent in words, has a good voice, is good at reading, is good at singing, is good at honor, is good at speaking with books, is good at all priestly deeds has not undergone strong semantic changes in the Russian language: “... While, for example, the word ” and in everything he will deliberately be” (Simeonovskaya Chronicle, list of the first half of the 16th century; PSRL, 18).
From literary and written texts of the 17th century: “... spiritual father to the teacher elegant and to all my good intercessors” (Barlaam and Joasaph, list of the 17th century); " graceful embassy" (History of Melusine, 17th century, 39); “The man is highly adorned with wisdom and in book learning has not undergone strong semantic changes in the Russian language: “... While, for example, the word ” and is known in the purity of his life” (Additions to the Historical Acts, vol. 2, 1614); " has not undergone strong semantic changes in the Russian language: “... While, for example, the word ” be in faith" (Euphrosyn. Reflective Scripture", 1691); " elegant worker of the grapes of Christ" (Life of Anthony of Siy, manuscript of the 17th century); "kind of graceful"(Great Menaion of Chetya); "God who gave is such graceful shepherd" (Life of Metropolitan Philip, manuscript of the 17th century); "fair and graceful creator" (ibid.); “Feofan Grechin, a deliberate book illustrator, painter elegant in icon painters" (Epiphany's Epistle to Cyril, copy of the 17th century); “the great husband (V.V. Golitsyn) reasoning, graceful in embassy regulations and skillful” (Tale of Katyrev-Rostovsky); " graceful in wisdom to the great sovereign" (Correspondence of Tsar Mikhail Fedorovich); "shepherd and teacher has not undergone strong semantic changes in the Russian language: “... While, for example, the word ”"(Life of Arseny Tverskoy, Undolsky manuscript No. 286, 17th century); “... I ask... your royal mercy, so that, by your gracious decree, your ordinary and glorious royal rights graceful Your Tsar's Majesty's charter for that village of Mikhailovka... was given to Mikhail..." (1681) 100; “then imashi will be honored most graceful, that then you will become impoverished for the Father’s highest glory” (Artaxers’s action, 1672, fol. 55 vol.); “many more... our rumors have been turned away from their good judgment and in their words grace"(Prologue, September and March half of the year, print. 1643, l. 952); “Only I look at the simple ones // And those gracefully I can’t understand...” (Message from Stefan to the monk-inspector Arseny Glukhoy, 1st half of the 17th century; Tr. ODRL, 17, p. 404); (Antagoras) “among many I saw a ship larger than all and in good order graceful, both black in appearance... and the ship’s banner is black” (The Tale of Apollonius of Tire, 17th century, list of the 18th century); " more graceful understand” (Cosmography 1620); "fairly and most gracefully"(Monuments of the Time of Troubles); in “Notes of Count A. A. Matveev” (St. Petersburg, 1841): “...many faithful servants, graceful and honored surnames." Wed. also: “We remained in the city all day, but nothing graceful I saw, moreover, ancient things” (The journey into the holy land of Prince Radivil the Orphan 1582-1584. Translation from the Polish edition of 1617, list 1695, 114) - “Cały dzień strawiliśmy w mieście, ale nie było co widzieć "; "Customs Commissioner elegant making a speech to him” (History of Melusine, 17th century); "to the great sovereign, in honor of his majesty graceful and many Muslim families to the ruler" (Embassy of M. N. Tikhanov, 1613-1615); “The miracle worker is wonderful and a prayer book to God in the world has not undergone strong semantic changes in the Russian language: “... While, for example, the word ” appear” (Gerasim Firsov, sp. 17th century); "On the resolution from the letter graceful reasoning from the word" (Rhetoric, 1620, l. 408); "and therefore gracefully his Nikonian heresy is being recognized” [Petition of Nikita Dobrynin (Pustosvyat), 1665]; Wed there: “... gracefully Joseph of Volotsky, having collected from the divine scriptures, writes to this..." (37); “...so ours, like his true disciple and imitator, will accept zeal, not looking at bad things, but at suggestions grace accepting, for God does not give gifts and labor to quantity, but rewards quality according to his will” 101.
From these illustrations it is easy to judge not only the variety of phrases with the word elegant in Russian medieval writing (cf.: life gracefully, case gracefully, graceful struggle, miracle worker, warrior, intercessor, shepherd, teacher, friend, husband, boss elegant, elegant iconographer, painter, elegant genus, graceful surname, graceful diploma, honor most graceful, decoration graceful, graceful reasoning, etc.), not only about the development (apparently, especially from the 15th century) and the multiplication of forms syntactic compatibility words elegant with words that spread and define it ( V how And how;« graceful in the divine scriptures" - Rogozhsky Chronicler, Moscow Chronicle; “all the affairs of the priest has not undergone strong semantic changes in the Russian language: “... While, for example, the word ”» - Simeonovskaya Chronicle, list of the 16th century; "in book learning has not undergone strong semantic changes in the Russian language: “... While, for example, the word ”», « has not undergone strong semantic changes in the Russian language: “... While, for example, the word ” in faith", " elegant in wisdom”, etc.), but also about the semantic complexity of the word structure elegant and about the extraordinary richness and breadth of the shades of evaluative values expressed by him, relating to qualifications and outstanding social qualities, and moral, ethical, aesthetic and even physical merits, strength and influence.
Slovenian-Russian and Russian lexicons of the 16th - 18th centuries. do not reflect all this variety of meanings of the word elegant and related words.
In Lavrentiy Zizaniy's Lexis the word izshtstvo explained by the word `election; A izshtny- “elected” (Zizaniy L. Lexis. l. 14 vol.). In the “Lexicon” of Pamva Berynda (according to the 1653 edition) the words are placed: izshnik: Above all the mightiest, knight, and those in the forefront to other authorities. elegance: celebrity, excess, election, strength (Berynda P. Lex., p. 56-57). In “Synonym of Slavenorosskaya”, published by P. I. Zhitetsky in the appendix to the study: “Essay on the literary history of the Little Russian dialect” the word elegant And grace are not subject to semantic interpretation. They are not named among the main synonyms explained by parallel expressions. But they are widely used to explain other words and expressions. For example, Zatsny- honor elegant, glorious, unbegunable (see Zhitetsky, p. 28). Meaningful- famous, honorable, fair, elegant, great, superior, first (ibid., p. 32). The most advanced- most elegant, prettier, pre-present (ibid., p. 45). In the “German-Latin and Russian Lexicon” (St. Petersburg, 1731) we find (in reverse order - Russian words come first, then Latin words and German words last): “ The Chosen One, elegant, fair, - Excellent, exquisitus. - Ausbundig (p. 53); such links and comparisons are placed., chosen one. - Lectus, exquisitus. - Auserkohren, auserlesen (p. 53).” Wed. The best, kindness, elegant- i.e. Melior, praestantior. - Besser” (p. 87); " such links and comparisons are placed., fair, praiseworthy. - Laudabilis, egregius, audax. - Brav” (p. 107).
