The story of life is a golden rose. Expressions are no less important than words No less than natural words

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1 Set of tasks 1. Task 1 (spelling, punctuation). Task 2 (semantic analysis of the text). Task 3 (grammatical basis of the sentence). Task 4 (adverb as part of speech). Task 5 (one-part sentences). Task 6 (introductory words). Task 7 (participial and adverbial turnover). Deformed text 1. 1) (B) p .. first I killed .. that the main thing for writing .. for this is from (to) and more .. full .. that and generous .. express .. zit yourself in any thing, even in t..com small..nky ra (s, ss) case, and thereby express your time and your people. 2) (During) the time of r..bots, one must forget about everything and write as (as if) for oneself and for oneself..god..horny man. 3) You need to give the holy ..bod to your ..mu inside (n, nn) ​​to the world to open all the floodgates for him and suddenly with amazement .. we see .. that in tv .. we s .. knowledge conclude (nn ,n) o r. 4) Creative ..sky pr ..tse (s, ss) in the very s.. flow .. pr.. arr.. melts new qualities. ..quenching at the same time (n, nn) ​​about the creator himself. 5) (On) the right thing is p.. it looks like spring in a pr.. kind. 6) Solar .. t.. raft (not) change (n, nn) ​​a. 7) But it heats up (s, ss) .. it snows .. it heats the soil and d.. 8) The earth fills (?) with a splash of noise with a play of drops .. and melt waters of thousands .. signs of spring, and the solar t.. of the raft remains (?) Xia (not) change ( n, n) oh. 9) So it is in creativity..stve. 10) S.. knowledge remains (?) (not) changing (n, nn) ​​in its essence (?) causing (during) r.. bots whirlwinds p.. currents to.. scadas of new thoughts .. th and arr .. the call of feelings .. and words. 11) (Because of) this, in.. where a person himself .. succumbs (?) to what he nap..sal. (According to K. Paustovsky) 2. What sentence answers the question: “What is the main thing for a writer?”. Specify the number of this proposal. _ 3. From sentence 6 write out the grammatical basis. 4. Write out the adverb from sentence 1 and indicate its syntactic role.

2 5. Among sentences 1-4 find one-component, indicate its number. Answer: 6. Among 5-6 find a sentence with an introductory word. Write out the introductory word, indicate 7. Among 4-5, find a sentence with a participial phrase. Indicate the number of the sentence and the syntactic role of this phrase.

3 Deformed text 2. 1) It is very ..visible that writing .. rises in a person as a state of mind .. much earlier .. than he begins .. begins to write reams of paper. 2) It .. influences (?) Xia still in u (nn, n) awn, but it can ..t be in de ..stve. 3) In childhood and youth (n, nn) ​​awn, the world exists for us in a different quality than in mature years. 4) In de .. hot .. co (l) nce thicker tr .. va plentiful .. e rains brighter .. the sky, and see .. really interesting .. resen every person. 5) For little children, each adult each ..t (?) being .. with (not) many sacraments .. (n, n) whether it be a carpenter with a set of ..m tools smelling of stream ..coy or learned (nn, n) th knowing .. everything about tr..ve is colored (nn, n) oh green. 6) Po..tic perception of the world around us, - led..ch..the greatest gift to us. 7) If a man ..lovek (not) squanders this gift for the prot..marriage .. long mature years, then he - po..t or pisat..l. 8) (B) in the end, the difference between both creators is (not) big. 9) Feel ..shchenie (not) pr..breaking new ..know well ..know that’s the fruit ..creative soil on which ra (s, s) colors ..t and ripens .. ss) you. 2. Which sentence answers the question: "What is the fertile ground for art?". Specify the number of this proposal. Answer: 3. Write down the grammatical basis from sentence 8. Answer: 4. Write out the adverb from sentence 5 and indicate its syntactic role. Answer: 5. Among sentences 1-4, find a proposal with one main member, indicate its number. 6. Among 2-6 find a sentence with an introductory word. Write out the introductory word, indicate _ 7. Among 3-5, find a sentence with participial phrases. Indicate the number of the sentence and the syntactic role of these phrases.

4 Deformed text 3. 1) (Not) less than "pr..native" words, b..gata our country with months (t) r..chances and di..lects. 2) Abuse ... bleating with such words usually speaks of (in) maturity and (in) e.. sufficient art (n, nn) ​​oh gra (m, mm) of the writer. 3) Words are taken (b) (without) parsing, obscure or even completely (in) understandable to the reader. ) to give w .. the voicing power of your thing. 4) (Without) conditionally exists .. versh .. on pure and gi .. cue Russian literary .. language. 5) Enriching it (at) the expense of local (t) words requires strict o..boron and great taste. 6) Because (because) there are n.. few places in our country where in the language and pronunciation, (along with) mean (n, nn) ​​pearls .. gins, there are many clumsy and phonetic words .. ski (not) pleasant. 7) (For) an example of who (?) Mem the word "however". 8) The authors writing .. about Siberia .. consider this word to be holy. 9) The local (t) word can ..t enrich the language if it is a..no, good ..sounding and understandable. (According to K. Paustovsky) 2. Which sentence answers the question: “Under what condition can a local word enrich the language?”. Specify the number of this offer. Answer: 3. Write down the grammatical basis from sentence 1. Answer: 4. Write out the adverb from sentence 2 and indicate its syntactic role. 5. Among sentences 7-9, find a one-part one, indicate its number. 6. Among 7-9 find a sentence with an introductory word. Write out the introductory word, indicate 7. Among 8-9, find a sentence with participial turnover. Indicate the number of the sentence and the syntactic role of this phrase.

5 Deformed text 4. 1) (According to) my real..I l..literature is like lime blossom. 2) Often you need ra (s, ss) standing in time .. not, what (would) pr.. believe and evaluate .. thread its strength and step .. its s .. perfection, so that (would) feel (in ) stove her breath and undying .. bursting beauty .. that. 3) If time can ..t ..sit love and all other human .. feelings (in) things, as well as the very memory of a person, then for the mean (n, nn) ​​oh l .. teratura it is with .. creates be (s, ss) death. 4) Next ..t recall the words of Saltykov-Shchedrin that l..literature is from (b, b) yata from the laws of decay. 5) (Not) forgetting at the same time the words of Pushkin: “The soul in the cherished lyre, my ashes pass .. lives and escaping corruption ..t.” 6) You can add a lot of such (same) statements by p..sately artists ..kov and scientists (n, nn) ​​of all times and peoples. 7) This thought should encourage us to a constant (n, n) move ..zhenie to the attainment of the heights ..n of skill, helping to post ..gat the world. 8) Encourage to s.. knowledge of (not) change .. imaginable ra (s, ss) standing between the real (n, nn) ​​creations of the human spirit and that gray sluggish and (not ) knowledge (n, nn) ​​oh "l.. literature", which is s.. higher (n, nn) ​​o (not) needed by the .. howl of the human soul.. 2. Which sentence answers the question: "What creates immortality for true literature?" Specify 3. Write down the grammatical basis from sentence 7. 4. Write out the adverb from sentence 8 and indicate its syntactic role. 5. Among sentences 6-7, find a one-part one, indicate its number. 6. Among 1-3 find a sentence with an introductory word. Write out the introductory word, indicate 7. Among 7-8, find a sentence with a participial phrase. Indicate the number of the sentence and the syntactic role played by this phrase. Answer

