Literature also needs talented people. First reading errors. About the Talented Reader

Quest Source: Decision 5750. Unified State Examination 2017. Russian language. I.P. Tsybulko. 36 options.

Task 15. Set up punctuation marks. Write two sentences in which you need to put ONE comma. Write down the numbers of these sentences.

1) Literature needs both talented writers and talented readers.

2) In a test lesson or oral exam, try to build your answer in the form of a coherent statement.

3) On the first snow in aspen and birch groves, hare and squirrel tracks come across.

4) Due to circumstances after the revolution, Kuprin ended up in exile and for almost twenty years the writer passionately sought to return to Russia.

5) The forest and the field and the flowering meadow are flooded with sun.

Solution.

In this task, you need to put commas in a complex sentence or with homogeneous sentences.

1. Determine the number of grammatical bases in these sentences: a simple sentence or a complex one.

1) Literature needs both talented writers and talented readers. Simple.

2) In a test lesson or oral exam, try to build your answer in the form of a coherent statement. Simple.

3) On the first snow in aspen and birch groves, hare and squirrel tracks come across. Simple.

4) Due to circumstances after the revolution, Kuprin ended up in exile and for almost twenty years the writer passionately sought to return to Russia. Complicated.

5) The forest and the field and the flowering meadow are flooded with sun. Simple.

2. Let's define the placement of commas in complex sentences. Rule: a comma on the border of parts of a complex sentence is placed if simple sentences do not have a common minor member.

4) Due to circumstances, after the revolution, Kuprin ended up in exile (,) and for almost twenty years writer passionately sought return to Russia. Complicated, there is no common minor member, a comma is needed. ONE comma.

3. Let's define the placement of commas in simple sentences. Rule: one comma is placed before the second homogeneous member in the absence of unions, before a single opposing union, or before the second part of a complex union (like ... and etc.).

1) Literature needs both talented writers (,) and talented readers. - Homogeneous subjects are connected by a complex union “both ... and ...” (both writers and readers). ONE comma.

2) In a test lesson or oral exam, try to build your answer in the form of a coherent statement. Homogeneous circumstances are connected by the union "or" (in a test lesson or exam). The comma is not needed.

3) On the first snow in aspen and birch groves, hare and squirrel tracks come across. Homogeneous definitions related to the word "groves" are connected by the union "and" (aspen and birch), homogeneous definitions related to the word "footprints" are connected by the union "and" (hare and squirrel). Between themselves, the pairs are heterogeneous. The comma is not needed.

I am engaged in "Five with a plus" in the group of Gulnur Gataullovna in biology and chemistry. I am delighted, the teacher knows how to interest the subject, find an approach to the student. Adequately explains the essence of his requirements and gives realistic homework (and not like most teachers in the year of the exam, ten paragraphs at home, but one in the class). . We study strictly for the exam and it is very valuable! Gulnur Gataullovna is sincerely interested in the subjects she teaches, she always gives the necessary, timely and relevant information. Highly recommend!

Camilla

I'm preparing for "Five with a plus" for mathematics (with Daniil Leonidovich) and the Russian language (with Zarema Kurbanovna). Very satisfied! The quality of classes is at a high level, at the school there are now only fives and fours in these subjects. I wrote test exams for 5, I'm sure that I will pass the OGE perfectly. Thank you!

Airat

I was preparing for the exam in history and social science with Vitaly Sergeevich. He is an extremely responsible teacher in relation to his work. Punctual, polite, pleasant in communication. It can be seen that the man lives his work. He is well versed in adolescent psychology, has a clear method of preparation. Thank you "Five with a plus" for the work!

Leysan

I passed the exam in the Russian language with 92 points, mathematics with 83, social studies with 85, I think this is an excellent result, I entered the university on a budget! Thanks Five Plus! Your teachers are true professionals, with them a high result is guaranteed, I am very glad that I turned to you!

Dmitriy

David Borisovich is a wonderful teacher! I was preparing in his group for the Unified State Examination in mathematics at the profile level, I passed by 85 points! although knowledge at the beginning of the year was not very good. David Borisovich knows his subject, knows the requirements of the Unified State Examination, he himself is a member of the commission for checking examination papers. I am very glad that I was able to get into his group. Thank you "Five with a plus" for this opportunity!