Master Grigory Dyachenko’s “Complete Church Slavonic Dictionary” contains the words as equivalent to Church Slavonic And elegant with the following explanations: gracefully`exceed, exceed'. Graceful -`excellent, excellent; (〒 ξαρχος ), “commander, chief” (2 Kings 6:14) (C.-sl., p. 219).
In Simeon of Polotsk in “Polemical Articles against Protestantism” of the 17th century. (head of BAN): “And a bad thing most graceful may signify. Whenever we worship icons, we are not creating things according to their nature” (65). Wed. in the same place: “They say, Lord Jesus Christ our God, have mercy on us, praying in him that which is most elegant, that is, a deity” (233 vol.). “The third type of superiority is the average between God and man. That's how it is grace grace and glory of the saints" (ibid.).
In the Russian literary language of the first half and partly of the third quarter of the 18th century. words elegant, most graceful continue to retain their old Slavic book meanings. For example, in “Synonpsis... about the beginning of the Slavic-Russian people” by Innocent Gisel (Moscow, 1714) we read: “Asia, the greater part is the world, and most graceful... most graceful For this reason, because God planted paradise in it, created man, and gave the law” (p. 9). In “Reports and verdicts held in the Governing Senate during the reign of Peter the Great, published by Emperor. AN, ed. N.V. Kalachov" (St. Petersburg, 1883, vol. 2, book 2, 1712) we find: “abbesses of sacred and honorable monasteries, most reverent priests, most graceful boyars and merchants..." The “Spiritual Regulations” (1721) speaks of communion (the Holy Eucharist): “For this is our thanksgiving most elegant God..." (p. 54). In the “Book of Sistima, or the State of the Muhammadan Religion”: “Mustafa, characteristically signifies the chosen ones, or above others most graceful"(D. Cantemir, Book of Sistima). In “Arithmetic” L. Magnitsky talks about “ most elegant example of division” (Magnitsky, l. 21 vol.). Here most graceful means “the most thorough, the highest in quality, strong, accurate.” In the 18th century manuscript “The Science of Eloquence is Rhetoric”: “Calculus is a short the most graceful the recollection of arguments, and what is said in the whole verb, this briefly collected will be remembered” (67 vol.). In “The Book Called Agricultural” (beginning of the 18th century, handwritten by BAN, pp. 59 vol. - 60): “Should avoid everything else as much as you can from all those who harm you, and wear hair-clothes in winter, and especially at night, let yourself be well-disguised, and more elegant your head and your feet." In the same place: “For this reason, I am writing to you here ahead of certain legends and commands that are urgently needed so that you know how to abide in all your deeds, and more graceful in animal nutrition" (l. 57). In “The History of the Orders or Military Ranks, especially the Cavalry... By Adrian Schonbek” we read: “...They also have power graceful print your patents (or letters of grant) with a gold, silver, lead, or wax seal...” (History of military orders or ranks, especially cavalry ones... by Adrian Schonbek, part 1. Translated from French, M., 1710, p. 85). Wed. in the same place: “O omnipotent, ever-present God, for this (name) of your servant, like graceful girded with a sword, I wish to pour out the grace of your blessing...” (p. 140).
In the second half of the 18th century. word elegant It still continues to be used in the same combinations, but at the same time the tendency towards the expression of abstract internal qualities - moral, emotional and aesthetic - is becoming increasingly stronger.
For example, in “Bolotov’s Notes”: “I see that you are honest and the kind of person who knows that there is honor, common sense and virtue in the world, and is ready to swear for you everywhere that you are gifted.” most graceful character" (Bolotov, 1875, 1, pp. 388-389). But cf. in the same place: “Brave Loudon, made from a good soldier graceful general, commanded the Caesar’s light troops” (1, p. 771). Here elegant equals - “excellent, excellent.” See also at the beginning of the 19th century by S. T. Aksakov: “In your fast spring streams, clear and cold as ice, even in the heat of a sultry summer, running under the shadow of trees and bushes, all breeds of trout live, graceful in taste and beautiful in appearance...” (Aksakov, Family Chronicle, 1, p. 24).
From V. Lukin: “...this drama, having been transformed into our clothes, has been enriched with many more graceful thoughts" (Lukin, 2, p. 10). In the “Notes” of S. Poroshin (1765, September): “... the courage of the Russian people and many graceful his talents... have been proven to the whole world...” (Poroshin, p. 449).
In “The Cheerful and Playful Melandre”: the young man “did not lag behind [from sleep and negligence] ... even when his father-in-law, a very casual man and husband graceful virtue, promised to help him in every possible way and deliver everything that would be necessary for his promotion or increase in rank” 102.
In the works of academician I. I. Lepekhina: “...it is impossible to remain silent about Tabyn clay for various reasons. First of all, her kindness is very graceful. She is so viscous that... she doesn’t prove any rudeness to the squeezing fingers...” (Lepekhin, part 2, p. 15). Wed. in the same place, in part 1: “...nature has gifted animals graceful taste and smell, by which they can distinguish harmful grass from healthy ...” (Part 1, p. 107).
The “Dictionary of the Russian Academy” gives almost the same meanings of this group of words that prevailed in the old Church Slavonic and Slavic Russian texts: “ Grace... Excellence, elegance, excellent kindness. Grace books, essays. grace...Have superiority. Gracefully... Excellent, extremely good, pretty good. Grace...Same as grace. such links and comparisons are placed.... Excellent, excellent, fair, extremely good. Graceful talents. such links and comparisons are placed. work. Graceful books" (sl. AR, 1809, 2, pp. 1129-1130).
This entire list of words and the same definitions were literally reproduced in the dictionary of Peter Sokolov (see p. 1041). In these definitions, only the words “excellent kindness”, “excellently good”, “excellently good” can indicate the transfer of expressions elegant, grace into the aesthetic sphere. The semantic shift in the use and semantic nuances of this lexical nest finds a more specific, although still rather weak, reflection in the “Russian-French Dictionary, in which Russian words are arranged by origin; or the etymological lexicon of the Russian language" by Philip Reif: " Elegant...beau, excellent, prééminent; graceful talents, des talents éminents; elegant creations, des chefs-d'oeuvre; fine arts, lex beaux-arts, les arts libéraux. Graceful... le beau; sensitivity to graceful, le sentiment du beau. Gracefully... excellement, éminemment. Grace... And Grace... excellence, prééminence. grace... exceller, prévaloir. Excellence... prééminence, majesté splendeur, pompe” (Reif, 1, p. 352).