6 Deformed text 5. 1) It often happened that after pr..reading (n, nn) ​​th ra (s, ss) kaz or pov..sti (no) anything (not) remains (?) in memory 2) It hurts .. you really try (?) to see .. these people but (not) see (?), because (because) the author (did not) over .. poured them (n ..) one well .. howl ch..mouth. 3) And the action of these books takes place .. walking in the midst of some (some) student .. no more than a .. (n.n) day of colors and light average .. di things only naming (n, nn) ​​but (not see ( 4) (Not) despite the modern .. me (n, nn) ​​awn of the topic without .. help emanates from these things I wrote (n, nn) ​​s (for) h .. I’m with false ..howl cheerfully. 5) She is being tortured (?) by the thread of joy. 6) Such books want (?) Xia ra (s, ss) to cover as (on) a blindly glued (n, n) window in a stuffy and dusty room .. those that (would) with a ringing floor .. shards. 7) And immediately (same) poured (c) outside the wind the sound of rain the cries of children the beeps of steam .. carts the shine of the wet bridge out. 8) V..was (would) tear (would) all life..zn with her as if be..decent but pr..red p..string of light, red..k and noise. 9) Unfortunately, we have (not) few modern (n, nn) ​​books written (n, nn) ​​as (bu .. then) blind. 10) In order for them to see clearly, it is necessary (not) only to look around. 11) It is necessary to teach (?) Xia view ..t. 12) But the one who loves them can see well the people and the land. (According to K. G. Paustovsky) 2. Which sentence answers the question: “Who can see the earth and people well?”. Specify Answer: 3. From sentence 4 write down the grammatical basis. Answer: 4. Write out the adverb from sentence 4 and indicate its syntactic role. Answer: 5. Among the sentences, find a simple one-part sentence, indicate its number. _ 6. Among 7-9 find a sentence with an introductory word. Write out the introductory word, indicate 7. Among 9-12, find a sentence with participial turnover. Indicate the number of the sentence and the syntactic role played by this phrase.

7 BANK OF TASKS Deformed text 6. 1) There are (un) disputable truths .. but they often lie idle (not) as (not) reflecting on human .. activity .. of (from) for our laziness or (not) ignorance. 2) One of these (un)deniable truths relates (?) Xia to the writing ..lsky skill ..rstvo person (n, nn) ​​about the work of prose ..kov. 3) It concludes (?) in the fact that knowledge of all related areas. .shows the inner (n, nn) ​​world of prose ..ka, etc., gives a special expressiveness to his prose. 4) The prose of the master fills (?) With light and colors, well..writing, capacitance..study and freshness..with words property (n, nn) ​​of poetry, proportionality of architecture. . 5) Of course, all this is an additional .. richness of prose, as if (as it were) its additional .. full colors. 6) (I don’t) believe writers (not) loving ..m poetry and w..writing. 7) In the best ..m case, these are people with (not) how many l..nive and arrogant minds at worst - (ignorance). 8) The writer (not) can pr ..neglect (n ..) than that expands his view .. of the world of course, if he is a master and not a r.. craft (n, nn) ​​ik, if he ..the giver of tse (n, nn) ​​awns and (not) habitual .. or insistent .. in squeezing the good .. getting out of life as they chew American .. can. (According to K. G. Paustovsky) 2. What sentence answers the question: “What fills the prose of a true master?”. Specify 3. From sentence 4 write out the grammatical basis. 4. Write out the adverb from sentence 3 and indicate its syntactic role. 5. Among sentences 4-7, find one-component, indicate its number. 6. Among 4-6 find a sentence with an introductory word. Write out the introductory word, indicate 7. Among 1-3, find a sentence with a participle. Indicate the number of the sentence and the syntactic role played by this phrase. Ministry of Education and Science of the Krasnodar Territory

8 JOB BANK ANSWERS to tasks 2-7 Option. ass warmth unchanged difference 2 9 small country 3 9 rich blows 6 4 thought should prompt prose is filled for the first time circumstance little circumstance usually circumstance perfect circumstance often circumstance unusual circumstance 2 2 5;probably 2;maybe 7 7; for example 6 1; in my opinion 11 9; unfortunately 6 5; of course 4, (common isolated) circumstance 5; (spread isolated) definition 8; (spread isolated) definition 7; (isolated) circumstance 9; (spread isolated) definition 1; (common isolated) circumstance Ministry of Education and Science of the Krasnodar Territory

9 ASSIGNMENT BANK ANSWERS TO ASSIGNMENT 1 (text) Text 1 own people. 2) While working, you need to forget about everything and write as if for yourself and for the dearest person in the world. 3) You need to give freedom to your inner world to open all the floodgates for it and suddenly see with amazement that in your mind there are much more thoughts of feelings and poetic power than you expected. 4) The creative process in its very course acquires new qualities, becomes more complex and richer, enriching the creator himself at the same time. 5) It must be like spring in nature. 6) Solar heat is unchanged. 7) But it melts the snow, heats the air, soil and trees. 8) The earth is filled with noise, splashing, the play of drops and melt water with thousands of signs of spring, but the warmth of the sun remains unchanged. 9) So it is in creativity. 10) Consciousness remains unchanged in its essence, but during the work it causes whirlwinds, flows, cascades of new thoughts and images, sensations and words. 11) Therefore, sometimes a person himself is surprised at what he wrote. Text 2 1) Obviously, writing arises in a person as a state of mind much earlier than he begins to write on reams of paper. 2) Appears in youth, and perhaps in childhood. 3) In childhood and youth, the world exists for us in a different capacity than in adulthood. 4) In childhood, the sun is hotter, the grass is thicker, the rains are more abundant, the sky is brighter, and every person is deadly interesting. 5) For young children, every adult seems to be a little mysterious being, whether it is a carpenter with a set of tools that smell like shavings, or a scientist who knows all about green-dyed grass. 6) The poetic perception of the world around us is the greatest gift that we have inherited from early childhood. 7) If a person does not lose this gift for many mature years, then he is a poet or a writer. 8) After all, the difference between both creators is small. 9) The feeling of continuous novelty of life - this is the fertile soil on which art flourishes and matures. Ministry of Education and Science of the Krasnodar Territory

10 Ministry of Education and Science of the Krasnodar Territory Text 3 1) No less than “natural” words, our country is rich in local sayings and dialects. 2) The abuse of such words usually indicates the immaturity and lack of artistic literacy of the writer. 3) Words are taken indiscriminately, obscure, or even completely incomprehensible to the general reader, are taken out of panache, and not out of a desire to give the picturesque power of their thing. 4) Of course, there is the pinnacle of pure and flexible Russian literary language. 5) Enriching it with local words requires strict selection and great taste. 6) Because there are many places in our country where in the language and pronunciation, along with genuine gems, there are many clumsy and phonetically unpleasant words. 7) For example, take the word "however". 8) Authors writing about Siberia consider this word a sacred property of the speech of almost all their heroes. 9) A local word can enrich the language if it is figurative, euphonious and understandable. Text 4 1) In my opinion, real literature is like a lime blossom. 2) It often takes a distance in time to test and appreciate its strength and the degree of its perfection, to feel its breath and undying beauty. 3) If time can extinguish love and all other human feelings, as well as the very memory of a person, then for genuine literature it creates immortality. 4) One should remember the words of Saltykov-Shchedrin that literature is excluded from the laws of decay. 5) At the same time, without forgetting the words of Pushkin: "The soul in the cherished lyre will survive my ashes and run away from decay." 6) You can cite many of the same statements by writers, artists and scientists of all times and peoples. 7) This thought should encourage us to constantly move towards the conquest of the heights of mastery, helping to comprehend the world. 8) Encourage awareness of the immeasurable distance that lies between the genuine creations of the human spirit and that gray, sluggish and ignorant "literature" that the living human soul absolutely does not need. Text 5 1) It often happens that after reading a story or story, nothing remains in the memory. 2) You painfully try to see these people, but you do not see, because the author did not endow them with a single living feature. 3) And the action of these books takes place in the midst of some kind of gelatinous day, devoid of colors and light among things only named, but not seen by the author himself. 4) Despite the modernity of the topic, helplessness emanates from these things, often written with false cheerfulness. 5) They try to replace joy with it. 6) One wants to open such books, like a tightly sealed window in a stuffy and dusty room, so that fragments fly with a clang. 7) And immediately the wind poured outside, the sound of rain, the cries of children, the horns of locomotives, the shine of wet pavements. 8) All life would burst in with its seemingly chaotic, but beautiful variegation of light, colors and noises. 9) Unfortunately, we have a lot of modern books written as if they were blind. 10) In order for them to see clearly, one must not only look around.