Violet

"Five with a plus" - an excellent center for preparing for exams. Professionals work here, a cozy atmosphere, friendly staff. I studied English and social studies with Valentina Viktorovna, passed both subjects with a good score, satisfied with the result, thank you!

Olesya

In the "Five with a plus" center, she studied two subjects at once: mathematics with Artem Maratovich and literature with Elvira Ravilievna. I really liked the classes, a clear methodology, an accessible form, a comfortable environment. I am very pleased with the result: mathematics - 88 points, literature - 83! Thank you! I will recommend your educational center to everyone!

Artem

When I was choosing tutors, I was attracted by good teachers, a convenient class schedule, free trial exams, my parents - affordable prices for high quality. In the end, we were very pleased with the whole family. I studied three subjects at once: mathematics, social studies, and English. Now I am a student of KFU on a budgetary basis, and all thanks to good preparation - I passed the exam with high scores. Thank you!

Dima

I very carefully selected a tutor in social studies, I wanted to pass the exam for the maximum score. "Five with a plus" helped me in this matter, I studied in the group of Vitaly Sergeevich, the classes were super, everything is clear, everything is clear, and at the same time fun and at ease. Vitaly Sergeevich presented the material in such a way that it was remembered by itself. I am very happy with the preparation!

About the Talented Reader

Let's talk about the reader. Little is said about him. Meanwhile, the reader is an indispensable person. Without it, not only our books, but all the works of Homer, Dante, Shakespeare, Goethe, Pushkin are just a dumb and dead pile of paper.

Individual readers may sometimes misjudge books, but the Reader in the larger, collective sense of the word - and, moreover, for a more or less long period of time - always has the last word in evaluating a literary work.

True, the evaluation of a book, which has been established for a certain period of time, very often changes. Some booth, located nearby, can obscure the tower, standing in the distance. But sooner or later we become aware of this optical illusion and begin to imagine literary values ​​on a more correct scale.

Time passes, one generation replaces another, and each of them evaluates the literary heritage that has come down to it in its own way. And if a prose writer or poet retains their significance and weight over the centuries, this is not because they were once enrolled in the ranks of geniuses and classics or immortalized by monuments erected in their honor, but because new generations recognize them as valuable and necessary. for life.

And there are times when a book, peacefully lying on our shelf, gradually and imperceptibly loses its charm. She seems to be destroyed, merging with others like her.

A living person, the reader, decides the fate of the book.

This should not be forgotten when we talk about the language, about the poet's vocabulary.

Remember how Lermontov brought Heine's poems closer to the heart of the Russian reader by translating German words into such Russian ones:

And dozing, swaying, and loose snow
She is dressed like a robe.

Tyutchev's translation of the same poem by Heine, which is very close to the original, did not evoke such a deep response from us, however, and therefore did not enter Russian poetry on a par with original poems.

Words and combinations of words are connected in our minds with many of the most complex associations and are able to raise a whole world of memories, feelings, images, ideas from the bottom of our soul.

And the point here is not only in the subtle and thorough knowledge of the language, which is the case with linguists.

In search of the most expressive, unique, irreplaceable word, the poet or prose writer does not turn to memory alone, like a doctor who recalls the Latin names of medicines.

Words are arranged in our minds differently than in dictionaries, not separately, not in alphabetical order and not in grammatical categories. They are closely related to our diverse feelings and sensations. We won't come up with an angry, sharp, well-aimed word until we're truly angry. We will not find hot, tender, affectionate words until we are imbued with genuine tenderness. That is why Mayakovsky speaks of extracting the precious word "from the artesian human depths."

This does not mean at all that the poet needs some unusual, refined, pretentious words to express feelings.

Finding the simplest and at the same time the most accurate word is sometimes much more difficult.

Remember the description of the winter evening in Chekhov's story "The Seizure".