The dictionary of 1847 contains the same words, but there is some shift in meaning, compared with the AR dictionaries: “ Grace...Excellent goodness or beauty; superiority. grace...Have grace. Gracefully... WITH grace, perfect. such links and comparisons are placed.... Excellent good, excellent. Graceful talents. An elegant piece. - Fine arts . This is the name given to music, painting, sculpture and architecture” (page 1847, 2, p. 129). Only in V. I. Dahl’s explanatory dictionary did those semantic changes that the words underwent find full expression and definition elegant, grace in the Russian literary language of the late 18th and early 19th centuries. Here we read: “ such links and comparisons are placed., beautiful, wonderful, artistic, consistent with art, artistry; Overall, tastefully done. Graceful...an abstract concept of beauty, proportionality and taste. Fine arts: music, painting, sculpting and architecture; They also add poetry, facial expressions, dancing, etc. Grace... property, quality, belonging of everything that gracefully. The elegance of how this thing works is remarkable.. Grace... Same, except, but more in an independent and abstract meaning; beauty. Grace, this is the union of truth and goodness. grace, show off elegance. Gracefulness... aesthetics, the science of the elegant” (words by Dahl 1881, 2, p. 37).
Meanwhile, already in the last two decades of the 18th century. there has been some shift in the use and meaning of the word elegant. This can be judged at least from these illustrations. In 1788, at the University Printing House, N. Novikov published a book: “The Spirit of the Most Elegant Opinions, Selected Mostly from the Works of ... the Best Writers.” Here we find such cases of using the word elegant: IX. “The sheer price is the charm of that which adds to graceful its beauty has the advantage of not knowing that it is beautiful” (p. 6). LXVIII. “Books provide us with materials for the building graceful buildings of science, reason collects and connects them, and experience introduces wisdom into it to dwell” (p. 29). CCCXV. "Noble birth" graceful virtues, kind virtue, then only amaze others’ vision when happiness illuminates these good qualities with rays. They are like valleys strewn with flowers, which are not visible at night, and to which the sun alone imparts all their beauty” (pp. 131-132). See in the journal of the Novikov Masonic circle: “Humanity [vol. e. `humanity'. - IN. IN.], this graceful and noble virtue, which embraces all others, which constitutes the subject of sound philosophy and the foundation of Christianity” (Magazine, vol. 1, part 1, pp. 32-33); in “Journey from St. Petersburg to Moscow”: “The atheist who denies you, recognizing the indispensable law of nature, thereby brings praise to you, praising you more than our chants. For, penetrated to its depths elegance) of your creation, he will be in awe” (Radishchev, 1979, p. 52).
In a letter from Mason Teden to P. A. Tatishchev (dated April 9, 1784) we read: “notification of death prettier br. Schwartz (whom I will mourn to the grave and will love in joy filled eternity) was dissolved again by my bleeding wounds” (Ezhevsky, Works, p. 218).
In his selective “Dictionary of Derzhavin’s poems”, academician. J. K. Grot placed the following examples of Derzhavin’s use of words - except And elegant:« grace sincere. Velm. 628, 8 "... " such links and comparisons are placed.. - Not worth it most graceful syllable. Prin. 715, p. 5"... "all graceful shower. II, 297, 30" (see Derzhavin, 1883, 9, p. 382). Wed. also the use of the word grace Nikolai Strakhov in his translation into Russian of Goldsmith’s “Waxfield Priest”: “... especially the sound reasoning contained in it is worthy of praise from everyone who feels the value graces creations” (Strakhov, p. 7).
The shift towards intellectual aesthetic characteristics of persons and objects is especially acute and visible in the language of N. M. Karamzin’s works. In the poem “Gifts” (1796) Karamzin wrote:
All Nature has risen and matured,
From the stars of the azure vault
To the depths of the earth, the depths of the sea,
In front of him elegance appeared;
In the most secret connections she was exposed;
Advertisement: “Be the ruler of the world!
My riches are before you:
Praise the Creator - be a creator yourself!”
And mortal with a proud hand
The crown was taken from her hands.
Karamzin added the following note to this stanza: “Feeling graceful in Nature awakened the wild man and produced the Arts, which had a direct influence on society, on all its wise laws, on enlightenment and morality. Orpheus and Amphions were the first teachers wild people"(Karamzin, 1917, 1, p. 200).
In the same poem “Gifts”:
Love to Graceful pouring in,
Grace inform us;
Decorating goodness with art,
They tell their hearts to love him.
Speaking here about poetry as an adorned imitation of nature, Karamzin makes the following note: “All the delights Fine Arts are nothing more than an imitation of Nature: but a copy is sometimes better than the original - at least it always makes it more interesting for us: we have the pleasure of comparing” (ibid., p. 204).
In “Letters of a Russian Traveler”: “Coming out of the Theater, I wiped away my last sweet tear on the porch. Would you believe, my friends, that I count this evening among the happiest evenings of my life? And now let them prove to me that FineScience have no influence on our happiness!” (Moscow journal, 1791, book 1, part 2, p. 23). “Here lived not the King, but the Philosopher Frederick - neither Stoic nor Cynic - but a Philosopher who loved pleasure and knew how to find it in Fine Arts and Sciences"(ibid., p. 28). "Oh! if now, at this very moment, I had to die, then with a tear of love I would fall into the all-encompassing bosom of Nature, with full confidence that she was calling me to new happiness; that the change in my being is an elevation of beauty, a change graceful for the best” (ibid., book 2, part 4, pp. 169-170). Wed. also: “Our tears flow and disappear in the dust; graceful works of art live forever...” (ibid., book 3, part 5, p. 367). Wed. in the same place about Herder: “By graceful the law of Wisdom and Goodness, everything in the fastest flow strives for a new power of youth and beauty - strives, and is transformed every minute.”
In N. M. Karamzin’s translation from Bouterweck “Apollo” (Explanation of an ancient allegory): “Expression of feeling (or sensation) through graceful thoughts are the goal of poetry” (Moscow journal, part 8, p. 120). Wed. in the same place: “Beautiful thoughts are not always spiritual; but every spiritual thought is beautiful, although we cannot analyze it philosophically, although we cannot show everything that makes it up except! (ibid., p. 122).