11 11) One must learn to see. 12) And the one who loves them can see people and the earth well. (According to K. G. Paustovsky) Text 6 1) There are undeniable truths, but they often lie idle, not affecting human activity in any way because of our laziness or ignorance. 2) One of these indisputable truths relates to writing, especially to the work of prose writers. 3) It lies in the fact that knowledge of all related areas of art: poetry, painting, architecture, sculpture and music unusually enriches the inner world of the prose writer and gives special expressiveness to his prose. 4) The prose of the master is filled with the light and colors of painting, the capacity and freshness of words characteristic of poetry, the proportionality of architecture, the convexity of the lines of sculpture, the rhythm and melody of music. 5) Of course, all these are additional riches of prose, as if its additional colors. 6) I do not believe writers who do not like poetry and painting. 7) At best, these are people with a somewhat lazy and arrogant mind, at worst - ignoramuses. 8) A writer cannot neglect anything that expands his vision of the world, of course, if he is a craftsman, not an artisan, if he is a creator of values, and not a layman, persistently squeezing well-being out of life, like chewing American chewing gum. (According to K. G. Paustovsky) Ministry of Education and Science of the Krasnodar Territory

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1. Introduction

2. First things first

5. Longer questions

6. "I can" and "I must"

7. Learn expressions

Note. Idiomatic expressions are covered in the next chapter.

1. Introduction

Speaking of expressions, we will mean short but capacious speech etiquette formulas used in everyday communication. In this sense, they are close to what linguists call stereotypical, cliched expressions of colloquial speech.

Mastering these extremely concise and usually simple phrases is very important in order to maintain self-confidence during communication. Knowing them, you will not be lost - in any case, you will be able to say something appropriate in the most ordinary situations.

In principle, you can explain yourself in everyday everyday communication by knowing at least 100 commonly used expressions. Therefore, at the basic stage of language acquisition, it is appropriate to set yourself the task of mastering 25-50 expressions, and so well that in the future you will use them completely automatically. Knowing the most common expressions is no less important than knowing the words.

Knowledge of such expressions is also necessary so that we can write without making a strange impression. As for reading, here, as we know, passive knowledge is needed, which does not require much time and effort. In this case, you just need to recognize expressions that our correspondents most likely cannot avoid in the simplest letter.

Earlier, we have already said how important it is to conserve energy in the study of words - so to speak, about the "economy of words." Now it is necessary to note the importance of "economy of expressions". Indeed, to begin with, it is enough to learn only one expression for each typical situation. Best of all, if it is compressed to a word, one - but the most important, necessary in this situation.

Note that we will also need expressions that at first glance are devoid of any meaning. For example, when studying English, it is desirable to memorize the equivalent of our “yes-yes” or “that's how!”. Most likely, it will be "I see" or "Really?". In Swedish, a similar role is played by the word "jaså", which is very often used in conversation. What are they needed for? For a very important matter: to show that you are keeping the conversation going.

2. First things first

As an example of what you need to master at the earliest, basic stage of vocabulary development, here is a list of 20 everyday expressions in three languages.

Swedish – English – Russian

Adjö - Goodbye - Goodbye

Hej - Hello - Hello

Hejdå - Bye-bye - Bye

On det så bra - Have a good time - All the best

Ursäkta - Sorry - Sorry

Ingen orsak - That's OK - Everything is in order

Ursakta? — Pardon? - I'm sorry, what?

Jag förstår inte - I don't understand - I don't understand

God afton - Good evening - Good evening

Goddag - Good morning - Good morning

God natt - Good night - Good night

Det gör inget - It doesn't matter - Doesn't matter

Vad kostar det? – How much is it? - How much does it cost?

Hur mår du? – How are you? - How are you?

Tack bra - Fine, thank you - Everything is in order

Tack - Thank you - Thank you

Tack så mycket - Thank you very much - Thank you very much

Ja, tack - Yes, please - Yes, thank you

Nej, tack - No, thank you - No thanks

Kan du (tala) engelska? – Do you speak English? - You speak English?

Ja, lite - Yes, a little - Yes, a little

Jag vet inte - I don't know - I don't know

Välkommen - Glad to see you - Welcome

Ett ögonblick Just a moment

As a note, we note that almost all Swedes (according to the latest data, about 90%) have now switched to the neutral form "du" (you / you), which corresponds to the English "you". Instead of "God dag!" (“Good morning!”, “Good afternoon!”) ​​We now most often say simply “Hej!”, In almost any situation. However, more and more often from the Swedes of any age you can also hear the cheerful “Hello!”, Taken from the English language (usually it is pronounced like this: “Hallo!”).

3. Start with short expressions

At an early stage of learning, it is better to use the shortest possible expressions. The easiest way is to get by with one word - preferably a noun (if, of course, the language allows it). Of course, there are various more common and elegant ways to express yourself, but if you say just one relevant word, this will already be what you need. Here is a small list of such primitive expressions consisting of one word. They will be very useful to you - of course, if you master them "by heart".

Short version - Long version

1. Name? - What is your name?

2. Address? – Where do you live?

3. Profession? - What is your profession?

4. Work? - Where do you work?

5. School? - Which school do you go to?

6. Language? - What language do you speak?

7. Wife? / Husband? - Are you married? / You are married?

8. Children? Do you have children?

The next step is to learn how to add politeness formulas to the shortest words placed in the left column. For example: "Name, please?" In English it will sound: “Your name, please?”; in German: "Ihr Name, bitte?"; in French: "Votre nom, s'il vous plaît?", and so on.

4. Questions about the road and in the store

In many cases, one word is enough to explain in an important situation for us. For example:

Toilet? = Where is the toilet located?

Railway station? = Where is the train station?

Of course, in all cases, such a question would be appropriate to ask with the word "sorry." In English it would be "excuse me"; in German "entschuldigen Sie"; in French "pardon, madame" or "pardon, monsieur". Note that it is generally customary for the French to introduce a question with the expression "S'il vous plaît, madame/monsieur".

If you want to buy a postcard, then in this case one word is enough:

Card? = Can I buy a postcard? = Do you have postcards?

In fact, for many other purchases, knowing one keyword is enough. Reading some phrasebooks, I was surprised to note that their authors seem to continue to live in the 19th century, and not in our time of fast travel and lightning-fast purchases. For example, if you are running late while driving a car in an unfamiliar city, then you are unlikely to make a long question like: “Excuse me, could you tell me the shortest way to the city center?” Most likely, you will simply ask: "Center?"

In the same way, when hurrying to the airport, it will be enough to simply ask: “Airport?”

In a modern supermarket, where everything is on stream, there are carts, a cashier, and so on, you can also do almost without words. Therefore, I strongly advise you to master only the shortest expressions at first - and use them without hesitation. As for longer and more polite expressions, then gradually you will master them from numerous phrasebooks.

5. Longer questions

Questions consisting of three or four words are difficult to memorize. This is where you need to really work hard - especially if you want to achieve automatic ownership of them.

There are languages, primarily French, where a rather peculiar construction of a polite question is accepted. However, every language has its difficulties. For example, English interrogative constructions often include the verb "to do", which is not at all easy for a beginner to learn this language.

But in a number of languages ​​the situation is facilitated by the fact that there are interrogative particles. For example, in Finnish it is the particle “ko/kö”), which can be placed, for example, after a verb. Examples: "Onko herra Toivonen kotona?" ("Is Mr. Toivonen at home?", literally "Is Mr. Toivonen at home?) or "Ymmärrättekö minua?" ("Do you understand me?").