“Recently it was the first snow, and everything in nature was under the power of this young snow. There was a smell of snow in the air, snow softly crunched underfoot, the earth, roofs, trees, benches on the boulevards - everything was soft, white, young, and from this house looked different than yesterday, the lanterns burned brighter, the air was more transparent, the carriages pounded more muffledly, and along with the fresh, light frosty air, a feeling similar to white, young, fluffy snow was asked into the soul ...

These are the usual, well-known words that Chekhov gives us the feeling of the first snow. Where is the verbal "artesian depths" mentioned above?

In lyrical concentration, in a stingy and strict selection of the finest details, in the rhythm that takes us into the atmosphere of a winter evening city.

In fact, the simplest words have the greatest power if the reader perceives them with that fresh immediacy that is characteristic of poets and children.

Chekhov half-jokingly countered all fanciful descriptions of the sea with its simplest definition:

And in the folk epic "Kalevala" the hare, who brings news of the death of Aino, tells her family that the girl

The sea fell into the wet.

"Big sea", "wet sea" - this is how any child who perceives the world for the first time could express himself - large, strong and simple.

An adult can find more complex epithets to characterize the sea. But happy is he who manages to combine mature experience with such a fresh and direct vision of the world.

In folk epic, in ancient Greek poetry, in Latin prose, in inscriptions on ancient monuments, simple verbs are full of movement and power:

I came, I saw, I conquered.

And what strength and weight in the line of Lermontov's poem "Two Giants" - in the verb "fell", placed at the end of the verse, as if over a steep cliff:

Gasped impudent - and fell!

The poet, as it were, returns to the words their original freshness, energy, fullness of sound - virtues that they did not possess, resting in inactivity on the pages of dictionaries.

In the verb "to laugh" there are peals of loud laughter - "ho-ho-tat."

We have long been accustomed to this laughing word and, pronouncing it quickly, we crumple it, hide unstressed vowels.

And how clearly and strongly each of his syllables sounded in Pushkin's poems:

Everyone walks, he walks around,
Talks loudly to himself -
And suddenly, striking his forehead with his hand,
Laughed...

It seems that for the first time this word has been given the space necessary for its full sounding. The poetic size makes us clearly and clearly pronounce all the vowels. The pause inevitable after the previous verse creates that silence, after which the laughter contained in the word “laughed” rolls like thunder.

Our hasty, sometimes careless colloquial speech, which we use in everyday life for utilitarian purposes, often discolors and “dumbs out” words, turning them into service terms, into some kind of conditional code.

The writer uses the same generally accepted words (although his vocabulary should be much wider and richer than the colloquial vocabulary), but, being a master of his craft, he knows how to put a word among others so that it plays with all its colors, sounds unexpected, weighty and new.

And he succeeds only if he himself treats words with indifference and unusually, if he not only understands their meaning, but also imagines everything that is put into them by the "linguist" - the people.

Not afraid to break the rules of style, Chekhov, in his description of the first snow, repeats the word "snow" more than once, which in itself - without epithets - can tell the reader a lot. The poet believes in the power of this simple word, just as an adult or child, unskilled in verbal art, believes in it, for whom words are as tangible and weighty as the objects themselves. But, of course, the power and charm of Chekhov's lines are not in the word "snow" alone. They have the smell of new snow, and its soft crunch underfoot, and the sound of carriages muffled by snow, and the whiteness of snow, and the transparency of winter air, from which the lanterns burn brighter than usual.

Together with Chekhov, the reader not only sees this first "young" snow, but also hears its creaking, and inhales the fresh winter air, smelling of snow, and, it seems, even feels the chill of a melting snowflake in his palm.

All five of our senses respond to those simple and at the same time magical words that Chekhov uses so carefully in this passage.

His winter evening landscape awakens so many subtle, dear to the heart sensations in readers that they themselves begin to recall something of their own - something that Chekhov did not name.

The reader ceases to be just a reader. He becomes a participant in everything that the poet has experienced and felt.

And, on the contrary, he remains indifferent if the author has done all the work for him and chewed his idea, theme, images in such a way that he left no room for his imagination to work. The reader must and wants to work too. He is also an artist - otherwise we could not talk to him in the language of images and colors.