“Something about mythology (Translation from Moritz’s Götterlehre)”: “...Whoever can regard the highest work of art as a hieroglyph or a dead letter, which has all its value from what it signifies: he, of course, is not born to feel graceful, and dead to all beauty. Every true work of art of every kind elegant fiction is in itself something perfect, existing for itself and beautiful from the harmonious arrangement of its parts” (ibid., part 6, p. 281). Wed. also in translations from Gesner: “Matter and tools may be different, but graceful always the same - it is always nothing more than “harmony in diversity, like unity in many parts”” (Moscow Journal, 1792, part 6, p. 292).
In the fairy tale “The Beautiful Princess and Happy Karla”: “...you, who in no way can serve as an example to the artist when he wants to represent except human form! (ibid., part 7, p. 209).
In Karamzin’s preface to the translation of Shakespeare’s tragedy “Julius Caesar” (1787): “[Brutus] is really most graceful of all the characters ever depicted in dramatic works” (p. 7). In his preface to the translation of the Shakespeare tragedy “Julius Caesar” (Moscow, 1787): “Time, this powerful destroyer of everything that is under the sun, could not yet eclipse elegance and the greatness of Shakespeare's works. Almost all of England agrees in the praise attributed to this Man. Let them ask an Englishman who has practiced reading: what is Shakespeare like? Without any doubt he will answer: Shakespeare is great! Shakespeare is inimitable! " (p. 3). Wed. also “What could be more innocent than enjoying graceful? (Apollo. Translation by Karamzin from Bouterwek, Moscow Journal, 1792, part 8, pp. 130-131).
In a letter from A. A. Petrov to N. M. Karamzin dated June 11, 1785: “Judging by the beginning of this prettier treatise, we must conclude that if Solomon knew and spoke German, he spoke much better than you write.” 103
New semantic trends that led to the convergence of words elegant, grace with élégant, élégance, were clearly reflected in the language of N. M. Karamzin. In the “Pantheon of Russian Authors” N.M. Karamzin wrote in a note about Kantemir: “... dividing our style into eras, the first should begin with Kantemir, the second with Lomonosov, the third with the translations of Slavic-Russian Mr. Elagin and his numerous imitators, and the fourth from our time, in which the pleasantness of the syllable is formed, called by the French élégance” (Pantheon of Russian authors, part 1).
P. A. Vyazemsky in the “Old Notebook” explains the word grace French élégance: “Voltaire said in his experience about the different tastes of peoples: “The French have for themselves clarity, precision, grace(élégance)” (Vyazemsky, 8, p. 37).
Word adaptation elegant to transmit French beau almost the first thing that happened in translation les belles lettres. P. A. Vyazemsky wrote in his “Old Notebook”: “On French There is a very convenient expression corresponding to the word literature and, so to speak, complementing and clarifying it: les belles lettres. It goes without saying that the words literature And writer come from letter, i.e. alphabetic signs. The alphabet is still the beginning of everything. But the fact is that literacy and literacy are different. A diploma alone is not enough. It is also necessary to have a diploma graceful. Les belles lettres - beautiful writing” (ibid., p. 331).
Ern. Gamilscheg (Ernst Gamillscheg) writes about the word élégant that it became stronger in the French language in the 15th century and lives until the 18th century. in the meaning of “decorated, elegant, full of charm” (Schmuck, reizvoll), especially often in relation to language and style, as well as clothing, then from the end of the 18th century it also means a dandy, a dandy (from the Latin elegante “chosen, full of taste ") (E. Gamillscheg, s. 346). Oscar Bloch notes that the word élégant was first noted in an Old French monument of 1150, but was rarely used until the 15th century. The word élégance dates back to the 14th century. (1327). These words are borrowed from Latin ( elegans, elegantia). The word élégant was a fashionable word and meant at the end of the 18th century. an elegant socialite (une personne d"une mise distinguée) (O. Bloch, t. 1, p. 246).
In a letter from I. I. Dmitriev to V. A. Zhukovsky (dated February 20, 1813): “But this did not stop everyone from giving justice grace your poetry" (Dmitriev, 1895, 2, p. 217).
M. V. Chistyakov wrote in his “Course on the Theory of Literature”: “Sometimes, wanting or to express new side ideas, or to catch a new shade of the picture, the writer composes his own words, that is, he produces new ones from previous words, by changing the endings, or by combining one word with another. Thus, recently several very successful words have been composed: elegant, grace, artificial, artificiality, nationality, citizenship, implement, implementation, modification etc." (Chistyakov, part 2, p. 76).
Pushkin’s language reflects the completion of the semantic movement of words elegant, grace, except to their modern use (see the words of Pushkin, 2, pp. 215 - 216).
An article entitled “The History of the Word” elegant. (In connection with the formation of expressions belles lettres, fine arts) published in Sat. "The role and significance of literature of the 18th century in the history of Russian culture." To the 70th anniversary of the birth of Corresponding Member of the USSR Academy of Sciences P. N. Berkov. (M.; Leningrad, 1966). However, this publication represents only the third part of the manuscript preserved in the archive under the same title. This manuscript consists of 74 numbered sheets and extracts, written on different paper and at different times. Here it is printed from a copy supplemented by the manuscript. Thus, this publication represents the full author's text of the article, dedicated to history words elegant and expressions belles lettres.
In addition, several sheets of paper have been preserved in the archive, which, apparently, were supposed to serve as a continuation of the article and precede the consideration of the use of words graceful - grace in new times. Here is the text:
“In the 17-volume dictionary they are marked as “obsolete” - graceful, in meaning noun “Same as beautiful. The goal of observation, we said, is truth, and the soul of action is kindness. Let us add that the perfect merging of both is graceful, or poetry. Marl. About romanticism... Fine arts. An obsolete collective name for music, painting, sculpture and architecture. Museum fine arts“(BAS, 5, pp. 274-275).
A parallel process is observed in the Bulgarian language. In “Bulgarski talkoven rivernik” (Sofia, 1955) we find: “ Elegant adj. Exquisitely handsome, graceful. Graceful figure. Elegant style.
Grace Wed. Beauty has been refined; elegance.
elegance. Quality elegant, beauty is exhausted, grace. Grace on Manierite. Grace na figurata." (Andreichin, Balg. river, p. 259). In the language of Hristo Botev the word has not undergone strong semantic changes in the Russian language: “... While, for example, the word ” used only in combination with the word - art:gracefulart, graceful art(Rechnik na ezika na Hristo Botev. Vol. A.-K, Sofia. 1960, p. 513).” - IN. P.
100 Materials for the history of colonization and life of the steppe outskirts of the Moscow state (Kharkov and partly Kursk and Voronezh provinces) in the 16th - 18th centuries. Kharkov, 1886. P. 113.