In Japanese, the interrogative particle "ka", on the contrary, is placed at the very end of the sentence: "Ashita kimasu ka?" (pronounced something like "Ashta kimaska?", translation: "Will you come tomorrow?").

6. "I can" and "I must"

Particular attention should be paid to mastering expressions like "I can" and "I must" - and, of course, in no case should they be confused. It should be noted that many phrasebooks give outdated words here that sound pompous and even a little funny.

As for the Swedes who study English, they usually have difficulties with the word "shall". The fact is that in Swedish there is the word "skall" - similar and even coming from the same root. In principle, both of them can serve as auxiliary verbs for the formation of the future tense, combined with another verb. However, if in Swedish it sounds quite natural “Jag skall gå till posten” (“I will go to the post office”), then the Englishman will rather say “I'm going to the post office”, or “I'll (I will) go to the post office", but not the hopelessly outdated "I shall go to the post office".

"Shall" is generally rarely used in the speech of modern English and is practically excluded from the English language in the United States. Therefore, to express the future tense, feel free to use the auxiliary verb "will" (or its abbreviated form "'ll").

7. Learn expressions

1. We learn everyday expressions in a foreign language, based on what we would say in our native language.

2. For each typical situation, we remember only one expression, but “by heart”.

3. You don't need to memorize many expressions at once.

4. We try to learn short expressions (if possible, one-word expressions), remembering that "choice is half the battle."

5. To begin with, we try to avoid expressions containing more than 3-4 words. But if they cannot be avoided, then it is necessary to spend as much time as necessary in order to remember these expressions firmly.

6. In early learning, auditory memory is more important than figurative memory. Therefore, we try to memorize expressions to such an extent that they are instantly “heard” in the head.

7. We try to use the learned expressions as often as possible. We write them out on a piece of paper and carry them with us to repeat as often as possible.

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“In addition to the natural imperfections inherent in language, there are also intentional and negligent ones; to misuse words is to misuse them.

The first and most palpable abuse is the use of words to which no clear idea is attached.

Such words are of two kinds. Some have never had a definite idea, neither in their inception nor in their ordinary use. They were introduced for the most part by philosophical and religious sects in order to reinforce some strange opinion or to cover up some weak point in their system. However, they are used only as distinguishing features of the adherents of this party.

There are, however, other words which, in their original and common use, have some clear idea, but which are later assigned to very important things, without attaching any definite idea to them. Such, for example, are often in the mouths of people the words "wisdom", "glory", "mercy" […]

Secondly, the use of words is sometimes unstable; it happens all too often among scientists.

Meanwhile, this is an obvious deception, and if it is deliberate, then this is madness or dishonesty. If someone did this in their business calculations (taking X for Y), then who, I ask you, would want to do business with him? […]

In view of the fact that this abuse is so common not only among scientists but also among the general public, I believe that this is more the result of bad habit and negligence than bad faith. As a rule, different meanings of the same word have something related to each other; as a result, one word is mistaken for another, and they do not allow themselves time to think about what they say with the exactness that would be desirable. We are accustomed to paths and figures, and some grace and false brilliance easily captivate us. Most often, after all, they are looking for pleasure, fun or external gloss more than truth, and the voice of vanity joins this.

The third abuse is deliberate incomprehensibility, arising either from the assignment of unusual meanings to ordinary words, or from the introduction of new terms without explaining them. The ancient sophists Lucian so justly put it in a funny way, ”they tried, taking the liberty of talking about everything, to cover up their ignorance with the incomprehensibility of the words they used. Among philosophical sects, the peripatetic sects were most distinguished by this defect, but other sects, even modern ones, are not completely free from this. There are, for example, people who abuse the term extension and consider it necessary to confuse it with the word body. Logic, or the art of argument, which was so valued, contributed to obscuring words. Those who gave themselves up to this became not only useless, but even harmful to the state. Meanwhile, artisans (hommes mecaniques), so despised by scientists, brought benefit to people's lives. However, the ignorant were in awe of these dark scholars and considered them invincible, since they were surrounded by thorns and thorns, through which no one gave pleasure; darkness alone could serve as a cover for absurdity. The evil is that this art of obscuring words has confused the two great regulators of human action, religion and justice. […]

The fourth abuse is that words are taken for things, i.e., it is assumed that words correspond to the real essence of substances.

What pupil of Peripatetic philosophy does not believe that the ten terms denoting the ten categories correspond exactly to the nature of things, that the substantial forms, the vegetative souls, the fear of the void, and the intentional forms are something real? The Platonists have their world soul, the Epicureans have the desire of atoms to move when the latter are at rest. If somewhere in the world the air and ethereal chariots of Dr. More were recognized, they would be considered no less real. […]

The fifth misuse consists in the substitution of words for things which they do not and in no way can signify. […]

To continue our listing, let's move on to sixth abuse, although I can clearly see that some of them should have been crossed off the list. This common but little noticed abuse is that people having connected, as a result of long use, well-known ideas with well-known words, they begin to think that this connection is obvious and that everyone recognizes it. Therefore, they find it very strange when they are asked the meaning of the words they use, even if it is absolutely necessary. There are few people who would not consider it an insult if they were asked what they mean by the word "life." Meanwhile, the indefinite idea they have is not enough when it is necessary to establish whether a plant already formed in the seed has life, or a chicken in an unhatched egg, or a person in a swoon, without feelings and movements. Although people do not want to appear either so limited and tiresome as to ask for explanations of the terms they use, nor so annoying critics as to constantly blame others for the words they use, however, when it comes to accurate research, one has to take up the explanation. Often scientists of different directions in their disputes with each other speak different languages, thinking the same thing, although, perhaps, their interests are different. […]

... about the seventh and final delusion, which consists in figurative expressions or allusions. However, it will not be easy to recognize it as an error, since what is called wit and fantasy finds access to itself in the world more easily than dry truth. These qualities are suitable for conversations in which one tries only to please, but essentially all these artificial and figurative uses of words and all rhetorical art (except for order and clarity) can only inspire false ideas, excite passions and mislead the mind, so that they are deception. However, it is precisely this deceitful art that is given first place and rewards are given for it. This is explained by the fact that people have little interest in the truth and are very fond of deceiving and being deceived. This is true; I have no doubt that everything I say against this art will be considered excessive insolence, since eloquence, like the fair sex, has too strong charms to be attacked.

Gottfried Wilhelm Leibniz, New experiences about human understanding of the author of the system of pre-established harmony / Works in 4 volumes, Volume 2, M., "Thought", 1984, p. 346-357.

In general, there are many preconceived notions and prejudices about writing. Some of them can lead to despair with their vulgarity.

Most of all, inspiration is vulgarized.

Almost always it appears to the ignorant in the form of the poet's eyes bulging in incomprehensible admiration, directed to the sky, or a goose feather bitten by teeth.

Many, obviously, remember the film "The Poet and the Tsar". There Pushkin sits, dreamily raising his eyes to the sky, then convulsively grabs his pen, begins to write, stops, raises his eyes again, nibbles on a quill pen, and again writes hastily.

How many images of Pushkin we have seen, where he looks like an enthusiastic maniac!

At one art exhibition, I heard a curious conversation about the sculpture of Pushkin, short-haired and as if curled with a perm, with an "inspired" look. The little girl looked at this Pushkin for a long time, grimacing, and asked her mother:

- Mom, is he dreaming? Or what?

“Yes, daughter, Uncle Pushkin is dreaming a dream,” the mother answered tenderly.

Uncle Pushkin "dreams a dream"! That Pushkin who said about himself: “And for a long time I will be so kind to the people that I aroused good feelings with my lyre, that in our cruel age I glorified freedom and called for mercy on the fallen!”