Literature needs talented readers as much as it needs talented writers. It is on them, on these talented, sensitive, imaginative readers, that the author counts when he strains all his mental strength in search of the right image, the right turn of action, the right word.

But not every book makes the reader, even the most talented one, work - think, feel, guess, imagine.

In life, for some reason, we are captivated, distant sounds seem especially poetic to us - the distant cry of a rooster, the distant barking of dogs, by which we learn that somewhere ahead is a village, a distant human conversation on the road or a fragment of a song that comes to us from afar. It is interesting for us to see unknown people in the forest by the fire, the flame of which snatches their individual features from the semi-darkness. Walking down the street, we sometimes cannot resist the temptation to look into the lighted window, behind which goes some kind of our own, unknown to us life.

We are interested in everything that awakens our poetic imagination, which is able to recreate the whole picture from a few details.

We re-read "Taman" an infinite number of times, written in such a laconic, simple and strict way, as only poets write in prose. But something in this story always remains mysterious for us, unseen, unheard.

I do not mean some sly omissions or purely subtle hints, which are often used by pretentious writers who want to give a mysterious suggestiveness to some twilight that in bright light would seem primitive and even flat.

No, we are talking about the complexity and depth of the image, thoughts, feelings, in which it is not so easy to get to the bottom.

What, it would seem, is tricky in the portrait of Katyusha Maslova, painted by the hand of Leo Tolstoy? But we endlessly re-read the pages dedicated to her in order to understand, to see what exactly in this image of a young girl with such happy, slightly slanting, "black as wet currant" eyes, and then a female prisoner with a pale, swollen face, so struck and thrilled us for life. We only guess and therefore try to read between the lines of Tolstoy's novel what happens in her soul after a difficult and painful fracture, how and when her first, so cruelly trampled love woke up in her, whether she will accept Nekhlyudov's expiatory sacrifice or find some kind of another way, more difficult and higher. All these questions do not cease to excite us until the last pages of the book. And after we read it to the end, there is still a lot of work left for our imagination and thought.

And because the author makes us feel, think and imagine so much throughout the novel, we do not miss a single word in the text, we greedily catch every movement of the characters, trying to predict the turns of their destinies.

According to complex, internally logical, but at the same time not amenable to prudent foresight, the fates of the characters in Chekhov's stories "Duel", "The Story of an Unknown Man", "Three Years" develop.

And try to guess in advance how and where M. Gorky will lead you in "The Hermit" or in "The Story of Unrequited Love."

Yes, and in our modern art you can find a lot of stories, poems, films that enable the reader and the viewer to be full participants in the reality that the artist creates.

The path of Grigory Melekhov is complex and contradictory. It is difficult to predetermine - despite all their regularity - the twists and turns in the destinies of the heroes of "Walking Through the Torments". Throughout the poetic story, from the first line to the last, Nikita Morgunok is looking for the "country of Ant", and the reader wanders along with him along the "thousand paths and roads", sharing thoughts and anxieties with the hero of the poem.

However, to this day our fiction and poetry still have not run out of "route" cars that take the reader not only to a predetermined goal, but also along a predetermined route that does not promise anything new, unexpected or unforeseen.

The reader and his imagination have nothing to do on such a well-worn road.

And the author himself, in the process of such writing, can hardly find or discover anything valuable and significant for himself, for life, for art. In essence, such easy roads pass by life and by art.

The reader receives only the capital invested in the work by the author. If during the work neither real thoughts, nor genuine feelings, nor a stock of lively and accurate observations were expended, the reader's imagination will not work either. He will remain indifferent, and if he stirs up for one day, then tomorrow he will forget his short-term hobby.

When the curtain rises in a theater or a book is opened, the spectator or reader is sincerely disposed to believe the author and the actor. After all, for this he came to the theater or opened a book in order to believe. And it is not his fault if he loses confidence in the play or the book, and sometimes, through the fault of the play and the book, in the theater and literature.

The viewer is ready to indulge in skepticism, may lose confidence in glued beards and painted forests, if in a few minutes of the performance he is not internally busy, does not follow the development of the plot, the resolution of a life problem, if he is not excited and interested. Following the relationship of the characters, the viewer forgets that they are composed, fictional. He weeps over the tragic fate of the heroes he loves, he rejoices in the victory of goodness and justice. But the falsity, banality or inexpressiveness of what is happening on the stage immediately make him wary, turn the actors into miserable comedians, and expose all the cheap props of the stage setting.