101 Nikolsky N.K. Works of the Solovetsky monk Gerasim Firsov based on unpublished texts. (On the history of Northern Russian literature of the 17th century). Pgr., 1916 (Monuments of ancient writing and art, No. 188). P. 27
102 Cheerful and playful Melanders... Translation by A. Urusov from Latin. M., 1789. P. 54.
103 M. P. Pogodin. N. M. Karamzin, part 1. M., 1866. P. 30. Ushakov’s Explanatory Dictionary
ELEGANT, beautiful, beautiful, artistic, consistent with art, artistry; Overall, tastefully done. Graceful Wed. abstract concept of beauty, proportionality and taste. Fine arts: music, painting, sculpting and architecture;… … Dahl's Explanatory Dictionary
ELEGANT, oh, oh; puppy, puppy Distinguished by grace. I. handwriting. Elegant dress. Graceful girl. An elegant solution to the problem (translated: short and non-trivial). Fine literature or literature (obsolete) is the same as fiction. | noun... ... Ozhegov's Explanatory Dictionary
ELEGANT- see Medium-climbing, universal use. From mass germination to fruiting 45-50 days. It is distinguished by increased endurance to adverse weather conditions and olive spot (cladosporiosis). Ellipsoidal greenery,... ... Encyclopedia of seeds. Vegetables
elegant- talking about the Battle of Kulikovo, the chronicler Nestor called the Russian knight Peresvet, chosen by the warriors for a duel with the Tatar Mongol hero, an elegant monk. What was so graceful about it? Before we chose absolutely nothing... ... Entertaining etymological dictionary
elegant- ▲ beautiful light (shape) grace the beauty of subtlety, lightness, simplicity. elegant. slimness. slender (# system). grace. gracefulness. graceful and graceful in movement. elegance. elegant. thin (# facial features). ↓ fashion… Ideographic Dictionary of the Russian Language
Star. Russian graceful, dexterous, also noble (Katyr. Rost., 17th century; see Gudziy, Khrest. 320), ungraceful, not noble (Dracula 657), Serbian. cslav. izshtn ἐξαίρετος, Czech. vzacny rare; dear, slvts. vzacny (Polish zасну – from Czech). Goes back to... ... Etymological Dictionary of the Russian Language by Max Vasmer
Adj., used. compare often Morphology: graceful, graceful, elegant, graceful; more graceful; adv. gracefully 1. A person is called graceful if he is handsome, slender, well-dressed, and tastefully dressed. He was a graceful, elegant young man with gentle manners. | The wife of... ... Dmitriev's Explanatory Dictionary
elegant- Borrowing. from Art. sl. language in which it is suf. derived from suffer. prib. the common Slavic verb izęti “to choose” (see take, remove, etc.); tj sht’ shch (cf. original elegant). Graceful literally “chosen, selected” (and how... ... Etymological Dictionary of the Russian Language
How do you understand the meaning of the phraseREAL ART ? Formulate and comment on the definition you have given. Write an essay-discussion on the topic “What is REAL ART.”
TEXT
(1) As a child, I tried very, very hard to love the theater, as I was told: after all, this is Great Art, a Temple. (2) And I, as expected, should experience sacred awe, but remember at the same time that there are theatrical conventions in the theater. (3) I remembered, but when an elderly man in a camisole with puffy sleeves, with a large velvet belly swaying over his thin legs, menacingly, like a class teacher, asked: “Tell me, Laura, what year are you?” - and the overweight auntie barked in response: “Eighteen years!” - terrible confusion and shame crushed me, and all my efforts to love the theater were completely crossed out.
(4) Meanwhile, it was warm in the theater, there was a pleasant and complex smell in the hall, smart people were walking in the foyer, the windows were wrapped in curtains made of parachute silk, like cumulus clouds. (5) Yes, a temple. (6) Probably. (7) But this is not my temple, and the gods in it are not mine.
(8) But it’s a completely different matter - the Ars cinema, a poor little shed on the square. (9) There are uncomfortable wooden seats, there they sit in coats, there is garbage on the floor. (10) There you will not meet “inveterate theatergoers”, dressed up ladies, offended in advance by the fact that they, decent people, are forced to spend three hours in the company of clueless laymen. (11) There the crowd pours in and takes their seats, rattling their seats and spreading the sour smell of damp coats. (12) They'll start now. (13) This is happiness. (14) This is a movie.
(15) Slowly turn off the light. (16) The chirping of the projector, the impact of the beam - and away we go. (17) The line has been crossed, this elusive moment has passed when the flat and dull screen dissolved, disappeared, became space, the world, flight. (18) Dream, mirage, dream. (19) Transfiguration.
(20) Yes, I am, of course, a simple and primitive movie viewer, like most people. (21) What I expect from cinema is a complete transformation, a final deception - “so as not to think why, so as not to remember when.” (22) The theater is not capable of this, and does not pretend to.
(23) Theater for those who love live actors and graciously forgive them their imperfections in exchange for art. (24) Cinema for those who love dreams and miracles. (25) The theater does not hide the fact that everything you see is pretense. (26) The movie pretends that everything you see is true. (27) Theater - for adults; cinema is for children. (According to T. Tolstoy)*
* Tatyana Nikitichna Tolstaya (born in 1951) – modern writer, TV presenter, philologist.
COMPOSITION
Art is a creative reflection of reality in artistic images. Real art excites the soul and gives a feeling of happiness. It can distract a person from everyday life, transport him to the world of dreams and fantasies, and instill faith in miracles. I will prove the truth of my words with specific examples.
Let us turn to the text of T.N. Tolstoy, whose heroine chose the second of two types of art - theater and cinema. The theater cannot give the narrator what she needs: “complete transformation, final deception.” The heroine believes that cinema is intended for those who “love dreams and miracles.” Thus, it is cinema that helps the narrator feel the fullness of life.
I also have a passion in life - photography. Being interested in this type of art gives me great pleasure. When I pick up a camera, I feel happy, because photography for me is not just about capturing memorable moments, it is an opportunity to show my creativity and imagination.