And if “holy” inspiration “overshadows” (necessarily “holy” and always “overshadows”) the composer, then he, raising his eyes, smoothly conducts for himself those enchanting sounds that undoubtedly resound in his soul right now, in exactly the same way as on the sugary monument to Tchaikovsky in Moscow.

Not! Inspiration is a strict working state of a person. Spiritual uplift is not expressed in a theatrical pose and elation. Just like the notorious "torments of creativity."

Pushkin said about inspiration precisely and simply: “Inspiration is the disposition of the soul to the living acceptance of impressions, consequently, to a quick understanding of concepts, which contributes to their explanation.” "Critics," he added, "mix inspiration with delight." Just as readers sometimes confuse truth with plausibility.

That would be half the trouble. But when other artists and sculptors mix inspiration with "calf's delight", it looks like complete ignorance and disrespect for the hard work of writing.

Tchaikovsky argued that inspiration is a state when a person works with all his strength, like an ox, and does not at all coquettishly wave his hand.

Please excuse me for this digression, but everything I said above is not a trifle at all. This is a sign that the vulgar and layman is still alive.

Each person, at least several times in his life, has experienced a state of inspiration - spiritual uplift, freshness, a vivid perception of reality, the fullness of thought and consciousness of his creative power.

Yes, inspiration is a strict working state, but it has its own poetic coloring, its own, I would say, poetic subtext.

Inspiration enters us like a radiant summer morning that has just thrown off the mists of a quiet night, spattered with dew, with thickets of wet foliage. It gently breathes its healing coolness into our faces.

Inspiration is like first love, when the heart beats loudly in anticipation of amazing meetings, unimaginably beautiful eyes, smiles and omissions.

Then our inner world is finely tuned and true, like a kind of magical instrument, and responds to everything, even the most hidden, most inconspicuous sounds of life.

Many excellent lines have been written about inspiration by writers and poets. “But only the divine verb touches the sensitive ear” (Pushkin), “Then the anxiety of my soul humbles itself” (Lermontov), ​​“The sound approaches, and, obedient to the aching sound, the soul becomes younger” (Blok). Fet said very accurately about inspiration:

With one push to drive the rook alive

From the smoothed ebb of the sands,

One wave to rise into another life,

Feel the wind from the flowering shores.

To interrupt a dreary dream with a single sound,

Get drunk suddenly unknown, dear,

Give life a breath, give sweetness to secret torments,

Someone else instantly feel your own ...

Turgenev called inspiration "the approach of God", the enlightenment of man by thought and feeling. He spoke with fear of the unheard-of torment for a writer when he begins to translate this insight into words.

Tolstoy said about inspiration, perhaps most simply: “Inspiration consists in the fact that something that can be done suddenly opens up. The brighter the inspiration, the more painstaking work must be for its execution.

But no matter how we define inspiration, we know that it is fruitful and should not disappear fruitlessly without bestowing people with it.

REVOLT OF HEROES

In the old days, when people moved from apartment to apartment, sometimes prisoners from the local prison were hired to carry things.

We children have always waited for the appearance of these prisoners with burning curiosity and pity.

The prisoners were brought in by mustachioed guards with huge revolvers "bulldogs" on their belts. We looked with all our eyes at people in gray prison clothes and gray round caps. But for some reason, with special respect, we looked at those prisoners who had ringing thin shackles tied with a strap to their belts.

All this was very mysterious. But the most surprising thing seemed to be the fact that almost all the prisoners turned out to be ordinary emaciated people and so good-natured that it was impossible to believe that they were villains and criminals. On the contrary, they were not just polite, but simply delicate, and most of all they were afraid of hurting someone when carrying bulky furniture or breaking something.

We children, in agreement with adults, have developed a cunning plan. Mama took the guards to the kitchen to drink tea, while we hurriedly put bread, sausage, sugar, tobacco, and sometimes money into the pockets of the prisoners. They were given to us by our parents.

We imagined that this was a risky business, and were delighted when the prisoners thanked us in a whisper, winking in the direction of the kitchen, and hid our gifts away, in secret inner pockets.

Sometimes prisoners quietly gave us letters. We stuck stamps on them and then went in a crowd to throw them in the mailbox. Before throwing the letter into the box, we looked around to see if there was a bailiff or a policeman nearby? As if they could eat up what kind of letter we send.

Among the prisoners, I remember a man with a gray beard. They called him the elder.

He was in charge of moving things. Things, especially cabinets and pianos, got stuck in the doors, it was difficult to turn them around, and sometimes they did not get into the new place intended for them, no matter how hard the prisoners fought with them. Things clearly resisted. In such cases, the headman said about some closet:

- Put him where he wants. What are you muzzling him! I have been translating things for five years and I know their character. Since the thing does not want to stand here, so no matter how much you press on it, it will not yield. It will break, but not yield.

I remembered this maxim of the old convict in connection with the writer's plans and actions of literary heroes. There is something in common in the behavior of things and these characters. Heroes often come into conflict with the author and almost always defeat him. But the conversation about this is still ahead.

Of course, almost all writers make plans for their future things. Some develop them in detail and precisely. Others are very approximate. But there are writers whose plan consists of only a few words, as if they had no connection with each other.

And only writers who have the gift of improvisation can write without a preliminary plan. Of the Russian writers, Pushkin possessed such a gift to a high degree, and of contemporary prose writers, Alexei Nikolayevich Tolstoy.

I admit the idea that a writer of genius can also write without any plan. A genius is so inwardly rich that any topic, any thought, incident or object causes him an inexhaustible stream of associations.

Young Chekhov said to Korolenko:

- Here you have an ashtray on the table. If you want, I'll write a story about her right now.

And he would write it, of course.

One can imagine that a person, picking up a crumpled ruble on the street, starts his romance with this ruble, starts as if jokingly, easily and simply. But soon this novel will go deeper and wider, filled with people, events, light, colors, and will begin to flow freely and powerfully, driven by the imagination, demanding more and more sacrifices from the writer, demanding that the writer give him precious stocks of images and words.

And now in the narrative, which began with an accident, thoughts arise, a complex fate of people arises. And the writer is no longer able to cope with his excitement. He, like Dickens, weeps over the pages of his manuscript, moans in pain like Flaubert, or laughs like Gogol.

So in the mountains from an insignificant sound, from a shot from a hunting rifle, snow begins to pour down a steep slope in a shiny strip. Soon it turns into a wide snowy river rushing down, and a few minutes later an avalanche breaks into the valley, shaking the gorge with a roar and filling the air with sparkling dust.

This ease of the emergence of a creative state in people of genius and, moreover, possessing the gift of improvisation, is mentioned by many writers.

No wonder Baratynsky, who knew well how Pushkin worked, said about him:

... Pushkin is young, this windmill is brilliant,

All under his pen joking life-giving ...

I mentioned that some plans seem to be a bunch of words.

Here is a small example. I have a story "Snow". Before writing it, I scribbled on a sheet of paper, and from these notes a story was born. What do these records look like?

The Forgotten Book of the North. The main color of the north is foil. Steam over the river. Women rinse clothes in the holes. Smoke. The inscription on the bell at Alexandra Ivanovna's: "I'm hanging at the door - call more cheerfully!" "And the bell, the gift of Valdai, rings sadly under the arc." They are called "darvaldays". War. Tanya. Where is she, in what remote town? One. The dim moon behind the clouds is a terrible distance. Life is compressed into a small circle of light. From the lamp. All night long something buzzes in the walls. Branches scratch the glass. We very rarely leave the house at the deadest time of the winter night. This must be checked ... Loneliness and expectation. An old disgruntled cat. Nothing can please him. Everything seems to be visible - even twisted candles (olive) on the roll, but so far there is nothing else. I was looking for an apartment with a piano (singer). Evacuation. Waiting story. Alien house. Old-fashioned, cozy in its own way, ficuses, the smell of old Stamboli or Mesaksudi tobacco. The old man lived and died. Walnut desk with yellow stains on green cloth. Girl. Cinderella. Nurse. There is no one else yet. Love, they say, attracts from a distance. One can only write a story about waiting. What? Whom? She herself does not know this. It breaks the heart. At the intersection of hundreds of roads, people accidentally collide, not knowing that their entire past life was a preparation for this meeting. Probability theory. Applied to human hearts. It's easy for fools. The country is drowning in snow. The inevitability of the appearance of man. From someone all come in the name of the deceased letter. They are stacked on the table. This is the key. What letters? What's in them? Sailor. Son. Fear that he will come. Expectation. There is no limit to the kindness of her heart. Letters have become reality. Twisted candles again. In a different capacity. Notes. Towel with oak leaves. Piano. Birch smoke. Tuner - all Czechs are good musicians. Wrapped up to the eyes. All clear!"