A talented reader is not someone who reads a lot. And not even the one who prefers non-fiction to popular literature. A talented reader is a person who knows how to appreciate artistic prose and poetry.

Formation of literary preferences

In the famous poem by Gogol there is a character who shows an extraordinary love for books. But the author notes that he loves to read not because he appreciates literary works, but out of love to put letters into words, and words into sentences. The author described the hobby of this hero not without sarcasm. In real life, if there are such personalities, it is very rare.

A talented reader is a person who enjoys getting to know a book, but does not forget its content immediately after reading it. Literature is a source of spiritual, moral and intellectual enrichment. You need to be able to read. And the one who has mastered this art will not be haphazardly carried away by works of art. And consequently, a talented reader is a lover of prose and poetry, who has formed his own literary preferences.

The phrase, the meaning of which this article reveals, can be used in relation to a person who has studied more than one work of a Russian or foreign writer. But, unlike Gogol's hero, he learned to analyze what he read.

Love for books

The character mentioned above is Petrushka, the lackey of the scoundrel Chichikov. In relation to this, the phrase "talented reader" is inapplicable. A synonym for this concept is a thoughtful person. Petrushka does not find it difficult to understand the content of books. With the same zeal, he takes up reading the primer, the prayer book and the French novel. But who is such a talented reader? A synonym for this concept is a person who knows a lot about literature. One who does not read indiscriminately, but knows how to choose from the diverse book world what he is really interested in and needs.

Must Read Books

It is not in vain that the school curriculum includes works by Russian and foreign classics. To form a literary taste, one should read more than one book. Only after studying a certain number of compositions does the ability to evaluate the quality of a particular work appear.

How to learn to read?

Literary taste can be compared to an ear for music. One reader derives pleasure solely from reading quality literature. Others are only interested in a compelling storyline. A mediocre reader is not able to appreciate the artistic means that the author uses. The main idea of ​​the work is inaccessible to him. It can be compared to a man who "has stepped on the bear's ear." With those who do not distinguish harmony from disharmony. But unlike an ear for music, literary taste is not innate. It can be purchased.

So, what is the meaning of the phrase "talented reader"? Who is this? A person who has read the novels of Tolstoy, Dostoevsky, Bunin's stories and Pushkin's stories? The school minimum involves the study of the books of the great classics. For the successful passing of the exam, students read works that are included in the list of compulsory literature. Zetas analyze, write essays on them. However, after leaving school, not everyone is fond of reading. Therefore, not for every person who has studied the school minimum, the concept of "talented reader" is applicable.

Sentence after sentence, page after page... And a whole world of artistic images is born in the reader's imagination. He plunges into it, living the life of heroes and empathizing with them. This state is familiar to a person who can be endowed with such a title as a "talented reader." The meaning of this concept is more complicated than it might seem at first glance. You can call a talented reader who has a rich imagination, has more than a dozen books read behind him, knows how to distinguish classics from "fiction". The ability to understand and analyze the great comes with experience. Consider the ability of a thoughtful reader on the example of a well-known novel.

Example: The Master and Margarita

The novel won the love of millions of readers. What is the uniqueness of this work? Why is it of interest to people of different ages and levels of education? In adolescence, the reader gets acquainted with the creation of Bulgakov, and he is fascinated by the mysticism of the plot. With the acquisition of life experience, he is able to appreciate Bulgakov's sparkling humor. But only a truly talented reader can understand the deep philosophical idea of ​​this work.

The idea of ​​the novel is based on the biblical story. Only a deep, thinking person can appreciate the wisdom of Yeshua's words. Bulgakov's hero speaks of cowardice as the worst vice. He hints at the unreliability of Matthew's notes. The use of gospel motifs allows the author to express his moral position, original views on the history of Christianity. The reader, for whom this book has become one of the first, cannot get to know the idea of ​​the novel. To analyze the work, you should read a lot of critical articles, biographical works about the writer. Therefore, reading books does not mean understanding their content. To understand the term "talented reader" one more example from the literature should be given.