Thus, real art can make a person happy. The main thing is to find exactly the type of art that will suit your interests and desires. (151 words)
OGE Essay based on a text from the collection of I.P. Tsybulko on the topic
" What is friendship " (task 15.3,option 1 , page 9)
1. Formulating a THESIS . Let's define the word FRIENDSHIP.
Friendship is a close relationship based primarily on mutual understanding and sincerity. A true friend will rejoice at your success from the bottom of his heart, and there will never be envy in his heart. I will prove the truth of my words with specific examples. (34 words)
Note:
1. the text will help you define the concept concise presentation, because its theme echoes the theme of the essay (
2. before formulating a definition, analyze the content of the text for presentation (p. 220) and compare it with the content of the text by Yu. Olesha, this must be done in order to avoid inconsistencies between the definition of the word friendship and example arguments from the specified text and your life experience; in the text for presentation, several distinctive signs of friendship are named, but there is no need to list all the signs in the definition, indicate only the one that can be illustrated with an example from the text by Yu. Olesha;
3. when explaining the meaning of the word friendship, avoid the following formulation: Friendship is when...;
build your definition according to the following SCHEME:
a) name the concept (friendship),
b) name a broader concept (for example, relationships),
c) indicate hallmark(for example, based on...);
4. I offer other options for defining the word friendship:
a) Friendship is one of the main virtues, expressed in mutual understanding and sincerity.
b) Friendship is a type of relationship between people that is characterized by...
c) Friendship is a form of communication between people based on...
d) Friendship is one of the best moral feelings person expressing...
5. don't forgetlogically connect this part of the essay followed by (see the last sentence of the introduction).
2. We presentARGUMENT from the text read, confirming our reasoning.
Argument 1
Let us turn to the text by Yu. Olesha. It tells about the relationship between two lyceum students - Pushkin and Kuchelbecker. Wilhelm is a true friend, because he not only does not take offense at the lines addressed to him, but also realizes the genius of the young poet and does not hide his sincere admiration (sentences 49 - 56). (40 words)
3. We presentARGUMENT
from my own life experience.
Argument 2
U me
I also have a friend. Her name is Kristina. She is reliable, understanding, responsive. For six years now, Christina has been successfully engaged in artistic gymnastics. I always sincerely rejoice at her victories and achievements. Most recently, Christina took first place in regional competitions. I know how hard it was for her to achieve this victory. I am very proud of my friend and value our friendship!
(55 words)
3. Let's formulateCONCLUSION .
Thus , one of the main conditions of friendship is the absence of envy and competition. (16 words)
In total, the essay contains 145 words (the norm is at least 70 words).
Remember that the essay must contain at least3 paragraphs
! In this work it turned out4 paragraphs
:
1
. Explanation of the meaning of sentences from the text.
2. Argument 1.
3. Argument 2.
4. Conclusion.
Workshop
How do you understand the meaning of the expressionHUMAN INNER WORLD ?
“What is the inner world of a person”
COMPOSITION
The inner world of a person is his spiritual world, consisting of feelings, emotions, thoughts, ideas about environment. A person’s inner world begins to form in childhood. Play, fantasy and belief in miracles are of great importance in the spiritual development of a child. This can be confirmed by two examples.
The characters in L. Volkova's text are children with a rich imagination who love to play. During the game they learn not only good and evil, but also themselves. The extraordinary dream that Mitya and Nika believed in made them change for the better and realize important life truths.
Let us remember the hero of another literary work - Sasha Cherny's story "Igor Robinson". Playing at being a sailor, the boy ended up on an island. Difficult situation enriched the hero’s inner world, she forced him to overcome his fear and show qualities such as endurance, courage and intelligence.
Thus, childhood is very important period human life, it is at this time that the concepts of good and evil are laid down, character, a system of values, and inner world are formed. (149 words)
ORIGINAL TEXT
(1) In the suburbs of one very ordinary city lived the most ordinary family: father Vitya, mother Vika, son Mitya and daughter Nika. (2) The children were obedient, but they really did not like to go to bed. (3) Every evening there was a scandal: – (4) Children, go to bed! (5) It’s too late... - Dad Vitya was angry.
– (6) Well, dad, can we play for another half hour? (7) Daddy, please, the children asked.
(8) And today the children just didn’t want to go to bed.
– (9) “I give you ten minutes,” dad said angrily and left the room.
“(10) Let’s collect the toys and go to bed,” said mother.
(11) In the end, the children lay down in their beds and closed their eyes.
(12) Midnight struck. (13) And suddenly Mitya saw that something unusual began to happen in the room. (14) Children's toys began to come to life: dolls straightened their dresses and hairstyles, soldiers cleaned their guns, cars checked their wheels, soft toys stretched sweetly. (15) Mitya pretended to be asleep, and they did not notice that the boy was watching them. (16) On the next bed, my sister was also awake and looking at the toys with all her eyes.
– (17) Vika,” the brother whispered to the girl, “our toys have come to life...
- (18) I see.
- (19) Toys, have you come to life? (20) How can this be? - the girl could not stand it.
- (21) Oh-oh-oh, they see us, - the dolls squeaked, - now everyone will know our secret.
- (22) No, no, no, we won’t reveal your secret to anyone. (23) Really, Mitya?
“(24) It’s true,” the boy agreed, “why do you only come to life at night?” (25) It would be great if you were always alive! (26) The children crawled out of their beds and sat on the floor, surrounded by toys.
“(27) This is how we are built,” said the soldiers. - (28) If they play with us carefully, if they don’t scatter us, don’t break us, then we come to life and protect the sleep and peace of our owners, and if on the contrary, then we leave forever.
(29) Nika took her favorite doll in her arms.
– (30) Let's play? - the girl suggested.
– (31) Hurray! (32) Let's go! - the toys started fussing.
“(33) You need to sleep, you won’t get up well for kindergarten tomorrow,” said the bear. “It was an old toy that my mother probably played with.”
- (34) Okay,” Mitya was afraid to offend the old bear, “and tomorrow we’ll go to bed early to play with you all alive.”
(35) The boy shook hands with the soldiers, stroked the dog Tishka on the head, and put the cars in the garage. - (36) Nika, let's go to bed, and tomorrow we'll play with toys again!
– (37) “Okay,” the girl said, yawning, and fell asleep.
(38) In the morning, dad woke up the children:
– (39) Dad, dad, do you know what happened tonight... - Mitya began, but then he remembered his promise to keep the secret. - (40) I had a dream.
“(41) Well, sleep is great,” dad laughed.
(42) Mitya didn’t tell anyone about his secret. (43) Now he went to bed early, and every night the toys came to life and played with the children until the old bear told them that they needed to go to bed.
(44) Of course, it was a dream. (45) But it’s good that children believe in good dreams! (According to L. Volkova)Volkova Lyubov is a young contemporary author.
2. Choice of profession
How do you understand the meaning of the word CHOICE?
Formulate and comment on the definition you have given. Write an essay-discussion on the topic« What is choice » , taking the definition you gave as a thesis. When arguing your thesis, give 2 examples-arguments that confirm your reasoning: give one example-argument from the text you read, and the second from your life experience.