Here is what can be called the plan of this story with a big stretch. If you read this entry without knowing the story, it will become clear that this is a slow and obscure, but stubborn groping for a theme and plot.

What happens to the most accurate, thoughtful and verified writer's plans? To tell the truth, most of their lives are short.

As soon as people appear in the work begun, and as soon as these people come to life at the will of the author, they immediately begin to resist the plan and enter into a struggle with it. The thing begins to develop according to its own internal logic, the impetus for which was given, of course, by the writer. The characters act in a way that suits their character, despite the fact that the creator of these characters is the writer.

If the writer forces the heroes to act not according to the internal logic that has arisen, if he forces them back into the framework of the plan, then the heroes will begin to die, turning into walking schemes, into robots.

This idea was very simply expressed by Leo Tolstoy.

One of the visitors to Yasnaya Polyana accused Tolstoy of being cruel to Anna Karenina, forcing her to throw herself under a train.

Tolstoy smiled and replied:

– This opinion reminds me of the case with Pushkin. Once he said to one of his friends: “Imagine what a thing Tatyana ran away with me. She got married. I didn't expect that from her." The same can be said about Anna Karenina. In general, my heroes and heroines sometimes do things that I would not want! They do what they have to do in real life and how it happens in real life, and not what I want.

All writers are well aware of this stubbornness of heroes. “I am in the midst of work,” said Alexei Nikolayevich Tolstoy, “I don’t know what the hero will say in five minutes. I watch him with amazement."

It happens that a minor hero displaces the rest, becomes the main one himself, turns the whole course of the story and leads it along.

The thing truly, with all its force, begins to live in the mind of the writer only while working on it. Therefore, there is nothing special and nothing tragic in breaking and ruining plans.

On the contrary, it is natural and only testifies to the fact that real life has broken through, filled the writer's scheme and pushed apart and broken with its living pressure the framework of the original writer's plan.

This in no way discredits the plan, does not reduce the role of the writer to merely writing everything down at the prompting of life. After all, the life of the images in his work is conditioned by the consciousness of the writer, his memory, imagination, all his inner structure.

HISTORY OF ONE STORY

"Planet Marz"

I will try to remember how the idea of ​​my story “Kara-Bugaz” arose. How did all this happen?

During my childhood in Kyiv, on Vladimirskaya Gorka above the Dnieper, an old man in a dusty hat with hanging brim appeared every evening. He brought a shabby telescope and set it up for a long time on three bent iron legs.

This old man was called "Stargazer" and was considered an Italian, because he deliberately distorted Russian words in a foreign way.

Having set up the telescope, the old man spoke in a learned, monotonous voice:

Dear ladies and gentlemen! Buona Giorno! For five kopecks, you are carried away from the Earth to the Moon and various stars. I especially recommend watching the sinister planet Marz, which has the tone of human blood. Who was born under the sign of Martz, can immediately die in a war from a Fusilier bullet.

Once I was with my father on Vladimirskaya Gorka and looked through a telescope at the planet Mars.

I saw a black abyss and a reddish ball, fearlessly hanging without any support in the midst of this abyss. While I was looking at it, the ball began to creep up to the edge of the telescope and hid behind its copper rim. The Stargazer turned the telescope slightly and brought Mars back to its original position. But he again began to move towards the copper rim.

- Well, how? the father asked. – Do you see anything?

“Yes,” I replied. – I even see the channels.

I knew that people lived on Mars - Martians - and that they dug huge canals on their planet for no reason.

End of free trial.

DICTIONARIES

All sorts of thoughts come to mind sometimes. For example, the thought that it would be nice to compile several new dictionaries of the Russian language (except, of course, the already existing general dictionaries).

In one such dictionary, let's say, you can collect words related to nature, in another - good and well-aimed local words, in the third - the words of people of different professions, in the fourth - garbage and dead words, all the bureaucracy and vulgarity that litter the Russian language.

This last dictionary is needed in order to wean people from stupid and broken speech.

The idea of ​​collecting words related to nature came to my mind on the day when, on a meadow lake, I heard a hoarse girl listing different herbs and flowers.

This dictionary will, of course, be sensible. Each word should be explained, and after it should be placed several passages from the books of writers, poets and scientists who have a scientific or poetic connection with this word.

For example, after the word "icicle" you can print an excerpt from Prishvin:

"Hanging under the steep, the frequent long roots of the trees now under the dark vaults of the shore turned into icicles and, growing more and more, reached the water. , they swayed, knocking against each other, rang, and this sound was the first sound of spring, the aeolian harp.

And after the word "September" it would be nice to print an excerpt from Baratynsky:

And here comes September! Slowing down its rising, The sun shines with its cold radiance, And its ray in the mirror of unsteady waters Trembles with obscure gold.

Thinking about these dictionaries, especially about the dictionary of "natural" words, I divided it into sections: the words "forest", "field", "meadow", words about the seasons, about meteorological phenomena, about water, rivers and lakes, plants and animals.

I understood that such a dictionary should be compiled in such a way that it could be read like a book. Then he would give an idea both of our nature and of the vast riches of language.

Of course, this work would be beyond the power of one person. He wouldn't have had enough for her all his life.

Every time I thought about this dictionary, I wanted to discount twenty years, so that, of course, not to compile such a dictionary myself - I did not have the knowledge for this - but at least to participate in the work on it.

I even started to make some entries for this dictionary, but, as usual, I lost it. It is almost impossible to restore them from memory.

One day I spent most of the summer gathering herbs and flowers. I learned their names and properties from the old guide to plants and entered all this into my notes. It was an exciting activity.

Never until then had I imagined the expediency of everything that happens in nature, all the complexity and perfection of every leaf, flower, root or seed.

This purposefulness sometimes reminded of itself purely outwardly and even painfully.

One autumn, my friend and I spent a few days fishing on the deaf, old riverbed of the Oka. It lost its connection with the river several centuries ago and turned into a deep and long lake. He was surrounded by such thickets that it was difficult to get through to the water, and in other places it was impossible.

I was wearing a woolen jacket, and many prickly seeds of string (similar to flat bidents), burdock and other plants stuck to it.

The days were clear and cold. We slept in a tent without undressing.

On the third day it rained a little, my jacket was damp, and in the middle of the night I felt a sharp pain in several places on my chest and arms, as if from pricks of a pin.

It turned out that round flat seeds of some kind of grass, saturated with moisture, moved, began to unfold in a spiral and screw into my jacket. They screwed right through it, then pierced my shirt and in the middle of the night they finally got to my skin and began to prick it gently.

It was, perhaps, one of the most striking examples of expediency. The seed fell to the ground and lay there motionless until the first rains. It made no sense for him to break into dry soil. But as soon as the earth became wet from the rain, the seed, twisted into a spiral, swelled, revived, screwed into the earth like a drill, and began to germinate at the appointed time.