"Crime and Punishment"

Dostoevsky's book is called a model of a crime novel. This work, indeed, has all the signs of a detective genre. But the word "punishment" here has by no means a legal connotation. More like a Christian. Raskolnikov violates one of the commandments. He operates according to anti-human theory. And this almost leads him to moral death. Faith saves him.

It is difficult to understand the depth of Dostoevsky's novel in adolescence. A talented reader can be called, perhaps, a person who, after graduating from school, again returns to the works of classical literature, among which one of the most important is Crime and Punishment, in order to look at the experiences of the characters from the height of life and reader experience.

Critic or Reader?

Is there a difference between these concepts? A critic is more than a talented reader. The use of such a term in speech is quite common. A critic is a specialist who analyzes works of art and does it professionally. The reader is the one who enjoys getting to know the writer's artistic world. The assessment of professional critics is more objective. Their articles are published in textbooks on literature. The names of the best of them are included in the history of literature. But it is worth remembering that neither prose nor poetry can exist without a grateful reader. The writer does not create his books for glorified critics. Its audience is talented readers.

Literature needs talented readers as well as talented writers. It is on them, on these talented, sensitive, imaginative readers, that the author counts when he strains all his mental strength in search of the right image, the right turn of action, the right word. The artist-author takes on only part of the work. The rest must be supplemented by the imagination of the artist-reader. But not every book makes the reader, even the most talented one, work - think, feel, guess, imagine. A good reader: he always reads, every day and cannot do without it, reads different books (popular science, historical, fiction and others), knows how to search for the book he needs, understands and remembers what he has read. A real reader loves a book not as a thing (sometimes quite expensive) and appreciates not only the information that can be gleaned from it. For a true reader, a book is a living being with whom one can communicate and turn to at any moment. A real reader knows how to use in life what he read in books. It is necessary to read and understand, because the chosen literature gives the joy of discovery, helps to experience high feelings, makes us smarter, kinder, better. Talented should be not only a writer, but also a reader. Education with a word About skill About a talented reader Let's talk about the reader. Little is said about him. Meanwhile, the reader is an indispensable person. Without it, not only our books, but all the works of Homer, Dante, Shakespeare, Goethe, Pushkin are just a dumb and dead pile of paper. Individual readers may sometimes misjudge books, but the Reader in the larger, collective sense of the word - and, moreover, for a more or less long period of time - always has the last word in evaluating a literary work. True, the evaluation of a book, which has been established for a certain period of time, very often changes. Some booth, located nearby, can obscure the tower, standing in the distance. But sooner or later we become aware of this optical illusion and begin to imagine literary values ​​on a more correct scale. Time passes, one generation replaces another, and each of them evaluates the literary heritage that has come down to it in its own way. And if a prose writer or poet retains their significance and weight over the centuries, this is not because they were once enrolled in the ranks of geniuses and classics or immortalized by monuments erected in their honor, but because new generations recognize them as valuable and necessary. for life. And there are times when a book, peacefully lying on our shelf, gradually and imperceptibly loses its charm. She seems to be destroyed, merging with others like her. A living person, the reader, decides the fate of the book. All the strings that the author owns are in the hearts of the readers. The author has no other strings. And depending on the quality of playing on these strings, they respond in the souls of people either deafly, then loudly, then loudly, then quietly. This should not be forgotten when we talk about the language, about the poet's vocabulary. Remember how Lermontov brought Heine's poems closer to the heart of the Russian reader, translating German words into such Russian ones: And she slumbers, swaying, and loose snow She is dressed like a robe1. Tyutchev's translation of the same poem by Heine, which is very close to the original, did not evoke such a deep response from us, however, and therefore did not enter Russian poetry on a par with original poems. Words and combinations of words are connected in our minds with many of the most complex associations and are able to raise a whole world of memories, feelings, images, ideas from the bottom of our soul. And this depends on what the author himself has in his heart and soul and how much he owns that powerful verbal keyboard that sets in motion the strings of the reader's hearts. And deal