The essay must be at least 70 words.
If the essay is a retelling or completely rewritten of the original text without any comments, then such work is scored zero points.
Write an essay carefully, legible handwriting.
COMPOSITION
Choice is a conscious decision-making from a variety of options offered. A person is constantly faced with a situation of choice; it is a vital necessity. It is especially important to make the right decision when choosing a future profession, because a person’s future life depends on it. Sometimes making such a choice is very difficult, but some people already know from an early age what they will do when they grow up. I will prove the truth of my words with specific examples.
The hero of the text by E. Grishkovets talks about how he chose his future profession. The boy had three options: to become an engineer, like his mother, a doctor, like his uncle and brother, or a cultural worker. He saw pros and cons in every profession. At this point life stage the hero was never able to make up his mind, but we understand that sooner or later he cannot avoid making this important decision.
But A.V. Suvorov did not have to think long about choosing his future profession. Already in childhood, despite poor health and lack of support from his father, he decided to become a military man. Therefore, he devoted the rest of his life to achieving his goal. The correctness of the path he chose is proven by the fact that the name of A. Suvorov entered the history of our country as the name of a legendary commander.
Thus, making a choice is half the battle; the main thing is not to make a mistake with your choice. (184 words)
ORIGINAL TEXT
(1) Mom, when I was not yet in school, worked as an engineer and did a lot of drawing. (2) The drawings were so beautiful, and her preparation cabinet with shiny things was so extraordinarily attractive that I could not pass by. (3) Of course, they caught me and didn’t let me in, but I still ruined several drawings and broke some compasses.
– (4) “He is clearly drawn to the exact sciences,” his mother said seriously to his father.
(5) At school it immediately became clear that I was not drawn to the exact sciences. (6) I studied very averagely. (7) Mom said that if I continue like this, I will become a loader. (8) The expression on my father’s face at that time was such that I guessed: he doubted that my mother was telling the truth.
(9) In short, I never considered the profession of a loader as a promising one.
(10) When I was in high school, my parents taught at the university. (11) Mom taught thermodynamics, and father worked as the head of the department at the Faculty of Economics.
(12) But algebra, geometry and physics were still the darkest subjects for me. (13) My parents themselves understood that I would not follow in their footsteps, and did not even hint at it.
(14) What opportunities did I have? (15) University, cultural institute and, of course, medical.
(16) I always liked medical school. (17) Firstly, my beloved uncle taught there. (18) Secondly, my second cousin studied there, whom I also liked. (19) But somehow the so-called anatomist was frightening. (20) I understood: I couldn’t even just enter the building where she was located.
(21) Then I started going to the Institute of Culture. (22) I listened and watched performances of the student choir, concerts of students of the variety department, performances staged and performed by students. (23) Of course, I didn’t understand this well then, but I felt deathly boredom and the terrifying joylessness of what I saw. (24) The smell of the “anatomist” seemed to haunt me, it came from everything there: in all the performances the uselessness of what was happening was visible. (25) Useless to anyone! (26) Neither the speakers nor the audience. (27) This lack of hope for joy made me firmly abandon the idea of entering a cultural institute.
(28) But I wanted... (29) I don’t know what I wanted. (30) Nothing definite. (31) I wanted to be a student. (32) I wanted to study not very hard and not very boring... (33) I wanted a fun, interesting, real life. (34) The main thing is real life, with the whole being.
(According to E. Grishkovets) *Grishkovets Evgeny Valerievich (born in 1967) is a modern Russian writer, playwright, director, actor, musician. He became famous after he was awarded the Golden Mask national theater award in 1999. He is the author of the books “Shirt”, “Rivers”, “Traces on Me”, “Asphalt”.
.
BEAUTY? Formulate and comment on the definition you have given. Write an essay-reasoning on the topic: "What is beauty? ", taking as a thesis the definition you gave (option26 ).
Composition
In my opinion, beauty is what pleases the eye. The most ordinary things that surround us and that we encounter every day can be admired by beauty. You just need to be able to notice such beauty. I will prove the truth of my words with specific examples.
Thus, in the text by V. Kataev, the experienced writer I. Bunin taught the aspiring poet to see poetry in the objects and phenomena around him, that is, beauty, imperceptible at first sight. And for this it is necessary, as I. Bunin believed, to listen to one’s own feelings and observe (propositions 19-23).
I remember a similar story from the book I read by V. Soloukhin “Vladimir Country Roads” about the boy Zakharka, who had a passion for painting. The old artist taught the boy the most important thing - to see the beauty that he had run past thousands of times. So, thanks to his mentor, the guy’s eyes were opened: he learned to notice the beauty in nature.
Thus, only those who have a sensitive soul and an attentive eye can comprehend beauty. (128 words)
3
How do you understand the meaning of the wordCOMPASSION?Formulate and comment on the definition you have given. Write an essay-reasoning on the topic: "What is compassion?
"
, taking as a thesis the definition you gave (inariant20
).
Composition
Compassion is the ability to empathize with another person, to feel someone else's pain. To prove my words, I will give specific examples.
In A. Likhanov’s text, a girl who came to work at a boarding school showed compassion for abandoned children. She felt their pain, loneliness, resentment and realized that these “sad little people” needed the love and care of loved ones. Compassion pushed the girl to do a good deed - to help these children find a family.
A striking example of the manifestation of compassion is the Tatar girl Dina, the heroine of L. Tolstoy’s story “Prisoner of the Caucasus.” Imbued with sympathy for the Russian officer and not afraid of her father’s anger, Dina stealthily runs to the pit where Zhilin is sitting, brings him milk and cakes and finally arranges an escape.
Thus, compassion is the willingness to help others without thinking. (112 words)
Other definitions of the word "COMPASSION"
Compassion is the outer expression of active inner love to your neighbor.
Compassion is the willingness to feel and accept the pain of another person, physical or mental. Compassion is the ability, under any conditions, to act in such a way as not to harm others.
Benefits of Compassion
Compassion provides opportunities for the manifestation of the best human qualities.
Compassion gives love for people. Compassion shows the way to the common good through the good of each person. Compassion gives joy from the awareness of one’s own capabilities in helping other people.
Showing compassion in everyday life
Volunteering and charity. People who, at the call of their hearts, help the weak, infirm, the elderly, orphans, and animals, show compassion for them.
Interpersonal relationships. A person who is characterized by the ability to sympathize with the troubles of loved ones and the willingness to help any of the people around him in trouble shows compassion.