I again digressed from the "main thread of the story" and started talking about seeds. But while I was writing about seeds, I was reminded of another amazing phenomenon. I can't help but mention it. Moreover, it has a certain, albeit very distant, I would say, purely comparative attitude to literature, in particular to the question of which books will live a long time and which will not stand the test of time and die, like that sentimental flower that "did not bloom and faded in the morning of cloudy days."

It's about the spicy smell of common linden flowers - the romantic tree of our parks.

This smell is heard only at a distance. Near a tree, it is almost invisible. The linden stands, as it were, surrounded at a great distance by a closed ring of this smell.

There is expediency in this, but we have not yet fully unraveled it.

Real literature is like lime blossom.

It often takes a distance in time to test and appreciate her strength and the extent of her perfection, to feel her breath and undying beauty.

If time can extinguish love and all other human feelings, as well as the very memory of a person, then for genuine literature it creates immortality.

We should remember the words of Saltykov-Shchedrin that literature is excluded from the laws of corruption. And the words of Pushkin: "The soul in a hundred-voiced lyre will survive my ashes and run away from decay." And the words of Fet: "This leaf, which withered and fell off, burns with eternal gold in a hymn."

One can cite many such statements by writers, poets, artists and scientists of all times and peoples.

This thought should prompt us to "improve our favorite thoughts", to constant restlessness, to the conquest of new heights of mastery. And to the realization of the immeasurable distance that lies between the genuine creations of the human spirit and that gray, sluggish and ignorant literature that the living human soul absolutely does not need.

Yes, that's how far the talk about the properties of lime blossom can go!

Obviously, everything can be an accomplice of human thought and nothing can be neglected. After all, fairy tales are born with the modest help of such unnecessary things as a dry pea or the neck of a broken bottle.

I will nevertheless try to briefly recall from memory some of the entries that I made for the supposed (almost fantastic) dictionaries.

Some of our writers, as far as I know, have such "personal" dictionaries. But they do not show them to anyone and are reluctant to mention them.

What I recently spoke about the spring, rains, thunderstorms, dawn, "svee" and the names of various herbs and flowers, are also "records for the dictionary" renewed in memory.

My first entries were about forests. I grew up in the treeless south, and perhaps that is why I fell in love with forests most of all in Central Russian nature.

The first "forest" word that completely fascinated me was wilderness. True, it refers not only to the forest, but I first heard it (as well as the word wilderness) from the foresters. Since then, in my imagination, it has been associated with a dense, mossy forest, damp thickets littered with windbreak, with the iodine smell of preli and rotten stumps, with a greenish twilight and silence. "Is it my side, are you a side, my age-old wilderness!"

And then there were real forest words: ship grove, aspen, small forest, sandy forest, chapyga, mshary (dry forest swamps), burnt, black forest, wasteland, edge, forest cordon, birch forest, felling, bark, oleoresin, clearing, kondo pine , oak forest and many other simple words filled with picturesque content.

Even such a dry technical term as "forest boundary post" or "picket" is full of elusive charm. If you know forests, then you will agree with this.

Low boundary posts stand at the intersection of narrow clearings. Near them there is always a sandy mound, overgrown with dried tall grass and strawberries.

This mound was formed from the sand that was thrown out of the pit when it was dug for a pillar. Numbers are burned on the hewn top of the pillar - the number of the "forest quarter".

Butterflies almost always bask on these pillars, their wings folded, and ants run anxiously.

Near these pillars it is warmer than in the forest (or, perhaps, it only seems so). Therefore, here you always sit down to rest, leaning your back against a pillar, listening to the quiet rumble of the peaks, looking at the sky. It is clearly visible above the clearings. Clouds with silver edges slowly float along it. It must be possible to sit like this for a week and a month and not see a single person.

In the sky and clouds - the same midday peace as in the forest, in the blue dry cup of the bell leaning towards the podzolic earth, and in your heart.

Sometimes in a year or two you recognize an old familiar pillar. And every time you think how much water has flowed under the bridge, where you have been during this time, how much grief and joy you have experienced, and this pillar stands here night and day, and winter and summer, as if waiting for you, like an uncomplaining friend. Only more yellow lichens appeared on it and dodder braided it to the very top of its head. It blooms and smells bitter, almond-like, warmed up from the warmth of the forest.

It is best to look at the forests from fire towers. Then you can clearly see how they go beyond the horizon, rise to the ridges, descend into the hollows, stand like fortress walls above the sandy ravines. Here and there the water gleams - a mirror of a quiet forest lake or a pool of a forest river with reddish "harsh" water.

From the tower, one can gaze at the entire dense woodland, the entire solemn forest region - immeasurable and unknown, imperiously calling a person into its mysterious thickets.

This call is impossible to resist. You need to immediately take a backpack, a compass and go into the forests to get lost in this green coniferous ocean.

So we did once with Arkady Gaidar. We walked through the forests all day and almost all night without roads, under the stars that shone through the crowns of pines only for us (because everything around us was asleep), until before dawn we reached a winding forest river. She was wrapped in mist.

We lit a fire on the shore, sat down near it and were silent for a long time, listening to the water muttering somewhere under a snag, and then an elk trumpeted sadly. We sat in silence and smoked until the most tender dawn shone in the east.

That would be a hundred years! Gaidar said. - Would you have enough?

Hardly.

And I wouldn't have had enough. Come on, kettle. Let's put tea on.

He went into the darkness to the river. I heard him scrubbing the kettle with sand and scolded him for the wire handle that had fallen off. Then he sang to himself a song unfamiliar to me:

The forest is dense, the robber Temen from ancient times. Damask knife in the bosom Hotly sharpened.

There are many more words that are not forest words, but they infect us with the charm hidden in them with the same force as forest ones.

The Russian language is very rich in words related to the seasons and natural phenomena associated with them.

Take at least early spring. She, this girl-spring, still shivering from the last frosts, has a lot of good words in her knapsack.

The thaws begin, the thaws begin, the drops from the roofs. The snow becomes grainy, spongy, settles and turns black. The mists eat him up. Gradually delivers roads, there comes a slush, impassability. On the rivers, the first gullies with black water appear in the ice, and on the hillocks - thawed patches and bald patches. Along the edge of the packed snow, the coltsfoot is already turning yellow.

Then, on the rivers, the first movement of ice occurs (namely, movement, and not movement), when the ice begins to chip and move obliquely and water comes out from the holes, vents and ice holes,

For some reason, ice drift begins most often on dark nights, after the "ravines go" and the hollow, melt water, ringing with the last pieces of ice - "shards", will merge from the meadows and fields.

It is impossible to list everything. Therefore, I skip summer and move on to autumn, to its first days, when it is already beginning to "September".

The earth is withering, but the "Indian summer" is still ahead with its last bright, but already cold, like the brilliance of mica, the radiance of the sun, with the thick blue of the skies, washed with cool air, with a flying web ("yarn of the Virgin", as they call it in some places still devout old women) and a fallen, withered leaf falling asleep empty waters. Birch groves stand like crowds of beautiful girls in short shawls embroidered with gold leaf. "Autumn time - the charm of the eyes."

Then - bad weather, heavy rains, the icy north wind "Siverko", plowing the leaden waters, coldness, coldness, pitch-black nights, icy dew, dark dawns.

So everything goes on until the first frost seizes, binds the earth, the first powder falls and the first path is established. And there is already winter with blizzards, blizzards, blowing snow, snowfall, gray frosts, landmarks in the fields, the creak of undercuts on the sledge, a gray, snowy sky.

Many of our words are connected with fogs, winds, clouds and waters.

Rivers are especially richly represented in the Russian dictionary with their reaches, barrels, ferries and rifts, where steamboats hardly pass in low water and, in order not to run aground, it is necessary to keep only along the "main stream".

I knew several ferrymen and carriers. That's who you need to learn Russian from!

The ferry is a noisy collective farm market. It replaces folk gatherings and collective-farm tearooms.