Hostilities. The ability to see enemy soldiers not only as enemies, but also as people is a manifestation of compassion.
How to develop compassion in yourself
Reading spiritual literature. The more spiritually rich a person is, the easier it is for him to show compassion for others.
Charity. By participating in charity events, a person develops the ability to sympathize with adversity.
Interest and attentiveness to people. Being attentive and showing sincere interest in the people around us, a person develops the ability to sympathize with them.
Self improvement. To cultivate compassion in oneself means to consciously abandon indifference and all manifestations of selfishness.
Catchphrases about compassion
Most often, compassion is the ability to see our own in the misfortunes of others; it is a premonition of disasters that can befall us.La Rochefoucauld
Compassion is not a feeling; rather, it is a noble disposition of the soul, ready to receive love, mercy and other virtuous feelings.Alighieri Dante
Compassion is the highest form of human existence. F. M. Dostoevsky
By sympathizing, we move into the mental state of another; we seem to be evicted from ourselves in order to settle into the soul of another person.Samuel Smiles
True compassion begins only when, putting yourself in the imagination of the sufferer, you actually experience suffering.Lev Nikolaevich Tolstoy
4
OGE Essay-reasoning based on a text from the collection of I.P. Tsybulko on the topic" Nature - This ...( option 36)
How do you understand the meaning of the word NATURE? Formulate and comment on the definition you have given. Write an essay-argument on the topic: “Nature is...”, taking the definition you gave as the thesis.
Composition
Nature is an amazing, complex and multifaceted world. A special place in it is given to animals, which not only touch us, but sometimes amaze us with their nobility, ability to love and sacrifice themselves. To confirm my words, I will give specific examples.
The text by M. Loskutov tells about a strange dog with the ridiculous nickname Borozhai. The oddities of this watchdog were that he was cowardly and sentimental, played with chickens and even babysat kittens. And once during a fire, Borozhai saved a calf at the cost of his own life. This dog is good example how to treat those who are weaker and more defenseless than you.
There are also cases where animals rush to help people. For example, in 2004 in Thailand, during the tsunami, an elephant saved a little girl who was on the beach at the time of the disaster. As soon as a huge wave hit the shore, the elephant picked up the child with its trunk, placed it on its back and ran towards the nearest hill. The animal carefully covered the baby with its body from each successive blow of the wave. So, thanks to the elephant, the girl remained alive.
Truly, the world of living nature will still surprise us with incredible stories, and we, people, can learn a lot from our brothersbigger (179 words)
REAL ART 15.3
ORIGINAL TEXT
(1) The house has dried out from old age, and perhaps from the fact that it stood in a clearing in pine forest and the pines gave off heat all summer.
(2) Tchaikovsky liked this wooden house. (3) The only thing that irritated the composer was the creaky floorboards. (4) To get from the door to the piano, you had to step over five shaky floorboards. (5) From the outside it must have looked funny when the elderly composer made his way to the piano and examined the floorboards with narrowed eyes.
(6) If it was possible to pass without any of them creaking, Tchaikovsky sat down at the piano and grinned. (7) The unpleasant things are left behind, and now the amazing and cheerful things will begin: the dried-out house will begin to sing from the very first sounds of the piano. (8) Dry rafters, doors, and an old chandelier that has lost half of its crystals, similar to oak leaves, will respond to any key with the finest resonance.
(9) The simplest theme song was played out by this house like a symphony.
(10) For some time now it began to seem to Tchaikovsky that the house was already waiting in the morning for the composer, having drunk coffee, to sit down at the piano. (11) The house was bored without sounds.
(12) Sometimes at night, waking up, Tchaikovsky heard how, crackling, one or the other floorboard would sing, as if remembering his daytime music and snatching his favorite note from it. (13) It was also reminiscent of an orchestra before an overture, when the orchestra members tune the instruments. (14) Here and there - sometimes in the attic, sometimes in a small hall, sometimes in a glassed-in hallway - someone touched the string. (15) Tchaikovsky caught the melody in his sleep, but when he woke up in the morning, he forgot it. (16) He strained his memory and sighed: what a pity that the night tinkling of a wooden house cannot be played back now! (17) Listening to the sounds of the night, he often thought that life was passing by, but nothing had really been done yet. (18) Not once has he been able to convey that slight delight that arises from the sight of a rainbow, from the sounds of peasant girls in the thicket, from the very simple phenomena surrounding life.
(19) The simpler what he saw, the more difficult it was to set to music. (20) How to convey at least yesterday’s incident, when he took refuge from the pouring rain in the hut of the tracker Tikhon! (21) Fenya, Tikhon’s daughter, a girl of about fifteen, ran into the hut. (22) Raindrops were dripping from her hair. (23) Two drops hung on the tips of the small ears. (24) When the sun hit from behind a cloud, the drops in Feni’s ears sparkled like diamond earrings.
(25) But Fenya shook off the drops, it was all over, and he realized that no amount of music could convey the beauty of these fleeting drops.
(26) No, obviously, this is not given to him. (27) He never waited for inspiration. (28) He worked, worked, like a day laborer, like an ox, and inspiration was born in the work.
(29) Perhaps most of all, forests, clearings, thickets, abandoned roads, this amazing air and always a little sad Russian sunsets helped him. (30) He will not exchange these foggy dawns for any magnificent gilded sunsets of Italy. (31) He completely gave his heart to Russia - its forests and villages, outskirts, paths and songs. (32) But every day he is increasingly tormented by the inability to express all the poetry of his country. (33) He must achieve this. (34) You just need to not spare yourself.
(According to K.G. Paustovsky) *
* Paustovsky Konstantin Georgievich (1892–1968) - Russian Soviet writer, classic of Russian literature.
COMPOSITION
Art is a creative reflection of reality in artistic images. True art plays a big role in a person's life. What can inspire a creator? What helps him create his masterpieces? First of all, the impulses of creativity in a person are awakened by nature.
The text by K. G. Paustovsky tells about the great composer - P. I. Tchaikovsky, for whom Russian nature became a source of inspiration. Forests, clearings, thickets, roads, air, sunsets helped him create his musical masterpieces... He loved Russia very much, saw a special poetry in it and sought to express it in music.
Russian nature inspired not only composers, but also many poets, one of whom is Sergei Yesenin. Not a single poem by the master of words is complete without pictures of nature: she shares the poet’s joy and sorrow, warns him, instills hope in him, cries over his unfulfilled dreams. Nature is not only the “cradle” and the poetic school of S. Yesenin, it is the soul of Yesenin’s poems, the source that feeds the poet’s lyrical feelings.
Thus, creativity and nature are inseparable. (144 words)