Where else to talk, if not on the ferry, while the women, pretending to scold the lazy peasants, slowly sort out the wire rope, while the shaggy and submissive horses pull hay from neighboring wagons and hastily chew it, looking askance at the truck, where they squeal their death and wallow in bags piglets until cigarettes from a poisonous green home garden are smoked to the nails!

To find out all the collective-farm - and not only collective-farm - news, to listen to all sorts of wise and unexpected maxims and incredible stories, you need to go on a crevice ferry littered with hay dust and just sit there, smoke and listen, crossing from coast to coast.

Almost all ferrymen are talkative, sharp-tongued and experienced people. They especially like to talk in the evening, when the people stop wallowing back and forth across the river, when the sun is calmly setting behind the steep bank - the high bank - and the midges are pushing in the air and itching.

Then, sitting on a bench near the hut, you can delicately take a cigarette from a vagrant person who is in no hurry with his fingers, roughened from the ropes, and say that, of course, "light tobacco is just pampering, it does not reach our hearts," but still with pleasure to smoke, squint at the river and start a conversation.

In general, all the noisy and varied life on the river banks, on the piers (they are called landing stages, or "desktops"), near the floating bridges, with a lot of river people crowding there, with their special customs and traditions, provides rich food for learning the language.

The Volga and the Oka are especially rich in linguistic terms. We cannot imagine the life of our country without these rivers, just as we cannot imagine it without Moscow, without the Kremlin, without Pushkin and Tolstoy, Tchaikovsky and Chaliapin, without the Bronze Horseman in Leningrad and the Tretyakov Gallery in Moscow.

Yazykov, who, according to Pushkin, possessed an amazing fire of language, in one of his poems perfectly described the Volga and the Oka. Oka is especially well given.

In this poem, Yazykov brings a bow to the Rhine from the great Russian rivers, including from the Oka:

Poemistoy, oaky, In the expanse of the Murom sands Flowing royally, brilliantly and gloriously In view of the venerable shores.

Well, let's remember the "venerable shores" and be grateful to Yazykov for this.

No less than "natural" words, our country is rich in local sayings and dialects.

The abuse of local words usually indicates the immaturity and lack of artistic literacy of the writer. Words are taken indiscriminately, little understood, if not completely incomprehensible to the general reader, taken more out of panache than out of a desire to give a picturesque power to one's thing.

There is a pinnacle - a pure and flexible Russian literary language. Enriching it with local words requires strict selection and great taste. Because there are many places in our country where in the language and pronunciation, along with words - genuine pearls, there are many words that are clumsy and phonetically unpleasant.

As for pronunciation, then, perhaps, the pronunciation with the loss of vowels cuts the ear the most - all these “happen” instead of “happens”, “understand” instead of “understand”. And the notorious word "however". Writers writing about Siberia and the Far East consider this word to be a sacred property of the speech of almost all their heroes.

A local word can enrich the language if it is figurative, euphonious and understandable.

In order to make it clear, no boring explanations or footnotes are needed at all. It's just that this word should be put in such a connection with all neighboring words that its meaning is clear to the reader immediately, without the author's or editorial remarks.

One incomprehensible word can destroy for the reader the most exemplary construction of prose.

It would be absurd to argue that literature exists and acts only as long as it is understood. Incomprehensible, dark or deliberately abstruse literature is needed only by its author, but not by the people.

The clearer the air, the brighter the sunlight. The more transparent the prose, the more perfect its beauty and the stronger it resonates in the human heart. Leo Tolstoy expressed this idea briefly and clearly: "Simplicity is a necessary condition for beauty."

Of the many local words that I heard, for example, in the Vladimir and Ryazan regions, some, of course, are incomprehensible and of little interest. But there are words that are excellent in their expressiveness - for example, the old word "window" that still exists in these areas - the horizon.

On the high bank of the Oka, from where a wide horizon opens, there is the village of Okoemovo. From Okoemov, as its residents say, "you can see half of Russia."

The horizon is everything that our eye can grasp on earth, or, in the old way, everything that "contains the eye." Hence the origin of the word "eye".

The word "Stozhary" is also very harmonious - this is how people in these regions (and not only in them) call the Pleiades.

This word consonantly evokes the idea of ​​a cold celestial fire (the Pleiades are very bright, especially in autumn, when they really blaze in the dark sky like a silver fire).

Such words will also adorn the modern literary language, while, for example, the Ryazan word "left" instead of "drowned" is inexpressive, incomprehensible and therefore has no right to life in the national language. As well as the very interesting because of its archaism, the word "can" instead of "possible".

In the Ryazan villages you will still hear approximately the following reproachful exclamations:

Hey, little one, it's no use to mess around like that! Absolutely not even possible.

All these words - both okoe, and Stozhary, and lying, and the verb "september" (about the first autumn colds) - I heard in everyday speech from an old man with a completely childish soul, a zealous worker and a poor man, but not because of poverty, but because, that he was content in his life with the smallest - from a lonely peasant in the village of Solotchi, Ryazan region, Semyon Vasilyevich Yelesin. He died in the winter of 1954.

Grandfather Semyon was the purest example of Russian character - proud, noble and generous, despite the outward poverty of his life.

He spoke about everything in his own way and in such a way that it was remembered for a lifetime. He liked to talk about taverns where "muzhiks boiled until the morning" in disputes, tea parties and tobacco smoke. For a long time he did not recognize the collective-farm tea house, because they are fed there "by receipt" (by check). It seemed wild to him: "Nashto me, this receipt! I paid - so give me a snack and that's it!"

Grandfather Semyon had his own golden and unfulfilled dream - to become a carpenter, but such a great artist-carpenter that the whole world marveled at his magical work.

But so far this dream has boiled down to lengthy and heated debates about how to fit a window trim "flush" or fix a broken step. Here such intricate terminology was used that it was unthinkable to remember it.

How a man illuminates the places where he lives! Semyon died, and since then these places have lost so much of their charm that it is difficult to muster up the courage to go to where, on a sandy cemetery mound above the river, among weeping willows, they say, a granular gray millstone lies on his grave.

In search of words, nothing can be neglected. You never know where you'll find the real word.

Studying the sea, seamanship and the language of sailors, I began to read sailing directions - reference books for captains,

They collected all the information about a particular sea: a description of the depths, currents, winds, coasts, ports, lighthouse lights, underwater rocks, shoals, and everything you need to know for safe sailing. There are sailing directions of all seas.

The first pilot that came into my hands was the pilot of the Black and Azov seas. I began to read it and was struck by its magnificent language, precise and elusively peculiar.

I soon learned the reason for this peculiarity: nameless sailing directions were published from the beginning of the 19th century at regular intervals, and each generation of sailors made their own corrections to them. Therefore, the whole picture of language change over more than a hundred years is clearly reflected in the sailing directions. Next to the modern language, the language of our great-grandfathers and grandfathers peacefully exists.

According to the guidance, one can judge how drastically some concepts have changed. For example, about the most cruel and destructive wind - the Novorossiysk north-east (boron) - the pilot says this:

"During the north-east, the shores are covered with thick gloom."

For our great-grandfathers, "gloom" meant black fog, for us it is our state of mind.

All maritime terminology, as well as the spoken language of the sailors, is excellent. Poems can be written about almost every word, ranging from "wind rose" to "thundering forties latitudes" (this is not poetic liberty, but the name of these latitudes in maritime documents).

And what kind of winged romance lives in all these frigates and barcantines, schooners and clippers, shrouds and yards, capstans and Admiralty anchors, "dog" watches, the ringing of bottles and lags, the hum of engine turbines, sirens, stern flags, full storms, typhoons, fogs , dazzling calms, floating lighthouses, "deep" shores and "stubbed" capes, knots and cables - in all that Alexander Grin called "the picturesque work of navigation."

The language of sailors is strong, fresh, full of calm humor. It deserves a separate study, as well as the language of people in many other professions.